Three rooms. Music. Language & AI. And everything else. Source for the live and prototype tools lives in atelier; the finished site lives in atcooper-net.
Instruments, geometries, and arguments about sound. The pentatonic suite is playable; the framework is written.
Music genre as geography, not taxonomy. 41 genres rendered as a continuous landscape — peaks for genre centres, ridges for lineage flow, valleys for transition zones. Genres are close when they ignore the same things. Two-axis projection of a higher-dimensional suppression-vector space.
The scale as a pentagon in the twelve-note circle — steps of 2 and 3, no semitones, no tritones. Rotate it, hear it. The diagonals cross at ghost notes the geometry implies but the scale never plays.
Plot the midpoint fret of each string and the fretboard becomes a wave. Drag the tuning interval to reshape the cam profile — fourths pulse, fifths breathe, minor thirds flutter.
At zero it's a pure line — continuous pitch space. Drag the squish slider and the fretbox emerges from the line: discrete fret positions condensing out of the continuum. Click any dot to hear it.
A staged, AI-assisted process that decomposes a recording into the raw components of its composition. (Formerly Sonic Phenomenology.)
Instruments for handling language and LLM behaviour — protecting documents from silent tampering, evaluating the substrate rather than the output.
A small mechanism for protecting descendant fragments of a document from silent tampering. Each page carries two short hashes — a page hash binding content to declared context, and per-section hashes binding each fragment to the document's edges. A middle section quoted without its edges cannot self-verify. Recalculable by any reader that can hash text.
Large language models fail in two opposite directions: hallucination (confident output that isn't true) and tautological drift (confident output that is true but empty, restating prior context as evidence). The framework addresses both with per-token interventions applied at sampling time — a dialectic gate on tokens of genuine semantic uncertainty, and an informativeness gate on tokens that merely restate what is already in the context.
Work that doesn't fit Music or Language — preprints, side investigations, scientific drafts.
A pacemaker firmware architecture that treats the heart as a composer, not a metronome. Individual cardiac rhythmic identity. The Rockface Principle — distal tissue as distributed recording medium. Additive-meter pacing from ethnomusicological models. Filed with IP Australia, March 2026.