Collaborating with the environment and electricity

My greatest musical satisfaction comes from engaging and playing with sound as part of a larger social enterprise. In pursuit of this, I focus on collaborative and improvisatory music-making that is firmly situated in the place of its creation. How I structure my pieces and use improvisation encourages all participants—performers and audience—to freely engage with the work following their own inclinations. I often employ computers and electronic sound, and recent works explore Virtual and Augmented Reality to immerse the audience, geolocate sound in parks and farms, and animate graphic scores. My interests are increasingly in small, quiet, spatialized sounds that juxtapose synthetic (machined) and organic (raw) materials. I do this to draw attention to the details found in the acoustic world we inhabit. This is a fundamental aspect of my ecosystemic works, which model the behavior of objects from the natural world in electronic sound, creating interactive sonic ecosystems. These pieces are intimately tied to the space they occur in. With or without human interaction, repeat performances produce unique results—sometimes subtle, sometimes drastic—that are the result of hands-on experimentation and collaboration with those I most enjoy spending time with.