The subjective dimensions of sound underpin Hecker’s investigations. His installations shift and vary depending on the listener, both in terms of each individual’s physical location and his or her personal biases and points of reference. Hecker takes as a starting point the fact that listening is often driven by a desire for understanding—it is an attempt to make associations, to recognize sounds as familiar, to slot what we hear into known categories. In Affordance, the variations between the three channels of the work protract and complicate this listening experience. Hecker has composed a three-channel piece in part to interrupt what he has called “bifurcated listening.” With a two-channel work, a viewer would be able to stand centrally and listen to the entire piece at once; with three speakers, movement and memory are necessary for understanding the piece as a whole.