I began my career as a composer. What really began to interest me was not so much the music that I could write but the states of mind I would experience when I felt musical enough to compose. In those moments, when I became musical, all the sounds around me also became musical.
I have produced a body of work spanning over four decades that has unearthed the hidden music that surrounds us every day, magnifying it and drawing our attention to it in striking ways. These installations use sound as a sculptural medium to interact with and transform our perceptions of visual and architectural settings. These have been installed in public spaces and museums around the world including San Francisco, New York, Rome, Paris, London, Chicago, Vienna, Berlin, Venice, Sydney, Tokyo, Barcelona, Linz, Manchester, Istanbul, Abu Dhabi and Lisbon.
My sound sculptures use the human and/or natural environment as a living source of musical information. My methodology has been to create networks of simultaneous listening points that relay real time acoustic data to a common listening zone (sculpture site). Since 1976 I have called these works sound sculptures.
Many of these works explore create live listening networks. These use a hybrid mix of transmission technologies that connect multiple sound retrieval points to a central reception point. What becomes significant are the conceptual links that determine the relationships between the listening points and the site-specific qualities of the reception point (sculpture site).
From the late nineties until the present my projects have explored hybrid listening technologies of acoustic microphones, underwater sensors (hydrophones) and structural/material sensors (accelerometers). Some of my most recent works (called Acoustical Visions) are explorations of the image that a sound makes and the sound that an image makes.