The aim of my music is to provide an engaging sound experience which can be understood without knowledge of internal relationships or external contexts.  It seeks to approach the very core of our capacity to process and appreciate sound, to strike the visceral nerve rather than the intellectual.  I have taken to heart the ideas of musique concrète, reduced listening, and the objet sonore as described by Pierre Schaeffer, as well as the innovations in the study and musical incorporation of sound spectra and acoustic phenomena heard in the music of spectralist composers such as Gérard Grisey, Tristan Murail, Georg Friedrich Haas, and Horatiu Radulescu.  It is the nature of sound which interests me: the relationship of the ear to nature rather than the relationship of the intellect to human artifice.  I believe that in order to realize nature within the art, it is necessary to approach composition from the bottom up, beginning with the most basic elements of sound.  I do not begin a composition by treating the note (an abstraction of sound that contains within it a pitch, duration, and dynamic) as the unit of musical discourse that can be utilized to build more abstract structures of melody, harmony, and rhythm.  Rather, I often begin by imagining sound at its fundamental level, and I use notes as building blocks to realize larger sonic structures.  These structures are then transformed through imagined processes to create an organic and unified world in which nature and artifice are merged.