He completed scores for numerous documentaries produced by UK's Channel 4 and the Australian Broadcasting Corporation (ABC), most notably, the award-winning Anyone Can be A Genius and In Grave Danger of Falling Food, a three-part series investigating the life-time work of Permaculture founder, Bill Mollison.

[7] Garton's music for theatre is largely focused on his own solo works and spoken-word operas (Black Harlequin, Ausländer ind Staatenlose), with commissions for Queensland's Omniscient Gallery and the Debacle Theater Company, most notably their landmark interpretation of Anthony Burgess' A Clockwork Orange (1994).

Garton contributed to several international and Australian collaborations with artists such as Stelarc, Ludwig Zeininger, Kazayuki Null, Hank Bull, Ollie Olsen, Brian Eno, Tetsuo Kogawa, Martin Breindl and Jimi Chen.

1997 saw the completion of his first major generative and online composition, the six-week opus, Sensorium Connect, commissioned by the ABC's, The Listening Room, and produced in collaboration with the performance artist, Stelarc.

[1][8] The work was part of his Masters project at RMIT University, Ausländer ind Staatenlose (1995–1998), with a libretto based on a short story by his grandmother, Elena Garton.

Other works include sound design for Bodyssey, an interactive CD-ROM by Gary Zebbington; STREET (e)SCAPE, a 24-hour generative soundscape commissioned by Alien Productions, KunstRadio and Polycollege Stobergasse, Austria; Sinawe, a performance produced in collaboration with video artist Kim Bounds, depicting numerous forms of traditional and contemporary Korean music for the Melbourne Fringe Festival.

Mid-2003 Garton completed a major work commissioned by the Australian Centre for the Moving Image - a video installation (From Drift to Derive) and prototype stop-motion narrative engine, D3, taking inspiration from Situationist theorists, including Guy Debord.