i work with and through sound as a composer / sound artist / sound designer.

for the most part, i work with recorded and then manipulated sound, presented through performance, installation, and personal listening contexts, or through other contexts and media as part of collaborative projects. i also create work involving instrumental performers.

my background is in acousmatic music/art ('cinema for the ear') and contemporary instrumental music.

the broad areas that interest me are: the creation of immersive environments; the elemental-visceral physicality of sound; the evocative-emergent potentials of recorded sound; and discursive, expansive formal and conceptual possibilities of sound and music.

field recording, layering, using sound in a relatively unprocessed/as-captured way are central to my work with recorded sound; experimentation with notation, allowing in-the-moment structural judgements/decisions are central with respect to my instrumental work.

my creative process follows a capture-reflection-manipulation-projection (all facets intermingle) approach, similar to that of digital photography. this tends to involve these four facets:

- capture-recording (field recording and close-mic studio recording; engaging with, exploring, tracing perception and experience; notation as capture of restricted potential for performed sound)

- reflection-listening (a balancing point of appearance, trace-of/potential-for;re-listening away from capture; reworking of notation with performers)

- manipulation-sculpting (acting on the physical(-ity) of sound, on the apparent traces, creating or bringing out possible emergences, contours, memories; performers working with and appropriating a notated score)

- presentation-performance (confronting a potential with particular situations, contexts, individuals; situating a work, opening it up to various hearings; performing a particular approach to a score)