▁be ▁pushed ▁over ▁the ▁limits ." ▁ ▁Although ▁most ▁of ▁his ▁music ▁is ▁composed ▁digit ally , ▁Tr imp in ▁almost ▁never ▁uses ▁electronic ▁sounds ▁— ▁not ▁because ▁he ▁objects ▁to ▁them ▁on ▁principle ▁— ▁but ▁because ▁he ▁as ser ts ▁that ▁loud spe aker ▁design , ▁mostly ▁un changed ▁for ▁ 1 0 0 ▁years , ▁has ▁lag ged ▁behind ▁the ▁rest ▁of ▁electronic ▁music ▁technology . ▁An ▁out lier ▁to ▁the ▁method ▁aud ien ces ▁normally ▁experience ▁his ▁work , ▁the ▁torn ado - sh aped ▁column ▁of ▁self - t uning ▁gu it ars ▁called ▁IF ▁VI ▁W AS ▁IX : ▁Ro ots ▁and ▁Branch es , ▁installed ▁in ▁Seattle ' s ▁Exper ience ▁Music ▁Project , ▁uses ▁electric ▁gu it ars ▁and ▁an ▁array ▁of ▁head ph ones ▁due ▁to ▁the ▁constraints ▁of ▁the ▁space ▁and ▁neighbor ing ▁exhib itions . ▁ ▁Ex hib ited ▁work ▁Begin ning ▁in ▁July ▁ 2 0 0 5 , ▁several ▁Washington ▁museum s ▁engaged ▁in ▁a ▁year - long ▁survey ▁of ▁his ▁work ▁cur ated ▁by ▁Beth ▁S ell ars , ▁with ▁install ations ▁and / or ▁performances ▁occurr ing ▁at ▁the ▁Seattle ▁Art ▁Museum ▁at ▁SA AM , ▁Henry ▁Art ▁Gallery ▁of ▁the ▁University ▁of ▁Washington , ▁Cons olid ated ▁Works ▁( which ▁dissol ved ▁shortly ▁after ▁the ▁Tr imp in ▁Ex hib it ), ▁the ▁F ry e ▁Art ▁Museum , ▁Jack ▁St raw ▁New ▁Media ▁Gallery , ▁and ▁Su y ama ▁Space ▁in ▁Seattle ; ▁the ▁Museum ▁of ▁G