I am a composer of acoustic music. In my output, which spans solo works, non-traditional line-ups of chamber music, and orchestral works, and varies from short durations to concert-scale forms, I pursue research on the mechanism of acoustic instruments, on physicality, corporeality, and embodiment. I focus on the extension of the capabilities of acoustic instruments, the invention of idiosyncratic and unorthodox ways of producing sound, and the development of a new form of lived space. My recent works are geared to those sounds that remain not fully controllable by the composer or the performer, are inherently unstable and constantly moving, come with their own logic of unfolding, presuppose a particular body-instrument relationship, and call for a new kind of listening attention. My compositional approach of developing sound materials that resist transmutation into gesture and pertain to the logic of embodiment points to a shift from an interval-based or even gestural activation of sound to a sound-based encapsulation of timbre that pulls us toward the interior space of sound. I am also interested in orchestration insofar as the latter is not simply understood as the formal structure of sound, where the particular sounds add up to the whole but, rather, as the form of the whole, insofar as the whole is more and different than the sum of all parts put together or, in other words, insofar as the whole generates a new sense of time and space and, thus, a new mode of listening awareness.