I consider my work to be experimental in that I am constantly searching for unique ways of hearing, presenting, and framing sound. For years, I referred to myself as a composer whose output was music, and my compositional approach was to rid my music of all habit by intentionally frustrating my working methods and attempting to begin anew with every piece. But why stop at redefining composition? With every work, I questioned the content, structure, and environmental context of my music, but the concept of “music” remained. For most composers, music is still about pitch structures and rhythmic organization, whether this is realized as melody and accompaniment, complex polyphony, or some form of non-metric atonality. Furthermore, music is often confined to traditional performance practices, by which I refer to the use of a core set of instruments with well-established rules for sound production playing on a clearly demarcated stage. In challenging these concepts, I have spotlighted extra-musical facets such as incidental noise, the performers’ visual gestures, and the drama of the concert ritual. As a result, my work has become increasingly theatrical and visual, and this, in turn, has led to a broader approach to sound as art, moving beyond the cultural constraints of sound as music. In other words, I am trying to artistically frame sound in such a way that it is not perceived solely as music. I want the sonic output of an artwork to be placed in a larger audiovisual context. To this end, I have produced performance installations that redefine a given space sonically, visually, and theatrically. Some of these works are ephemeral, having a duration that is confined to the temporal frame of the performance, but others have residual features—lingering artifacts that no longer have any sonic characteristics but serve as visual evidence of the performance, such as found percussion instruments distributed according to their interaction with the acoustics of the room or fragile sculptures resulting from the division and personalization of available performance resources. Other installations set in motion an irreversible process, the course of which transforms the visual landscape (sometimes subtly, sometimes violently) with sound marking each step. Being temporal in design, all of these works have a beginning and an end, but it is not necessary or even practical for the audience to experience either (those works with artifacts can even be experienced long after the performance or process has finished). I invite all who are curious to create their own frame—their own entrance and exit.