You and Me, Going This piece was originally eight channels, but was composed to function well in stereo. It’s a kind of sound-object-theater where many ways of listening are suggested in rapid succession.

There is also the work How to Know You Are in a Room With No Walls which was made the Palais de Tokyo website and can be heard at the link above.

The aural legibility of my other pieces is minimal outside of the contexts they were created for – they weren’t intended to function alone either acoustically (as portable audio) or to exist for private listening online.

For example, in The End of Safari there were three different types of sound diffusion used, none of which is possible to represent well in a recording (one hypersonic speaker on a pan/tilt head, two beheaded mythological creatures who had speakers hidden in their bodies, and ten additional channels diffused invisibly). You can listen to an excerpt here:

In *asterisk the audio is an activating force for a sculpture of broken pianos. Arranged on their sides with speakers directed toward the soundboards, away from the listener, the resulting aurality was very physical, embodied by the pianos at human scale. The listener moved around the sculpture finding new ways to hear the piece as sound built-up and disappeared, leaving only the “spectral ghosts”, the unique resonances of the instruments. In one version of the piece, these  sounds were then transmitted to the outdoors via glass transducers.

For The Phoenix the sounds moved around the park twenty feed overhead, interactively spatialized with infra-red sensors, reconfiguring the piece in real-time. New algorithmic “bagatelles” would be triggered as buses departed, and the sound materials were correlated to the time of day, day of week, month – the weather.

All this to explain why audio artifacts from these projects (and artifacts from many artists working with sound over the past 40 years) may be more misleading as to my practice than they are engaging and clarifying.