This solo project began in 2003. For 15 years, as a classical musician, I had studied and played the recorder (blockflöte, flauto dolce, flûte à bec, call it what you will...). Seeking new ways to think about music, I started exploring the worlds of improvisation and composition. I created a set up (or ‘meta-instrument’ as Jim Denley terms it) that retained the articulation and gestural language of the instrument’s classical practice while expanding to embrace the electroacoustic possibilities of a laptop. Because it was important to enable instant, organic control over both the computer and the acoustic sound, I attached a multi-sensor environment to the Paetzold contrabass recorder that controlled the computer. This means I can harness the gestural energy of performance and allow split second decisions concerning the digital transfiguration of sound.

The technology behind this set up is integral to the conceptual framing of its playing. It enables the fast juxtaposition of digital and acoustic sound, abject and computer-processed gestures and extreme frequencies. Just as a physical gesture points to the bodily provenance of a sound, its exact source – electronic, instrumental or bodily – becomes ambiguous, tangling with its own digital transformation and a diverse palette of uncanny concrète timbres.