Molly made the china dolls that come alive.
pAGES IN cLOUDS
pATRICK bURKE 2025

Molly made the china dolls that come alive,
They’re made from parts nobody wanted
And become everything they hated…


She stitched their arms from splintered wood
Painted faces no one understood
Glass in their ribs, rust in their veins
Laughed like angels, screamed like chains


She whispered secrets through the thread
Woke them softly from the dead


Molly liked the china dolls that come alive
She watched them crawl and twist and writhe
Built from shame and fractured pride
They wear the masks that she would hide
Molly liked the china dolls that come alive


They dance on tables, curse in rhyme
They eat the hours she left behind
Bent with beauty, cracked with grace
They spit her name back in her face


She never cried, she just sewed tight
They were her voice on quiet nights


Molly liked the china dolls that come alive
Spun from parts no one survived
They grew into the things they feared
Broke the mirrors, disappeared
Molly liked the china dolls that come alive


Stolen bones, forgotten lace
She made a world, it wore her face
And when they screamed, it sounded right
She held their hands and turned out the light


Molly liked the china dolls that come alive
She gave them hate, they gave her eyes
Now they roam where silence died
She became what she designed
Molly liked the china dolls that come alive…


Molly made the china dolls that come alive…
They're made from parts nobody wanted…
And become everything they hated…

PB2025

Molly made the china dolls that come alive

Ivory Towers

If you could see it

Inspired by  revolutionary scientific paper on embracing bias as a fundamental physical quantity

The Observer's Debt

Lifeless

Terminal Love

A lo-fi indie-pop ballad where whispered acoustics unravel into crashing fuzz and haunting emotion, for slow-burning catharsis

Where Do Rainbows Go

Listen Greyhound on YouTube here: https://youtu.be/GNWQ0V4WWfo?si=2TiI2hZiwXkGUpAX

Verse
Why do I bother trying to convince you
You're such a goddamn cynic
That's not what you say when you're drunk and call me crying
You and I are both to blame
I'm not the only one you play
You're just a liar
I'm just a fool
I'm just a fool
I'm just a fool
I'm just a fool

Chorus
I'm the greyhound
But I still run after you
And it's not like I didn't know you
No
I still run after you
I'm the greyhound
But I still run after you
And it's not like I didn't know you
No
I still run after you

Verse 2
I don't know why I try to convince you
I guess I can't help it
I mean
Have you seen you?
I can't blame the others for what I feel
You and I are both to blame
I'm not the only one you play
You're just a liar
I'm just a fool
I'm just a fool
I'm just a fool
I'm just a fool

Chorus
I'm the greyhound
But I still run after you
And it's not like I didn't know you
No
I still run after you
I'm the greyhound
But I still run after you
And it's not like I didn't know you
No
I still run after you

Outro
I'm the greyhound
I'm the greyhound
I'm the greyhound
I'm the greyhound

Greyhound

dragons-thunder.mp3

"Carpe Diem," inspired by the ancient Latin philosophy of "seizing the day," explores the timeless themes of mortality, purpose, and the pursuit of happiness. The song encourages listeners to reflect on their own lives and to consider how they can live more intentionally and authentically. It's a reminder that life is fleeting and that we should strive to make every moment count.

Carpe Diem.mp3

[Verse 1]
These paper walls
Yeah, they cave and fall
I’m tryna keep my lungs still
I never say I need help
My heartbeat’s in my skull
Feels like my chest is full
Always tryna save myself
But I’m running out of runway now

[Pre‑Chorus]
‘Cause it’s too late… yeah, I feel it coming on now

[Chorus]
Is this the end?
Time’s up  goodbye, my friend
Look at me now, I’m high in the clouds
Crash‑land again, God, what a shame to choke it all out
Is this… is this the end?

[Verse 2]
It hits me harder every time
I’m slipping through the hourglass line
Would you breathe easier if I just didn’t climb back?
There’s too much weight in my past
The room is tilting, I’m seeing red
How’d I quit drinking just to black out in my own head?
The door’s dead‑bolted, no way in
I’ll lock it tighter ‘fore I ever let you in

[Pre‑Chorus]
‘Cause it’s too late… yeah, I feel it coming on now

[Chorus]
Is this the end?
Time’s up  goodbye, my friend
Look at me now, I’m high in the clouds
Crash‑land again, God, what a shame to choke it all out
Is this… is this the end?

goodbye

Entropic Artist Biography

As an entropic artist, my creative journey explores the delicate balance between chaos and order, harnessing entropy as both medium and message. My work delves deeply into how systems—visual, conceptual, and sonic—transform as randomness and structure interact. 

Artistic Approach

- I draw inspiration from the concept of entropy, embracing chance and unpredictability as core components of my practice.
- Mirroring the scientific principle of entropy, my art investigates themes of transformation, impermanence, and the cyclical nature of creation and decay.
- This approach allows each project to become an evolving ecosystem, where the unexpected is not only welcomed but actively integrated into the aesthetic and conceptual outcome.

Exploration of Entropic Generative Music

My research and creative output are intrinsically linked to entropic generative music—a field that uses systemic methods to produce ever-changing and unique musical experiences.

Generative music refers to compositions created by systems that follow explicit rules to produce virtually endless variations, made popular by artists such as Brian Eno and Iannis Xenakis.

- Rather than composing note by note, I construct frameworks governed by mathematical rules. These frameworks define the potential behaviors, boundaries, and interactions of musical elements, letting the "music create itself" within those confines.
- Such music is neither fully improvised nor traditionally composed; it is an emergent property that evolves as part of a system shaped by constraints and laws, often mathematical, rather than direct artistic decisions[4].

Mathematical Rules and the Role of Entropy

Mathematical rules are at the heart of my sound-based art:

- I design rulesets inspired by principles such as entropy maximization and  constrained randomness.- Models like the Maximum Entropy Model capture statistical dependencies between musical notes, generating sequences that both mirror established musical styles and offer innovative departures—without copying any input directly.
- These models avoid overfitting by prioritizing pairwise interactions and allow user-defined constraints, steering the generative process within mathematical boundaries rather than artistic intuition or machine learning guesswork:
  - For example, the range of melodic intervals can be defined probabilistically, and entropy maximization ensures each sequence is as diverse as possible within these parameters.
  - The result is music that is mathematically entropic yet always controlled by clear structural rules.

Thematic and Conceptual Links

- My artistic process surrenders to the unknown, leveraging randomness (or entropy) not as a threat but as fertile ground for creativity.
- By building generative systems governed by mathematics, I ensure that every creation reflects both disorder and disciplined order—a dance of chaos and rules mirrored in the interplay between entropy and music.

My work stands at the crossroads of art, mathematics, and sound, continually exploring how mathematical rules and the inherent uncertainty of entropy can inspire not just new aesthetics, but new modes of experience and understanding.

The Observer's Debt

BTF Entropic Effect

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