Introduction

My research has always crossed boundaries between music, technology, literature, disability and culture. It often begins with a creative question about listening, pattern, constraint, perception or systems, and expands outwards into other disciplines and ways of thinking.

What unites this work is less a single field than a persistent set of concerns: how we listen, how technologies shape perception, how systems enable and constrain creative thought, and how different bodies and minds encounter sound. My research has consequently taken many forms, including books and articles, compositions, digital works, collaborative projects and practice-based research.

Some interests have accompanied me throughout my career. These include relationships between music and literature, ’pataphysics, digital creativity and the ways in which rules and constraints can generate unexpected possibilities. Others have emerged from lived experience. Hearing loss, tinnitus, diplacusis, Ménière’s disease and autism have profoundly changed how I think about listening and perception, leading particularly to my work on aural diversity and neurodivergent experience.

I do not see creative practice and research as separate activities. A composition or digital work can be a way of asking a question, just as an article or book can be. Projects such as Aural Diversity, Digital Syzygies and Frog Fizzles move between these different modes, bringing creative practice, scholarship and, increasingly, advocacy into conversation.

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