What is this?

About this website

Bor (bulgarin – бор) is a pine tree. The “cho” is added to the name by a wise elder.
Borcho is a virtual space on the Internet and a real space in my heart, which exists to present and curate my creative expression amongst other people.

The design and layout of the website was drawn in illustrator using a drawing tablet and the code was painstakingly written with the genius and mentorship of Julien de-Sainte-Croix.
The image of the child is a drawing of a picture of me taken by my mom in the early nineties. Animating it could not have been possible without the talent of Meytal Zilberman .
Learning the language behind the pretty pictures on the internet has been interesting, and sometimes frustrating experience. I am still ignorant to the vast majority of it. One thing I've learnt is that the language of code sits with music, dance, visual art, mathematics and natural science in its universality and power to bridge cultural differences by standardising the communication protocols.
I know, It tends to be more fun with music because no one talks about "communication protocols” and people just groove to it. But it’s pretty cool that a Hindi speaking Muhammad and a Spaniard named Jesus may sit with Svetlana from Russia and write a mind boggling algorithm for a google VR project using code and mathematics. They feel so happy and connected upon completing their project that they are planning to go out dancing and who knows where the night could lead to... Kids, learn code. (and music and how to be kind).

Much of the content here, in the reading section in particular, contains satire and parody; it is not meant to be taken seriously or to offend.
I will update this website irregularly.

About me

I was born in 1985 and I have a lot to learn. I’m classified as a medium-sized two-legged creature who breathes regularly, eats plants and sometimes products of other creatures, sleeps, works for a living and tries to maintain a reasonable level of personal hygiene with the rest of the time dedicated to what may appear to be irrational behaviour.

I began writing at the age of five when my parents and the education system oppressed my freedom. I love reading and in the end of this section there is a list of my favourite books. (still working on it...)

I write my thoughts, fictional stories, poetry, made up conditions of use, emails and text messages. I sometimes use fake names for pride reasons. I’m pondering on a daily basis, and sometimes take photographs using my camera. I also take pleasure in playing and listening to music, exploring and experimenting with sound and video and collaborating with other people to produce soothing music and other noise. I’m curious about my environment and I interact with it carefully and sensibly. 
Occasionally I fail. The music on this website is a collection of meterial from projects the last decade.

About you

You can like, hate, admire or desire me on Facebook
. You can't follow me on Twitter or leave a comment here.
 You can, however send an email. You can also follow me on the street, although this is considered less polite.
 You can ignore all this
, You can be
, You are.

For comments, ideas, translation initiatives or musical collaborations, write to me.

About Intellectual Property, Privacy, Conditions Of Use, money, lawyers, responsibility, accountability, limitation of liability, expectations, disappointment, trust, failure, force majeure, dispute resolution, modes of remuneration, negotiable instruments, warranty, disclaimers, safety procedures, risk management plans, future prospects and growth:

All of the above. (See terms and conditions below for more)

About the About page

The about page is for people who fancy to increase their knowledge about stuff.
 It appears regularly in numerous Internet websites and books and it is often associated with the desire to gain further evidence about the personality, doings and/or the whereabouts of the publication’s contributors with the hope that by doing so, one will better understand and relate to the publication and, have deeper understanding about the true meaning of the author’s work.
 Reading the about section in any publication may contextualise and support the narrative. However, it will necessarily change the perspective of the reader, which may result in disappointment due to unsubstantiated expectation.
 The about page on this website is provided without guarantee and may change to adapt to new circumstances as required.

About Unicorns

Unicorns are mythical horse-like animals with a single pointed horn in the middle of their forehead. Some believe they are very intelligent and magical animals that can fly and fart fireworks. They feed from the fluff of the clouds and maintain balanced monogamous relationships with their chosen unicorn, raising their little unicorn families in the hidden valleys of the moon.

Thermal Satisfaction Reaction

(unknown source)

To what extant the general pleasantness and satisfaction increase upon an introduction of a distinguished air particle arrangement aka song, piece, track, chant and other names.

Good song = 0.73TSRu
"Perfect song" = 1TSRu
Bad song = 0.22TSRu
Sound of fast approaching bullet = 0TSRu

How do I measure it?

By detecting an increase in TSRu compared to the initial state. The area's in subject temperature divided by the average body temperature of persons and animals in the above- conversation-level range (say over 70dBspl) from the source squared by the collective change of body temp in the duration of the particle rearrangement where 1 is blind happiness and zero is complete doubt in the future and general dissatisfaction.

What is the unit of measurement used to describe the amount of pleasantness applied to the existing air pressure?

Can be measured by TSRu (Thermal Satisfaction Reaction unit) on the affected area where 1 is blind happiness and zero is complete doubt and general dissatisfaction. The Loudness of Silence - the Pleasure in Noise.

About the Music

A rough outline to my musical background and aspirations.

My grandpa used to play classical music and opera at home. He introduced me to the Beethoven, Mozart and Chikovsky. I’d listen to the Nutcracker and Beethoven 5th tapes before i’d go to sleep along with other tapes of children songs in Hebrew. My early childhood romance with classical music ended when i started to have friends and mainstream pop music was a thing. at the age of thirteen I picked up my cousin old guitar and decided I want to major in music in high school. Naturally, the guitar and my cousin led me to discover rock music and admire the likes of Nirvana, Pearl Jam, Joe Satriani, Metallica, Iron Maiden, Dream Theatre and later King Crimson Genesis, Pink Floyd, Radiohead and the likes.
Local folk music was always in the radio in the background and some of it i liked and still love. Some of it I mocked but when I hear it today, it's nostalgic. Maybe because Israeli music is less common in Australia.

At the time I started with the guitar, my childish admiration was to music that was loud or difficult to perform. I categorised the music I liked as good. Music I didn’t like was dismissed with accusations of being too popular, too corny, to middle eastern and In general, I disliked what I categorised as bogan music. Often, social circumstances co-insided with musical flavours to deter or attract me from engaging. For example, the rock music I was inspired to play and listen to in the high school music room or at home with friends had a comforting and pleasant effect on me. Where being at a typical popular high school party or a wedding involved loud and “simple” popular music with middle eastern melodies and unexpected behaviours by people that made me feel anxious at times… I felt that these sort of social gatherings imposed inferior music on me that I did not want to be culturally associated with in my adolescence struggle to define my identity.

I took private lessons with the local guitar teacher hero who I could hear smoking bongs before the lesson when I was waiting outside. He taught me basic scales and songs and how to play famous rock and roll solos (the Hotel California Solo, Sweet Child of Mine etc.) At that time, I wanted to be a rock star. I also started doing some shifts at a local sound company which scored me backstage entry into the dubious glamour of the arts and entertainment industry. I played around with large PA systems, trucks, technical production, logistics and for the first time, the human substance, the ego and attitudes of real performers, PR people and management. At that time, my musical aspirations were underdeveloped and mainly consisted of being good at music, which to me meant playing fast guitar solos. The shredding of John Patrucci, Steve Vai, Slash, and others was the holy grail. It took me a while to realise fast and loud does not equal good…

One day, when I was sitting in the school yard during a break, Sarah, the hippy girl from my class approached with her minidisk and headphones. “you gotta listen to this”. She stressed and fitted her headphones on my head. When she pressed play, she started a new area of music appreciation in my heart.
The sound that came out of those headphones was something i’ve never heard before. The track was taken from "Go Plastic” an album by Squarepusher. It was consistent of the fastest and clearest beats I've ever heard, intertwined with infectious jazz inspired groove manipulated in ways I never thought possible, while the melody was subtle to nonexistent. Squarpusher's music proved to me that anything that is difficult or impossible to perform for a human, can be made 'perfect' with electronic music. I saw it as a sign to explore this kind of music more, and worry less about performing complicated guitar solos. I also had no chance of standing out in a music class of about 30 students, half of which are guitarist that picked up a guitar years before me. By the last year of high school i had a different guitar teacher, he didn’t smoke bongs in hiding and taught me to love improvisation. Playing together was what made the difference, but more than playing, it was learning when to listen and when to be quite, when to lead and when to follow and drift. The new approach to music came in the form of listening to new music as much as it was in the form of playing differently and experimenting with technology. As the joke about music goes: “what is the difference between Rock and Roll and Jazz? - In Rock music, you play four chords to ten thousand people. In Jazz, you play ten thousand chords to four people”. I stopped caring about my audience and delved into the world of listening, focusing more on time and scales. i tried to follow Bach's advice - “Playing music is easy, all you need to do is to play the right note at the right time”. I don't know if he actually said that.

Many sleepless nights went by (for my mother and possibly some neighbours) when my friends and I was categorically downloading and listening to music while getting high on weed. We'd explore the world of jazz from contemporary American grooves to oldies and the great European jazz label ECM with artist like Miroslav Vitous, Terje Rypdal, Meredith Monk and many others. Miles Davis, Keith Jarrett and traditional jazz musicians were also featuring regularly on the playlist.

The attempt by contemporary musicians to take the fluid nature of classical and jazz music and combine it with modern electronic sounds fascinated me the most and i tried to keep abreast of the latest releases and backlog of albums. Me and my friends would maintain an infinite list and listen to it categorically. Most of my modest teenage salary would go for CD’s.
I started to get into the music of Bjork, Godspeed You Black Emperor!, Aphex Twin, Mr Bungle, John Zorn. By the time i was 21 I was working at a commercial recording and post production studio in Tel Aviv, recording mainstream music and working on sound post-production for television and cinema while rehearsing and writing music with my band after hours in the studio.
As the variety of music i listen to grew, i stopped thinking about what is good music as i started to be more aware of the affect silence has on music and the complicated relationship between music and noise. In the simplest terms, the paradox is apparent when trying to listen to your favourite tune on repeat. At some point, everyone would get sick of it and it would become a disturbance rather than a source of pleasure.

There must be silence so noise can be distinguished from music. Even the best music can get too much if played for too long or too loudly or too often. The louder my environment becomes, the more insensitive and impatient I become to it.
Music today can be amplified to physically painful levels for unlimited amount of time and result in adverse health effects. It’s peculiar to me that some people love listening to music really loudly. Douglas Adams also pondered on loudness and thus he wrote about the loudest band in the universe: "Disaster Area was a plutonium rock band from the Gagrakacka Mind Zones and was generally regarded as not only the loudest rock band in the Galaxy, but also as being the loudest noise of any kind at all. Regular concert goers judged that the best sound balance was usually to be heard from within large concrete bunkers some thirty-seven miles away from the stage, whilst the musicians themselves played their instruments by remote control from within a heavily insulated spaceship which stayed in orbit around the planet - or more frequently around a completely different planet.

"Their songs are on the whole very simple and mostly follow the familiar theme of boy-being meets girl-being beneath silvery moon, which then explodes for no adequately explored reason.

"Many worlds have now banned their act altogether, sometimes for artistic reasons, but most commonly because the band's public address system contravenes local strategic arms limitations treaties."

This has not, however, stopped their earnings from pushing back the boundaries of hypermathematics, and their chief research accountant has recently been appointed Professor of Neomathematics at the University of Maximegalon, in recognition of both his General and his Special Theories of Disaster Area Tax Returns, in which he proves that the whole fabric of the space-time continuum is not merely curved, it is in fact totally bent.

Disaster Area are fronted by Hotblack Desiato.

Their best selling single was released on Earth under the band name PRISM and is titled Spaceship Superstar

Douglas Adams, The Hitchhikers' Guide to the Galaxy.

For archival and reference purposes - Here’s a list of my 42 most influential artists, albums, books and at some point, I’ll probably add songs in a form of a playlist.
Stay tuned.

42 “good” Artists in no particular order:

Miles Davis, Keith Jarrett, Chick Corea, Bjork, Radiohead, The Beatles, Pink Floyd, Robert Wyatt, Medeski Martin & Wood, Squarepusher, Autechre, Aphex Twin, Boards of Canada, Silver Mt Zion, Frank Zappa, Mike Patton, John Zorn, Bill Evans, Fredriech Chopin, Bach, TV on the Radio, Portishead, Kaveret, Massive Attack, Manu Delago, Philip Glass, Hanne Hukkelberg, Gorillaz, Mum, Beck, Pat Metheny, Alog, Paco De Lucia, Matt Elliott, Zakir Hussain, Prefuse 73, Miroslav Vitous, Gary Peacock, King Crimson, Nine Inch Nails, Sigur Ros, Terje Rypdal

42 “good” Albums in no particular order:

The Four Seasons (Vivaldi) - Recomposed by Max Richter
The Nutckracker - Pyotr Ilyich Tchaikovsky
In a Silent Way - Miles Davis
Rock Bottom - Robert Wyatt
The Koln Concert - Keith Jarrett
My Spanish Heart - Chick Corea
Red - King Crimson
Making Music - Zakir Hussain
Selling England by the Pound - Genesis
The Grand Wazoo - Frank Zappa
California - Mr Bungle
If You Wait - London Grammar
Black Sands - Bonobo
Damon Days - Gorillaz
Horses in the Sky - Silver Mt Zion
Strange Place for Snow - Esbjorn Svensson Trio
Sea Change - Back
Go Plastic - Squarepusher
La Maison de Mon Reve - CocoRosie
Dummy - Portishead
Metamorphosis - Philip Glass
Amelie - Yann Tiersen
Vespertine - Bjork
An Awesome Wave - Alt J
Fleet Foxes - Fleet Foxes
Ys - Joanna Newsome
Protection - Massive Attack
Ok Computer - Radiohead
Tripper - Efterklang
Little Things - Hanne Hukkleberg
Mitz - The Apples
Uninvisible - Medeski Martin and Wood
Peeping Tom - Mike Patton
Duck Rabbit - Alog
Universal Syncopations - Miroslav Vitous
The Mess We Made - Matt Elliott
Sirens - Nicholas Jaar
Simple Things - Zero 7
Mercy - Meredith Monk
M Ward - Transistor Radio
Rounds - Fourtet
Eureka - Jim O’Rourke

When I play, write, record or practice music, I try to be kind to my neighbours, my lover and myself by not pursuing perfection and settling for mediocracy. My interest in music, sound and noise is wide and i try to keep it like that. If a particular project require instrumental expertise, I prefer to work with someone else. It’s always nicer together. Over the years, the people i collaborated with inspired me to keep going and without the constant feedback of collaborators i would probably get bored with making music.
When I don’t have anyone to play with, I practice and play my growing collection of musical instruments and sound making gadgets. This includes two bass guitars, one is a standard 4 string and the other is a special Kala Uke Bass with strings made of nylon core with silver plated windings. In some of the songs I play Bouzouki, Banjo, Charango, Glockenspiel, Clarinet, Nylon string guitar, my beloved Ernie Ball Musician Silhouette electric guitar I got for my sixteenth birthday and assorted percussive instruments. For electronic sounds there are a few Korg synths including 2 Kaoss pads, Microkorg and a Roland V-11 electronic drum kit. software instrument are mainly Native Instruments Komplete and Logic X built in VST instruments. Recently I’ve added a real flute and a tabla to the collection but the road is still long until I place a microphone anywhere near it.

"Music is a sort of noise, it whiles away for the odd half hour but if lasts for any longer bores everyone, though no one dares to say so. Music nowadays is simply the art of executing something that is difficult to perform, and in the long run, something that is merely difficult, ceases to amuse”
Voltaire, Candid.
It is striking that these words were written more than a hundred years before music could be recorded.

Today I still work as the interface between culture and entertainment in the radio, museum, various music festivals and in collaboration with artists and filmmakers.
I dream that one day I will live in a world where every sound is pleasant music and life is a dance.

If you are interested in the history, physics and metaphysics of music, and the relationship to sound and noise, I recommend the following books:

On the Sensations of Tone - Hermann Helmholtz
For understanding the relationship between sound and music.

The World in Six Songs - Daniel Levitin
For an overview on what role music played in the evolution of the human brain.

This is Your Brain on Music - Daniel Levitin
For a neurological perspective on how the brain respond to music.

Musicophillia - Oliver Sacks
Extraordinarily compelling accounts of real musical “disorders” in people and the role music has on people who experience physical and mental disadvantages due to illness.

The First Word - Christine Keneally
Further reading. The history of linguistics gracefully laid out to give music further context.

Essay on the Origin of Languages - Jean-Jacque Rousseau
A convincing pre-neuroscince argument for music preceding language.

Discord - Mike Goldsmith
A history of noise. with fascinating legal and social anecdotes.

The Great Animal Orchestra - Bernie Kraus
A delightful book sound and the delicate sonic fabric of nature and the animal kingdom and the devastating effect human development impart on it.

The Universal Sense - Seth Horowitz
Tales of hearing mechanics.

Noise - Jacques Attali
The political economy of noise.

Perfecting Sound Forever - Greg Milner
The story of the development of recorded music.

Music Quickens Time - Daniel Barenboim
An account of how music knows no boundaries.

Information Doesn’t Want to Be Free - Cory Doctorow.
Laws for the digital age. Slightly off topic, ever so relevant given this platform.
The Real Frank Zappa Book
Just for fun.


Terms and Conditions

1. Enjoy and distribute responsibly.

2. Do not commercially exploit the work or use to harm.

3. Please consider sending me money.

You can find more terms and conditions with the poems,in the Words section, no one reads them anyway, and so these are the three basic guidelines. In summary - please be nice.