Catalogue audit
21,104 files scannedOnly audio inside Ableton Bounce/Bounces folders was allowed into the clean path.
Rights/source hygieneSimon Taylor — creative technologist building original IP, audio products, generative tooling, and a cultural-foresight research practice. Half a billion streams as an artist. Six selected works, 2016 → 2026.
| Category | Project | Year |
|---|---|---|
| TRANSMEDIA IP | SALIX | 2026 |
| MUSIC AI | Generative Score System | 2026 |
| IDENTITY | Burnley FC | 2024 |
| BRAND · AUDIO | District Vision × New Balance | 2024 |
| FORECASTING | The Next Five Aesthetic Movements | 2026 |
| COMPOSITION | Music & Film Scoring | 2026 |
| BIO · CV | About | — |
SALIX — a complete transmedia science-fiction universe set in the near future. A 65,000-word novel extended into a Unity VR build, with original music, Wwise spatial audio, ElevenLabs voice, and MidJourney-generated visuals.
A novel, 68-poem collection (Sub-Atomic Blues), with machine learning tools deployed throughout — ElevenLabs voice, MidJourney and Grok visual and video assets, and my own music score implemented in the build with Wwise spatial audio. Toby navigates offworld robotics, consciousness-reading machines, I-Ching decision-making devices, and an environment drawing on contemporary futuristic land art.



A rights-clean scoring system built from my own finished bounces: 159 source cues were cleaned into 580 prompt/audio pairs, then used as melody conditioning for MusicGen-Melody. The strongest outputs are short cinematic cues with phrase, contour, and texture inherited from the archive.
The breakthrough was not another training run; it was finding the right control surface. I compared a base MusicGen model, an earlier V2 LoRA adapter, and a melody-conditioned path using real Simon Taylor bounces as the input. The LoRA generated audio, but failed musically as glitch texture and one-shots; the melody-seed route produced the four cues presented here.




Dark, sparse piano cue — phrase and contour inherited from an artist-owned piano bounce.
Slow cinematic strings with real harmonic movement — the most alive cue of the set.
Warm electronic texture shaped by a real bounce rather than a text prompt alone.
A 28-second directional build — generated as a one-shot that resolves rather than loops.
Custom Web Audio players · real-time convolution reverb + seamless looping, generated on demand from a deployed MusicGen-Melody endpoint.
Only audio inside Ableton Bounce/Bounces folders was allowed into the clean path.
Rights/source hygieneDerived from 159 eligible source bounces across piano, strings, electronic, trailer, and related categories.
Artist-owned dataEach prompt was conditioned on an owned audio seed, giving the model phrase and contour instead of text-only texture.
Musical controlThe strongest path used the archive as a compositional input, not just a training set.
Winning pathOutputs were judged by listening: phrase behavior, harmonic intent, coherent instruments, idiom fit, and clean production.
Audio evidence| Path | Input | Verdict | Portfolio decision |
|---|---|---|---|
| 04 · Melody-seed | MusicGen-Melody + real Simon bounces | 4 selected cues | Public portfolio path |
| 01 · Base medium | Base MusicGen-medium | Beat V2 LoRA 6/6 | Useful control; not the hero |
| 02 · V2 LoRA small | musicgen-small + r=32 LoRA | Broken / glitch texture / one-shots | Rejected as creative output |
| 03 · V3 LoRA medium | No adapter attached | Skipped | Deferred; melody-seed path was stronger |
The hiring signal is practical creative AI judgment: clean source rights, dataset hygiene, model comparison, musical evaluation, and a working path from catalogue bounces to usable generated cues. The failed LoRA path stays in the case study because it shows the system was judged by listening, not by loss curves.
The same training-data philosophy — rights-clean, author-owned, ML-captioned — underwrites the visual-culture forecast at 05 · The Next Five Aesthetic Movements, where the corpus is the CARI / Evan Collins archive and the eventual model output is per-movement SDXL LoRAs.
Led creative operations alongside the club's first creative director, artist Aitor Throup, for ALK Capital's new ownership of Burnley FC. Office redesign, the Save Football from VAR campaign, full digital shop audit, matchday redesign, and sponsor activations with AG1 and Castore.

Recorded, assembled, and shipped District Vision's first paid audio product — a 16-part course introducing meditation and breathwork as tools for performance gains in distance running. Acquired by New Balance into an ongoing mental-health series.
Inspired by the on-retreat teachings of Esalen Institute founder Mike Murphy, the late Dr. Mike Spino, and George Mumford's The Mindful Athlete. Field-tested in upstate New York and London. Scripted and re-recorded with founder Max Vallot. Published via RSS with cover artwork from Comme des Garçons illustrator Filip Pagowski. Spino's principles — visualisation, breathwork, running on feeling — applied at the Boston Marathon for a personal best of 2:47:17.

A two-horizon taxonomy of where visual culture is moving next. Volume I (March 2026) names five movements for 2026–2031, derived from the Evan Collins / CARI corpus of 5,395 catalogued artefacts across 38 aesthetic categories. Volume II tests those propositions against 1,266 institutional exhibitions surveyed at seventy venues in London, New York, and Berlin, then extends the forecast forward to 2042.
The framework operates as a morphological forecast: not speculation, but structural inference. Five complementary lenses converge on five aesthetics that are not yet here but are, in the strict sense, already structurally inevitable. Every prediction is paired with a 2028 falsifiability test.
"The exhibition is undergoing a phase transition from visual consumption to somatic negotiation — from cinema to pharmacy."Archaeology of Attention · Part One
The Bible's 26-year coverage of Chisenhale Gallery (48 exhibitions, 1999 – 2025) functions as a futures index. The hit-rate is the proof: a forecasting system that has detected canonisation-bound artists 4 – 6 years before institutional consensus, repeatedly. The same archival logic underwrites Volume I's movement-level forecasts.
20 years composing — half a billion streams as a songwriter and producer. Commercial composition for Nike, Airbnb, Meta, and New Balance via leading music houses, including Airbnb Plus' global launch films in Paris, Mexico City, and Bath. Collaborated with Rihanna, Mark Ronson, LCD Soundsystem.
From commercial composition for global brand films to spatial audio, galleries, and immersive installations — this is the taste base behind the technology work.
Commercial Composition Engagements
Nike · Airbnb · Meta · New Balance · District Vision · Audi · Boss
Tools
Ableton Live · Pro Tools · Logic Pro · Spatial Audio · Field Recording · Modular Synthesis · Film Scoring · Vimeo
Simon Taylor — creative technologist building original IP, audio products, generative tooling, and a cultural-foresight research practice. Based in New York.
Simon Taylor is a creative technologist with a cultural legacy across music and art. His success as a lyricist was born from futurist worlds and systems-thinking, and that has carried into the world-building of SALIX: futurist systems, characters, artifacts, original music embedded in Unity builds using Wwise, video screens prototyped in Grok Imagine, and character voices built with ElevenLabs.
As self-taught guitarist and lyricist for Klaxons — three Universal albums, half a billion streams — he collaborated with Mark Ronson, Rihanna, LCD Soundsystem, Nicolas Jaar, and Terry Riley.
Maintains the Art Bible — a 27-year longitudinal record of 1,266 institutional exhibitions across London, New York, and Berlin — and authored The Next Five Aesthetic Movements (2026), a predictive taxonomy of emerging visual culture validated against named artist-pipeline hit rates (Steyerl, Marten, Yiadom-Boakye, Abu Hamdan).
US Green Card holder · UK citizen · Open to full-time roles, contracts, and consulting. Contact simontaylorstudio@gmail.com · Download CV (PDF).