His work on the genealogy of the concert and the »political aesthetics of listening,« as Elena Biserna has put it, has brought him to festivals such as MaerzMusik and the Donaueschinger Musiktage, museums such as the Hamburger Bahnhof, the Brooklyn Museum, the Stedelijk Museum, and das Museo de Arte Contemporáneo de Oaxaca, and more. Dietz’s large-scale works have been realised in sites such as Le Corbusier's »Cité radieuse« in Marseille – where he worked long-term with inhabitants of the apartment building to articulate social structures with sound – or along the entire length of »Im Stavenhof,« a street in Cologne, along which he synchronised all participating inhabitants' home stereos. He has published two books of listening scores (one on his Tutorial Diversions series, meant to be performed at home, and the other, L’école de la claque, based on historical and contemporary audience behavior) and co-edited (with Amy Cimini) the recently released Maryanne Amacher: Selected Writings and Interviews, as well as co-authored (with Kerstin Stakemeier) the forthcoming theoretical volume, Universal Receptivity.