Language in my work mainly centers around the incarnation of the soundbody of silent objects or surfaces in the context of a natural acoustic or soundscape. In such ways the artist becomes the transforming agent of the language of matter—instrumental in the incarnation of sonic potentiality from the uncreated realm of silence, hence the location is enabled, through performance, to "speak for itself." —DS

__

THREE ARCHES: MIDDLE ARCH (2006, extract): [mp3]

Performed under a railway bridge near Glaisdale, Yorkshire, this extract involves some exploratory and interactive improvisation under the central arch of three, beside a small stream and woodland (the fourth went over a main road and was not used). I tend to start with locations with a potentially strong sonic character and those rich in metaphor or associative symbolism.

__

"THE SOUND OF RUNNING WATER" (1996): [mp3]

This was recorded live on location in a single take using a voicepipe, with no overdubs, processing or multi tracking. Here we explore the juxtaposition of cognitive, physical, and sonic metaphors expressing and describing a reality. The voicing of "the sound of running water," expressed in the realm of the English language, while the actuality itself being expressed directly in the location being observed. The voicepipe offers an extension to the vocal tract, a form of acoustic processing and facilitates movement in space—the creative expression of acoustic spatial choreography.