My research explores the soundscapes that emerge through human activity ecosystems within the Onkaparinga district of South Australia. As a Doctor of Philosophy candidate at the Elder Conservatorium of Music, I investigate how infrastructure, water systems, agriculture, electro-mechanical sounds and other forms of human land use create complex acoustic environments that can be transformed into abstract sonic representations.

I develop formalised compositional methodologies that combine field recordings, mathematical transformation, sculpture and interdisciplinary soundscape composition. Rather than documenting environments directly, I use repeatable yet flexible compositional processes to reveal relationships embedded within anthropophonic sound. Within this methodology, sculpture functions as an intermediary between recorded sound and its transformation, generating new ways of understanding the interactions between process, material, place and listening.

Drawing upon archival recordings, historical documents, scores and artefacts, I examine how human activity leaves acoustic traces across landscapes and explore how these traces may be recontextualised through composition. Central to my work is an interest in creating truthful relationships between process, place, material and sound, while asking broader questions about where context resides and how abstract sound works communicate meaning beyond the circumstances of their creation. My research aims to establish a methodological foundation for future investigations into anthropophonic sound and interdisciplinary approaches to acoustic ecology and sound art.

My previous research investigated relationships between instrument, compositional systems and in situ performance. Projects have included Introduced Species: Biodiversity in a Musical Ecosystem, which placed Sonic Creatures within landscapes through Geocaching and portable electronic music systems; Transient Sound: An Acoustic Response to Photographs of Twentieth Century Port Noarlunga, which translated historical photographs into acoustic works; and Re-sounding Ngangkiparri: Reverberations of Complex Biographies, a gallery installation combining sculpture and soundscape composition to explore the complex histories of the Onkaparinga Estuary.

I am also developing a complementary research project, Echoes of G.F. Angas: Sonic Traces in Settler Landscapes, which retraces the journeys of George French Angas through contemporary sound recording. This work examines how sound can be used to reconsider colonial observation, environmental change and the enduring acoustic legacies of settler landscapes.