I have perceived sound as a ‘portable’ installation – and I still keep a distinction between sound-artist and musician – though this border is a stochastic and often paradoxical one.

In my work – I have play the role of several ‘positions’

ACOUSMATIC* COMPOSER – being that of one designing and or presenting ‘tape music’ – or sound-art – like a vibrating multi-dimensional painting.  I prefer to do this work using multi-channel installations (many separate speakers and/or moving speakers (sounding elements) – happening in the form of listening salon, concert in the dark (usually with audience laying down) – where the emphasis is not  on me as a ‘performer/entertainer’. Some of the more successful works have been installations in botanical gardens or deeply silent places/audiences where the sound can be received at the deepest levels.

ELECTRO-ACOUSTIC IMPROVISATION – this then straddles the world of ‘musician’ but the focus/intention is similar to the above.  The emphasis is not on me as a ‘performer’ but rather on the over all experience itself.  My current set up includes the use of a magnetic harp (which is a zyther that uses both ebows and self-designed magnetic resonance coils that put the wires into motion via a magnetic field), a complex array of effects pedals / or computer processing, a live mic (which I use a range of materials (such as seed pods, shells, bells, wood, chimes), for textures, or instruments (such as shakuhachi, harmonicas, mbira) for creating drones and various ways of playing back or otherwise incorporating field recordings.  My music is essentially ‘drone music’ – but I see this kind of improvisation as a multi-dimensional loom and the sound that comes from it, a rich sonic tapestry.

STUDIO PRODUCER – the basis of all of my work is a particular kind of listening.  which has subsequently enabled to become a refined studio technician.  I therefore have been able to develop some skills at helping people master and enhance their recordings, as well as sound-design for film, dance and theater productions.  All of my published recordings have been mastered by myself.

SOUND ART and LISTENING SALON CURATOR – having been involved with the sound-art world as well as finding myself around plenty of record collectors. I have developed some skills of bringing together special events – such as over night listening events / experiences (2004 Vernal Flux Centre d´art en l´ille, Geneva, Switzerland; 2010 Summer Listening Salon Series, Grimmuseum, Berlin, Germany; 2011 RASA,Torun, Poland and various other lectures)