Density and multiplicity are hallmarks of my work as a composer. I cherish aesthetic experiences which feel like "too much to absorb": the novels of Thomas Pynchon, the abstract paintings of Gerhard Richter, the sculptural installations of Sarah Sze. I write music which is overloaded with information, teeming with connections and relationships. The collages of disparate materials, weaves of densely layered polyphony, and overlays of independent evolutionary processes in my work stem from this desire to create abundant experiences. I invite listeners to choose their own path through these complex knots of trajectories, concentrating on the textures, gestures, or processes that draw their interest. My intention is that repeated listenings will reveal additional details, and reward new forms of attention.