Mapping The Valleys of The Uncanny : An investigation into a process and method, colliding with questions relating to what can be known to be real, within the field of algorithmic composition. Or if you prefer: The roles of instrumentation and timbre, as they unwittingly conspire to designate access, power, status, work and ultimately class.

We are free, from the shackles of the finite, and of the physical world. Sound now enjoys morphological freedom through a myriad of transformations. It is malleable to the utmost degree. We have at our disposal an astounding plethora of tools, with which we can manipulate and organise sound. This thesis project is a collection of musical materials that explore the idea of The Uncanny Valley, as it relates to music being real, fake or some strange combination of the two. This thesis project is primarily one in which I produce sound files. In a secondary capacity, I’m also producing a text file. In this text I aim to present some of my thoughts on how my work writing code and making music might be connected, in some hopefully interesting ways, to my field. I’m unlikely to be able to adequately convey my own origin myth. Instead I’ll focus on stories I’ve been told about music, throughout my life, inside and outside of academia. I have a strong suspicion that these stories have shaped my coming into being as a composer. However difficult the task of introspection, and ultimately to know one self proves to be, I at least regard these stories as a source for clues as to why I am driven to do the things that I do