Rummaging was developed through intuition: through experimentation, but crucially through practice. Its evolution was an organic response to a need to create a music that allowed a particular type of expression. At the time of inception and during its early days, the practice existed for its own sake, without theoretical consideration. It was only later on, reflecting on an established practice, that it started to become apparent there was a strong theoretical background that could be explored, from ideas of physicality and viscerality, to relationships with materials and objects.

Although ideas from rummaging have long been assimilated into my general performance practice (whether specfically 'rummaging' performances or otherwise), a conscious focus on rummaging had waned in recent years. I realised I'd been feeling a sense of unfinished business, and a desire to fill in the gaps has led to my undertaking a practice-based PhD (at De Montfort University’s MTI Institute for Sonic Creativity, supervised by John Richards). Provisionally titled “Rummaging: In Search of a Visceral Noise Music”, my intention is to enquire, explore and codify, to look at what it is that makes rummaging work as a performance practice, to investigate and analyse through various philosophical and theoretical lenses, and ultimately to uncover new potentials and new directions for the practice.