Over 1600 years ago, North African bishop St. Augustine of Hippo broke new ground in the history of literature, theology, and spirituality with the penning of his Confessions. The work is regarded as a watershed moment in the history of autobiography and is read today in a variety of contexts, from undergraduate humanities classrooms to devotional book clubs. Our modern relationship to this text is very often just that: text-based. This album, the first from the Anachronists project, is dedicated to the idea that there is much of value in ancient works like Confessions, to which we can relate in many ways beyond the academic and intellectual. 3 artists including myself each wrote two songs, and we collaborated together on all of them. The songs I authored are "Get Up O Sleeper" and "The Daily Furnace". You can also check out a podcast we recorded with Regent College that discusses the album and its origins in great detail!

This is Gol Olímpico's debut EP. Songs were written by my friend Andrés. I played synth and horns on this record, and also contributed some background vocals. It was an incredible project to be a part of, as the band is from Mexico and most of our communication happens in Spanish, so it was a fun challenge for me. We got to present songs from this record at a few shows in Mexico in 2025 (in Monterrey and Mexico City), with friends Miraflores. There's a whole new wave of "Mexican emo" happening that brings up a lot of nostalgia for me, and I'm really excited to be a part of it.

This is the major project / small thesis which consituted the capstone of my masters degree in Theology. It describes how recent efforts to bring Generative AI (GenAI) use into popular demand have spawned a number of urgent questions about the nature of AI and the consequences of embedding such systems more deeply into human life. By relying on insights from both philosophy and theology, I argue that, in addition to the various "external" or existential risks and unintended consequences of GenAI, its use poses a special risk to the "internal" character of human life. Because it treats human creative artifacts as raw grist for the content mill, and surrenders the creative process itself to a technological device, thoughtless GenAI use risks the atrophy of the creative faculties whose expression is an important part of a flourishing human experience and vocation.

Like most people in the world, I sometimes listen to Taylor Swift. This is a bit strange for me, though, since I typically avoid mega-pop stars like the plague. But you have to respect Ms Swift's songwriting skills, however famous she has become! In particular, I am enamoured of her album "folklore", whose production aligns much more with the type of music I normally listen to.

And so, admittedly very late in the game, I've decided to hop on the Swiftie bandwagon with this cover of one of my favourite tracks off that album. (It is, predictably, probably one of the most depressing songs available in the Taylor Swift catalogue, just how I like it!)

I wrote this song while reflecting on global and personal pain and darkness during 2023. In a way that particularly resonated with me at the nadir of the year, I loved the image of nothingness pregnant with light, the intention of creativity "hovering" over the chaotic absence of sense, just about to be revealed for the love that it is. Could this be where we are, in the big scheme of things? In the roil of chaos, just prior to something better? Could it be where I am, in the little scheme of my life? "'Cause some of the infinity of love, it turns out, is meant for me." And you. And everyone.

In the summer of 2009 I got a bunch of mp3s from a friend. In this particular batch was an album called "Shallow Grave" from some artist named "The Tallest Man On Earth", a name which I figured (correctly, as it turns out) was tongue in cheek.

The album was intense, raw, organic, overcompressed—all things I loved, and none of which I had previously associated with folk/country/Americana. But that is what was happening. I was immediately drawn in, and have been following Kristian Matsson's music ever since. I always find myself coming back to this first record, and often this song in particular. I don’t know if this story it tells is perhaps intended to be a metaphor, or what. It certainly has a chilling element to it that belies the beautiful folky melody. Regardless, there’s a sense of wistfulness, of resignation to oneself and one’s choices that I find compelling.

I celebrated the official launch of Appium 2 with a set of webinars hosted by HeadSpin. This talk was presented in order to give a bit of the backstory behind Appium 2's development as well as showcase the set of new features and changes to be aware of when adoping Appium 2.