Goldsmith’s, University of London

Things I made during my Master's in Sonic Arts at Goldsmiths, University of London 2017 - 2018

for my work I decided to work with the basic notion that everything slows down, from physical object and their thrust to sound waves and their trajectory, hence the composition’s name.

the comparison of movement in slowed-down motion is intriguing to me, as I am fascinated by the inner workings of flux in-between things, from fractal divisions to the unified theory problem.

I used several sound-stretching methods (on various DAWs), using recorded sound material made mostly by what is generally regarded as noise, or garbage sound, like power tools, street-noise hum, among other recorded samples of synthesizers, to make a plethora of “stretch-able” sound material. In the process, I found that as far as I stretch the sound, the flux of the partials in the noise help progress the visual stimuli, making use of a lot of discrete video and sound comparisons. The colors of the unprocessed visuals helped me write the music, with its different textures, achieved by different apertures manipulated in the filming process and superimposing them one on top the other.

To the most part, the music was influenced by the visuals captured, playing with long, stretched lines of colors, found inside the footage itself. The Music proposes a different ethereal feel, allowing the inter-connectedness of the materials on different levels, for the viewer’s discretion.


Moving places, moving countries, moving homes, moving along.

The change in location evokes strong sense of self, and following that I had made “Other People’s” as a personal note on attempts to recollect and reposition myself and my artistic route through the move to a different country, i.e moving from Tel Aviv, Israel to London, UK.

I made a few basic assertions on “Other People’s”, consisting of the fact that when I landed here, I did not have my own apartment to stay in, but moved in-between different sublet apartments, all the while with my wife and partner. I had no permanent base of work to compose and film from, and needed to find an outlet for myself.

I tried to compose off of that notion, using other people’s collected samples (which I helped record and then further processed) and other people’s musical ideas (i.e, different genres mashed together in my head).

To me, noise is a very important medium, as a musician I don’t classify noise genres (e.g Noise Music, Noise Rock) and feel that the musical evaluation of noise is not “good” or “bad”, but a product of distant music scenes and a sub-genre consisting of “sound aesthetics”, a way to enrich compositions with ethereal “feel” and consistency. It reinforces the structuralism of cultural binaries, as a powerful anti-subject of culture, and brings forward imperious yet essential questions of human experience, socialization, individual subjectivity and political control. [Noise is culture; noise is communication, noise is music]

I am also “holding back”, creating a sense of tension achieved by long dissonant lines of noise stretched and juxtaposed one atop the other, enriching the imagined sonic soundscape, allowing for true release of self in the noisy city.


Sound Lost and Found; Being Human Festival 2017
Went down to Dorset for a day of soundwalks, soundscape recordings and topped it all off with a fine concert with the amazing people from the Diva Contemporary and Goldsmiths fellows.


Being in big cities around the seasonal holidays nowadays adds up mainly to seasonal shopping sprees and festive sales. As the piece developed, I found out that my need for some fresh air and natural settings was growing, so I left to shoot outdoors, capturing trees as footage and water as sound source.
I found myself walking around so many brightly lit stores in between shooting, I was lost.
I feel the pieces are connected in a broader sense and are of greater value when viewed one after the other, as I was finishing the preparation of the pieces, I had noticed that “Borders” is a sequel to “Limits”, placing the ideas studied in this assignment further outwards into “black skies”.

I feel the pieces are connected in a broader sense and are of greater value when viewed one after the other, as I was finishing the preparation of the pieces, I had noticed that “Borders” is a sequel to “Limits”, placing the ideas studied in this assignment further outwards into “black skies”. I made Bothe pieces one after the other, unable to create a strong enough divide between the two. I feel the distinction between the pieces in the visual side could have been better, as to, using more color pallets and applying them differently, yet I insisted on using just the visual bank I had, so I didn’t allow myself to color further with other tools than what I had, hence the similarity.


A composition study in the creative use of collage and montage, using collages within a montage and fragmentation of augmented visuals in a montage as instances of a collage in the bigger form of the piece.

Much love and praise to my brother Or Fleisher for advice and help with some shader magic, and to Ronen Tanchum for his amazing words of wisdom in TouchDesigner to push this piece forward.



This study explores the acoustic resonance found in drums.

I analyzed a recorded snare sample’s resonance and created a physical model of it. With the new-found knowledge of the salient frequencies within the resonance’s time domain, I built a custom max/MSP patch, based on the CNMAT resonance~ object, giving it arguments to play the frequencies most audible in the recorded sample. I then excited the new “resonance machine” with the different transformed samples and the wooden box samples, using the original sample’s resonances, omitting the “dry” signal, making the resonance louder and more audible.

Throughout the composition I emphasize the lack of the original sample, rarely making the original source material audible in the composition, thus allowing me to mainly compose with the original recorded snare’s resonant frequencies.




This study is a research into the field of experimental rhythm perception.

I used computer generated noise elements as a study in to noise and musical time perception.

The subject of temporal allocation over time and our brain’s entrainment specifications has many unanswered questions, such as why do we group certain elements together, what gives rise to a sense of meter and the measureable passage of time. Rhythms underlined in space don’t necessarily give a sense of an equally divided measure. This study tries to use ideas of rhythmic entrainment from three great writers; Justin London, Godfried Toussiant and Efrain Toro, each with a unique approach to musical time.


My biggest interest is based in rhythmic cognition and perception, mainly, how do we hear time? What mechanism is at play while we make attempts at rhythmic entrainment?
and how can I use these notions and aesthetics for artistic expression and exploration? These are some of the questions I try to explore in this performance.

This improvisation studies moving time perceptually, using a custom built Max4Live Patch.

Based on Efrain Toro’s Harmonic Rhythm concepts and rhythmic similarity research by Godfried Toussiant. Recorded live at the electronic music studios at Goldsmiths, University of London 2018

Shot lovingly by the talented Noam Friedman

much thanks to Or Fleisher, for encouragement and Jitter love <3

Built and released Ver. 1 of Euclideanx MaxforLive Midi Effect;

a multi-step sequncer with:
– 4 “quantized” step sequencers with individual pitch, velocity, duration attributes
– Automatic Velocity button, for duration randomization
– 4 “un-quantized” step sequencers, with integrated pitch, velocity, duration attributes
-seperate on/off for each step sequencer

all in all; 8 step sequencers to mix and match your rhythmic delights.

based on “little seq” by Little-Scale.
Original idea for patch inspired by Yehezkel Raz

Free Download available at:

Probability Player 1.0

Built and released Ver. 1 of EuclideanxProbability MaxforLive Midi Effect;

A step sequencer with probability features:
– 8 beat inputs to make probabilities from, with up to 36 beats per measure
– probability factors 1-10
– reactive real time display of the actual subdivisions
– operationals on pitch; left, right, up, down, sort1, sort-1, scramble, random
– probable fun

Free download available at:

 I collaborated with Margret Schutz from Trinity Laban Choreography Master’s programme for sound design and composition
In this performance the bodies of the dancers become highly sensitive instruments. The soundscape was recorded in the Studio Theatre with a special microphone that converts electromagnetic waves into audible noises, so that we can ‘hear the room’.
|Dancers: Kaila Holford, Rosamond Martin, Naomi Welford | |Sound design: Guy Fleisher | Choreography: Margret Schütz|




I participated in the Cocktails and Electronics event in Goldsmiths, followed by a live improvised session in Out of The Brew in New Cross, London. The workshop for DIY synths was led by the amazing Ewa Justka, building our own version of her crazy Voice Odder synth.

here’s a documentation of our live set:



Final Creative Project for M.Mus Sonic Arts

The result is an experience in composing music with environmental samples’ manipulation, as a means of composing with elements which were familiar to most participants in an attempt to make the experience composing music more inclusive and render it more reachable for people not necessarily versed in the field of sound art. In the experimental graphic score notation, the installation is stretching out the borderline between visual arts, sound art and performance art, raising basic questions, such as “what does music looks like?” and the process of composition and performance as two sides of the same coin.

The installation explores our perception modes and correlating listening modes’ in gestural composition and our “mental imaging” of visual cues into experimental notation systems

This work turns to the immediate environmental sounds found around south-east London. This search for meaning in the sounds of the environment leads back to soundscape composition and Barry Truax’s communications model, borrowed from cognitive science. I am questioning the form of visual scoring as a static creation, concentrating on the generalization of sound objects, allowing for a mixture between visual feedback (for interactive systems) and an actual score, which is arguably “playable”.

One of the main commonalities between these notation systems lies in their “qualitative imaginary comparatives”, venturing freely between physical shapes on paper and sounds propagation. Using mental similarities, which the players project onto the created graphic score, it retains some visual concepts of musical content embedded within it using simple geometrical shapes, mainly circles, ellipses and straight lines. This intertwines the 3 levels of conceptualization: symbolism, signage and associative impulse.

All sounds are triggered in real-time live by user interaction and are controlled and manipulated by it. By multiple juxtapositions of generative and interaction-based processes, the synthesized environment has a naturally occurring sound to it, extending the notion of soundscape composition.

Project supervised by Daniel James Ross



Continuing my growing interest in all things audio-visual, I’ve built my own version of the color organ, based on Matt Hova’s pitch to color translator; freely available for download from this link: