Process

When we listen to music, our ears act as instruments, adding their own tones to the room's music, like another instrument joining the orchestra. The smallest traces of acoustic information are interpreted by neuroanatomy, which gives them form. As the membrane vibrates in response to the acoustic tones, we hear sounds inside our ears that are not the acoustic tones. In music, such tone responses have been suppressed as we know them. They are hidden within the intricate tones of music and have a subliminal existence. As listeners, we are unaware that they exist or are creating them. We do not have access to our processing experience. 

I want to make music that looks beyond the processing and control of acoustic information and into the network of the nervous system to what we do with it perceptually.
We "listen" to what our ears perceive and recognize very subtle changes in vibration patterns. We "hear" an encoded response of evolutionary sensitivity, which extracts information about the details of vibrational patterns. This creates a subjective tone. Tonal and melodic patterns are formed in our ears and neuroanatomically - interaural rhythm, colour and spatial mapping, the "virtual" soundscape that listeners create in response to music. 

These virtual sounds and patterns come from the ear and neuroanatomy. When planning these effects, start by distinguishing where the music should come from. It could come from the acoustic space—the space around us, as in a multi-speaker configuration, where distant sounds can move through the space in circles, spirals, squares, or other shapes. It could also be in close-up, concrete, and locatable, or it could come from the stage directly in front of us, as is typically the case. The interaural space, which is within us, comes next. The interplay of aural and interaural sonic imaging is what excites me musically.