This piece uses wireless sensors installed inside of tin cans to create controllers for each of the three percussionists. At times, the controllers act as virtual microphones, processing and filtering sounds that the percussionists are making on other instruments. At other moments, the movements of the cans generate electronic sound. The form of the work charts a journey from mostly acoustic at the start to entirely electronic at the end — the sounds of the final minutes of the piece are created entirely out of the motions of the performers. The work is divided in to ten sections: Begin Transmission, Can(on), Radio Active, Live Broadcast, Shell Game, Docking Sequence, Air Lock, That Sinking Feeling, Ouverture, Piano Three Hands.

The sensors inside of the cans transmit low-latency information about distance of the can from the table, its angle, and acceleration. The cans are available to hire from the composer along with the Max/MSP patch which receives the sensor data and then drives sound synthesis and processing. This page gives an overview of the different ways that the cans are used in performance.