1. Deformative Activities of the Imagination [11:49]
  2. A Hidden Glimmering [15:13]
  3. You Can Hear a Pin Drop [12:34]
  4. Product of Both Hemispheres [8:24]
  5. Engraved in Freehand [7:41]
These five works of acousmatic music are united under one theme – the actions of the bricoleur as the fashioning of dream images, myth, and meaning though playful intervention with disparate objects and things; the method itself poised somewhere between scientific and magical. Throwing together, making linkages and amalgams, working between being and becoming, structure and event – it is in the space between realization and concept where one finds art.

My work in electroacoustic music, since I first began to compose in this medium in 1976, has been centrally associated with the concept of object – which I later come to understand as the l’objet sonore proposed by Schaeffer. I am continuously interested in the transformation of sounds and their objectification, but I also realize that from the very beginning I have been equally interested in the expression of the ineffable, and a uniting of internal and external knowledge in the music I compose.

Composing electroacoustic music has remained a central focus in my work as a composer precisely because this kind of practice lies halfway between scientific thought and mystical or magical thinking. There is both the scientist and the bricoleur at work in the crafting of the material objects of these compositions. My aim in cultivating the l’objet sonore is the creation of both a material object (a sound) and also an object of knowledge and intuition.

This set of works alludes to the background notions that a have shaped my thinking as a creative artist and bears sonic reference to the means and methods through which I often express the creative context of my composing as a bricoleur – attempting to bring the imaginal, mystical, and ineffable into the theatre of the audible. These works were not so much engineered as they were conjured – arising out of the deep of silence.

I owe a debt of gratitude to my friend and colleague Yochanan Sebastian Winston who provided conjured sounds on bass flute as source materials for two of the compositions in this collection and also inspirations to continue to be guided in my work by ear and heart.

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