I am a composer, sound artist and performer based in Southern Scotland. My recent research and practice have focused on the materiality of sound, on compositional strategies informed by morphogenetic theories borrowed from disciplines such as the biological sciences, and on the behavior of sound in space, an ongoing concern in relation to multi-channel installation and theories of modern architecture. My interest in the behaviour of sound in space stems in part from a rejection of the closed space or inner tomb model of listening. I reject this currently fashionable model on both aesthetic and political grounds, favouring instead an auditory culture which privileges close and deep listening strategies.

My workings sound sources typically range from field and experimental studio recordings to hand made acoustic and electronic instruments to found objects, all of which are transformed in the digital domain to produce a range of creative outcomes, from performance and installation to fixed medium.

Conceptually my work converges on the notion of the Listening Environment. Listening Environments exist as dynamic fields of possibility within which a variety of dialectical investigative processes are carried out. Such fields and processes appear in different guises at all stages of the creative process, from initial sound gathering to the final presentational forms.

The first phase of research is the investigation of a mutual relationship between listener and environment in which, more often than not, the listener moves, dwells and listens. This environment can be more or less natural, more or less built, or even fabricated and controlled as in a laboratory or studio. Such foraging tactics are the first movements of a multiple articulation, affording alertness and an awakening to environmental sound in the widest sense.

In the next field of possibility recorded sounds are transformed, modified and re-presented. At this stage, bearing in mind that not all sounds are interesting, my primary interest lies in the materiality of carefully selected sounds and in unveiling aspects of their their morphogenesis and evolution by means of specific digital transformations.

A further field of possibility is that in which a relationship is established between composer and listener. Yet another might be established between the listener's expectations and the work.

Many others can be identified and investigated given time and patience.