My practice actively engages the boundary between the auditory and other senses with a detailed attention to perception and to sound's role in the creation of a sense of place and the experience of time. The apparent tranquility my pieces – which tries to be at once gentle and un-nerving – works against the rapidly shifting sensory landscape of technological development and urbanization and its impact on rural culture. I use minimal materials derived from close listening and observation of the environment to point up the way in which we personalize our objects and actions. Through creative mis-use of post-consumer goods, adaptive re-use of raw architectural elements, and a nostalgic obsession with dead technologies, these materials become instrumentalized. In this way, many of my pieces investigate the movement, patterns, and social organization of both work and play, while others explore the acoustic signature of specific locations, where sound is exposed as the result or goal of a social activity, a characteristic of architectural space, or a by-product of a geological process.