ElectroAcoustic Ecology Series 2000-2002 - A series of site-specific installations using only contact microphones, galvanized wire, snare wire, and a portable battery-powered PA to amplify, filter, synthesize and reorder immediate surroundings. The last part of the video took place at the Los Angeles River for an event called River Alchemy hosted by the Arroyo Arts Collective where the public was invited to collect river trash and hang found items on amplified wires that stretched to the center of the river. My early sound installations often invited the public to exercise some agency with shaping the work until an entropy was reached so I see no relation in this work to what is often tagged as noise music — I love noise music, but I often attenuate my performative personhood in favor of a social practice that encourages reduced listening environments to be accessible to those who encounter it.

Gourd Works (2001-2007) : Explorations using gourds as immersive instruments networked with snare wire attachments and resonanting piezo buzzers to form something called The Village Array — An installed topology where participants could choose to be inside/or outside the sculptural work.

Gorgon Synth (2003) : My hot-glued breadboard DIY synth for the noise project , Slujun comprised of two cascading Oscillator circuits the designs of which were informed by the work of Nicolas Collins, Thomas Henry , Chris Carter, and Cthulu.

AuxCoil setup (1998-2003) : My set-up at the time comprised almost entirely of galvanized wire, coils, prepared Koto (gifted by Microtonalist Composer, Kraig Grady), Minidisc player cutups of treated field recordings , smokey amps, amplified with 8 channels of attached contact mics 2 of which were sent through the aux chain as long-form spring reverbs. My approach at the time was to produce complex inharmonic tones that shift into harmony with the most subtle body movements.