it seems to me that vibration, apprehension, and recollection consitute a perpetual feedback loop. infinite variables influence each step, and each step revises the occurrence of the others according to infinitely fluid parameters.

these elastic assumptions have led me to call my sound work musique plastique. i've become preoccupied with the margins and thresholds of sound, the epiphany of juxtaposition, the transitions between sounds or between sound and so-called silence-- the moments where assumed boundaries blur and dissolve, where the constancy of mutability is revealed.

i think of my role in creating this music as that of a mediator or facilitator. a sound suggests a frame of presentation or an interaction with another signal; the task is to let a piece compose itself as much as possible. even when i've heavily manipulated a piece of audio, the aim is to reveal the qualities contained within rather than to impose my will on it. the process is more about listening than anything else.