Trumpet player, performance DJ and producer — and the engineer who builds his own tools. Thirty years of records and live sets, then 60 machine-learning spaces for musicians to practise with, and a WebSocket bus that puts five AI harnesses on the same wire.
A career that never split cleanly. The trumpet came first, the design studio came with the move to Hong Kong, and the code is what came after — tools built for the practice that the first two demand.
The public account github.com/kaidjuric was opened on 4 July 2024. It carries a single project — and that project is a way for different AI agents to speak to each other.
“Multi-harness AI team bus: shared protocol, adapter stubs, orchestrator relay. v1 wires Hermes + Claude Code + Codex + Ollama + 1 TBD.”
PROTOCOL.md — v0.1, 5.8 KB. Required fields, message kinds and an auth plan.
| kind | direction | body |
|---|---|---|
| hello | harness → server | {harness, version, model, capabilities[]} |
| welcome | server → harness | {harness, peers[], since} |
| chat | harness ↔ harness | {text} or {parts[] } |
| task | orchestrator → harness | {goal, inputs{}, expected_outputs[]} |
| result | harness → orchestrator | {task_id, status, outputs{}, error?} |
The real weight of the work lives on Hugging Face, not GitHub: sixty Spaces under huggingface.co/kaidjuric, built between October 2025 and September 2026. Most are single-file web apps; a few are full Docker services with real models behind them.
Themes assigned from each Space’s own title and card description. The largest cluster is practice material for horn players.
38 static, 16 Gradio, 6 Docker. The static ones are front-ends; the Docker ones carry the models.
Spaces created per month, October 2025 → September 2026. Two of them before July — then fifty-eight in the last three months.
Forty-three of the sixty Spaces were created in the three weeks from 8 August. On 19 August alone, eighteen went out — transcription, practice engines, chart tools, a Calabi-Yau viewer, a PNG-to-SVG vectoriser. It reads less like a roadmap than a working session.
As Kai Djuric: soulful and jazzy house for the club floor, and then — once, in 2018 — twenty-nine minutes of ambient sound healing. Both sit in the same discography.
A live session recorded at a home studio in Hong Kong in 2018 — My Funny Valentine with Levi Terrell and Vera Arnot — is the one document that shows where the trumpet actually sits: on top of other people’s playing, not instead of it.
Twenty-two tracks in total. Twelve of them exist because somebody else reworked his — Mark Di Meo alone takes five of them over the length of a single evening.
Every track on his own releases, sorted by length. Twenty of them are club edits; the last two are the 2018 ambient pair, and the jump says everything about that EP.
Two companies, one association membership, one gallery, and a performing career that has not stopped since 1998. The code sits on top of all of it rather than beside it.
Fourteen doors into the same person. The GitHub account and the Hugging Face fleet are the newest rooms in the building; the record labels are the oldest.