Much of what I do can be described as experimental music, although I am not always aware of what the experiment actually is. I hesitate to use the word “experimental” for that reason. I’m more interesting in asking questions about the experience of music, and less interested in answers that already exist.
Like scientific experiments, these either succeed for fail, and the resulting information is incorporated into future experiments. “Success” and “failure” are more meaningful to me than “good” or “bad”. Both outcomes are equally valuable.
For me the role of a musician/sound creator is to create organized collections of listening objects as opposed to fixed works to be recited. I don’t see this on an axis of composition/improvisation as much as a ongoing, real-time laboratory to draw the listener out of everyday experience and into a momentary encounter with something beyond the ordinary.
My work is a series of experiments researching what makes a good listening experience for a particular group of listeners.
Something that has always interested me is the idea of the sound-system-as-instrument. There is a music hidden in the technology that still waits to be discovered. This fuels my interest in quadraphonic sound and the quad listening space.