David Burraston is an award winning artist/scientist working in the areas of technology and electronic music, operating Noyzelab as an independant art/science music studio since 1981. His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis and electronic music. He performs, lectures, conducts workshops and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science. He was recently interviewed by Bandcamp Daily and The Wire Magazine.
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EMS Stockholm, on the Buchla 200 modular [Photo: Henrik Jonsson]
He releases experimental research music on numerous cult labels such as => ENTR'ACTE, THE DEATH OF RAVE, TAPEWORM/TOUCH, IMPORTANT RECORDS/CASSAUNA, TAIGA, .MEDS, FLUF, FRACTAL MEAT CUTS, CONDITIONAL, GE_STELL, PSOMA PSI PHI, COMPUTER CLUB/CPU, ALKU (in collaboration with RUSSELL HASWELL), CATACLYST, ENGRAVED GLASS, FERAL TAPES, TOCHNIT ALEPH, BETA BODEGA COALITION, SEVCOM EDITION and featured in THE WIRE MAGAZINE Below The Radar series. Please see my discogs page for a complete[ish] list of releases.
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Field recording in New York State [Photo: Doug Quin]
​David has worked with many diverse collaborators such as Aphex Twin, Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MIT Media Lab and the Australian Broadcasting Corporation. In 2014 he independently published the legendary "SYROBONKERS!", the most technical and in-depth interview ever given by Aphex Twin.
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MIcrotonal conversation in Aphex Twin's studio [Photo: Richard D James]
Throughout the 1990's David had an innovative role in the foremost UK telco’s R&D laboratory in diverse areas such as Artificial Life, DSP, Chaos and Complex Systems, Spatial Audio [Ambisonics/3D sound], MIDI, Virtual Reality and Data Visualisation. His 2006 PhD thesis Generative Music & Cellular Automata [48MB PDF] developed and applied fundamental new concepts, arising out of generative music practice, to a key problem in complex systems. This has served as a foundation methodology for creative practice and complex systems research. His current work is aimed at tackling more key questions in complex systems from a creative practice perspective, drawing inspiration from natural and artificial complex systems. These key questions address the definition of randomness, structure and high level descriptions of information processing in complex systems. David is a founding member and Technical Director of The WIRED Lab.