Deeply engaged in both Persian classical music and Western contemporary music, Nima believes that the East does not meet West, but that they collide. It is in the abyss of this collision that new sonic and temporal possibilities interact through a transcendental metamorphosis that exists outside of time, beyond the face of cultural signifiers. The idea of transcendence in Nima’s music is rooted in mysticism, not in its unifying, cyclic, and ritualistic form, but rather in its physical and bodily dynamic of release and constraint, expansion and collapse, chaos and emancipation. These physical phenomena escape narration and signification, and instead, are charged with different densities of energy, most important of which is silence.  

As a scholar, his recent involvement in music theory includes the analysis of contemporary music, especially the works of German avant-garde composer Helmut Lachenmann, using Modular Theory and Gilles Deleuze’s concept of Difference and Repetition.

Nima has previously taught at Harvard University in 2014 and has had lectures and masterclasses in numerous institutions in the U.S. and abroad.