Working with sound as both a medium and a subject, Miriam primarily uses noise in conjunction with dissonance to create indeterminate installations. Her research into sound perception ranges from physiology to musicology, seeking to understand how the brain interprets some sounds as jarring noise and others as expressive, concordant music. The term ‘dissonance’ is not unique to music theory. In psychoacoustics, the science of how sound is received and interpreted by the brain, physicists have a number of neurological and acoustical explanations as to why certain sounds clash. By comparing cultural receptions of dissonance with physiological evidence, there is reason to suggest that the physicality of noise is integral to the psychological responses to dissonant works of art and music. Her main aim in making discordant works is to create something visceral, in which the listener has a strong reaction to. However, whether the inclination is positive or negative is less important than the response itself. When using indeterminate techniques, she is able to question her own response and listen to the outcome as an audience member, because the composition is left to chance. Through subtle spatial intervention, she creates live installations using an array of old and new technology to project sound waves into a space, and in most cases, keeps the timbre of the work as neutral as possible by using sine frequencies. Miriam’s installations create an experience for the public that shows the power of resonance by highlighting the unearthly nature of pure tones, and the effect they have on space and material.