This slow and reflective work examines broader questions about sound, music, and its role in society. It asks where the line falls between music as an aesthetic object and sound as a tool, a form of sonic medicine for augmenting our overall sense of wellbeing.

​

The electronic portion of the work uses field recordings from spaces and environments around Cambridge, Massachusetts, and Vancouver Island, combined with live instrumental processing. These materials blur the line between inside and outside spaces, and between inner and outer listening.

​

The identities of the recorded spaces are less important than the qualities of the sounds themselves, and how they can be made to seem musical through contextual relationships. Exploring non-narrativity, the sonic flow suggests a space in which listeners begin to listen to their own listening.