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continual concrète practice - a compositional approach, where a given sound material (recorded or generated) is applied, diffused, processed and re-recorded over multiple iterations, always in response to the surroundings, FOR-SITE. these iterations - or concretions -  could be in the format of performances, installations or hybrids of both. the sound material is continually shifting, morphing and developing. each concretion leaves its temporal and spatial traces and imprints in the growing body of sound material, which is layered, staggered, cut and merged. over time, not for one finished piece - it is being unfolded, processed, recorded again, modified and re-applied again to ever new listening situations. the use of audio tools and procedures and the ways of using sounds are derived from the historical musique concrète, so composing starts with concrete sounds, not with an abstract idea and sound diffusion is the main performance method - CONCRÈTE. in contrast to the fixed media compositions of musique concrète though, continual concrète pieces do not result in a finished, hermetic work. each iteration is responsive to its surroundings, the different speaker types, the architecture, situation and available systems. performances are in a way temporary concretions where the different spatio-temporal fragments and layers are stringed and woven together in the present moment. the listening space is shared with the audience. listening as a process is being foregrounded, to encourage a simultaneous attentiveness to the sound field one is sitting in and to an inner field that is resonating and/or expanding. so rather than following pierre schaefer’s call for a “reduced listening” neumann is inviting a spatially expanded listening. and the reduction (of narrative and semantic content) becomes the responsibility of the composer.