I compose with complex timbres drawn from extended instrumental techniques and found objects such as scraped metal and bowed cardboard. These noises front an acoustic wildness intentionally abated in conventional musical practice. And yet, the precision of classical instruments opens avenues of transformation closed to noise in its raw state. Virtuosity and crudeness face-off in my work, circling an aesthetic region between embellishment and fact, between sound as a carrier of aesthetic intent and sound as a subsidiary effect of action.