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News Updated 17 April 2024 Knowing / Not Knowing "...a 21st-Century secular oratorio, a work that deftly fuses recorded and live media,
alternates chorus and the spoken word, and juxtaposes live drama with instrumentalists
in order to pose probing questions about the nature and range of human knowledge.”
Xenakis Creates in Architecture and Music:
The Reynolds Desert House New Review in TEMPO by Edmund Hunt ... While Xenakis’ approaches to music, architecture and the design of the
Reynolds Desert House provide an overarching structure, the [book’s] content is fascinatingly discursive … personal reflections, anecdotes and expressions of feeling serve to underline the touching honesty, even idealism, at the heart of this project. [The] supplementary material suggests that the Reynolds Desert House was not just a plan for a building, but an idea that grew with and from human connections and the
exchange of ideas.… the analysis provided is thorough and informative.…
the authors invite us to view decades of artistic endeavor and friendship. This book is an affirmative testament to the abundant creativity of lives lived to the full.  Order through Amazon
 Roger Reynolds: For A Reason Available on Neuma Records
 Weather Systems II: Soundlines: On Language and the Land Available on
KNOWING / NOT KNOWING KNOWING / NOT KNOWING will be an approximately 75-minute work for narrator, soprano, tenor, mixed chorus and
chamber instrumental ensemble with multi-channel computer processed sound.
It involves an extended collaboration between composer Reynolds, conductor Steven Schick,
director Robert Castro, producer Lisa Porter, advisor Peter Sellars, and computer musician Jacob Sundstrom.
Reynolds has compiled a text in nine sections itself drawn from more than 2-dozen sources
stretching from ancient Indian and Persian wisdom, to poetry by Toni Morrison and Amanda Gorman. Its evolution will include a recording of 30 minutes of a cappella choral music realized by
the San Diego-based SACRA / PROFANA conducted by Schick, and a complete reading of the
text by a group of actors directed by Castro. CO-EXISTENCE CO-EXISTENCE is an 8.5-minute "étude" for instrumental septet and algorithmically-
processed instrumental sounds. This work addresses several essential “perceptual issues”
arising out of Reynolds’s multi-year engagement with an international consortium of institutions and individuals interested in understanding and utilizing perceptual research to enable fresh musical engagements. It was premiered by the Los Angeles-based wasteLAnd ensemble under the baton of Nicholas Deyoe, with the technological ministrations of Jacob Sundstrom.
WISDOM’S SOURCEs is an extended duo for acoustic violin and viola, developed as a collaborative engagement between violinist Irvine Arditti and ASQ violist Ralf Ehlers.
The original exploration of basic materials (Ancient Greek Tragedy, Buddhism, and the African American Experience) began in the summer of 2020 through a series of an hour and a half-long zoom sessions based on source materials the composer provided for his two instrumentalist collaborators. DICKINSON Roger Reynolds (with Jonathan Nussman). This work (2019-2021) involves intricate vocalization of eight of Emily Dickinson's penetrating poems, responding both to their emotional intensity and to their poetic radiance. In order to allow harmonic and syntactic dimensions, four tuned almglocken are also activated by the performing baritone. The two groups of four poems are entitled Prospect (1 – 4) and Tempest (5 – 8). NEW: A WORK FOR SPEAKING PERCUSSIONIST: "Here and There" In the Summer of 2017, Reynolds began a collaboration with percussionist Steven Schick centered on a new work for speaking percussionist that he had requested. Based on a Beckett's Texts for Nothing: IX, the new work was developed and refined by the collaborators over the ensuing 18 months. Here and There was the centerpiece of the inaugural presentation of Schick's “Cross-Wired" initiative, an odd-year series focused on a new composition and featuring coaching, discussion, and performance sessions centered around UC San Diego’s Schick, the in-residence redfishbluefish ensemble, and seven emerging percussionists from the Americas and Europe.
After percussionist Steve Schick joined UC San Diego's Department of Music in 1991, he, Peter Otto, Miller Puckette and composer Reynolds worked on an elaborate percussion project involving a circular set-up that surrounded Steve. A version for 6-channel spatialization of the live sound was developed. Two and a half decades later, Danish percussionist Mathias Reumert approached Reynolds about the possibility of preparing a version of Watershed involving only a stereo sound system over which he could trigger sound files (It developed that here are 22 of them.) during performance. Reynolds conceived a way of simulating sounds that would have the character of appropriate reverberation but would not require an elaborate microphone and soun dissemination set-up. The idea was to create a "shimmer" by which a timbral signature is prolonged and spatially distributed. Mathias premiered Watershed V in Copenhagen on 1 September 2020, and it is scheduled for release as an audio-visual realization in early 2023.
THE NEW YORK TIMES FOR THE RECORD, STEVE SMITH, October 9, 2020
The first of a 2-CD release: "ROGER REYNOLDS AT 85, VOL. 1: STRING QUARTETS"
The second of the 2-CD release: "ROGER REYNOLDS AT 85, VOL. 2: PIANO ETUDES: BOOKS I and II"
CD "ASPIRATION" The Strad, "Reviews Roger Reynolds: Aspiration", by David Kettle, 20 December 2018
Gapplegate Classical-Modern Music Review
SHARESPACE V: ACTIONS Over a little more than the past decade, I have been writing a series of duos for a solo instrumentalist and a computer musician (who algorithmically modifies, extends, and spatializes “seeds” from the instrumentalist’s performed materials). The first SHARESPACE work was Dream Mirror (guitar and computer musician, 2010). [About this piece, Washington Post critic Stephen Brookes wrote: “… a work of extraordinary lyricism: the lucid dreaming of a 21st-century poet.”] ACTIONS, an extended duo for piano and computer musician, is currently in the final stages of completion. Its world premiere is planned for Mexico City early in 2021, on a festival curated by guitarist Pablo Gómez Cano. In six sections (OBSCURING, FRAGMENTING, FIXATING, ACKNOWLEDGING, ELABORATING, AND RESONATING), the new work explores the implications of actions we all perform each day. Although their sequence is considered, each section is a self-contained statement. This work is a collaborative undertaking between myself, computer musician Jacob Sundstrom, and New York Philharmonic pianist, Eric Huebner. It is notated precisely but leaves improvisatory avenues open to both of the performers so that each realization is new in unanticipated ways – just as our daily behaviors are. BOOK RELEASE January 2022 Xenakis Creates in Architecture and Music: The Reynolds Desert House Roger and Karen had worked for years on the notion that the multifarious materials they had gathered over four decades regarding their collaborative experiences with the legendary Iannis Xenakis could be shape-shifted into a coherent collection of book chapters. The new Routledge publication provides an intimate window into Xenakis’s ways and capacities as the Reynolds had experienced them.
Iannis and Françoise came to UC San Diego at the Music Department’s invitation for a 1990 festival in his honor. While they were in Southern California, they visited the land that had been purchased in the Anza-Borrego Desert—a deeply ravined site on which to realize Xenakis’s design that he had offered to them during a dinner at their Paris Chaptal apartment in 1984.
A NEW CONCERTO FOR OBOE PREMIERES IN COPPENHAGEN As a member of the International ACTOR consortium based at McGill University in Montréal, Reynolds became engaged in considering in a more formal way than was normally his practice, the significance and potential of timbre and its manipulation in serving structural purposes rather than simply “coloristic enhancement.” Two creative projects arose out of this circumstantial prompt.
Oboe virtuoso Jacqueline Leclair commissioned an oboe concerto from the composer, and there followed an extended period of collaborative exploration of the intricacies with which this uniquely idiosyncratic instrument could be made to behave over its full range. Alternate fingerings, multiphonics, and other more rarefied inflections were woven into two extended solos. One begins the resulting work, JOURNEY; the other – a transformed response – closes the piece. As the title suggests, intermediate sections involve the solo instrument encountering and working with varied partners and also in ensemble contexts that reinforce or challenge her presence. (THE NEWEST IN THE “SHARESPACE” SERIES) The second work engaged with an intricate exploration of instrumental timbre is PERSISTENCE, a half-hour long meditation for cellist and computer musician. (It is a member of the SHARESPACE series of characteristic duos for solo instruments and computer musician.)
At a more extreme degree, the computer sometimes is involved with recursions, wherein a passage just performed live by the soloist is instantiated again, as an algorithmically re-constituted mirroring. The soloist can respond improvisatorially, deepening and complexifying the harmonic and timbral trajectories of the computer’s reconstruction.
AN EXPLORATIVE “ÉTUDE” COMPOSED FOR THE INTERNATIONAL ACTOR CONSORTIUM As a further outgrowth of Reynolds’s long record of collaborative interactions with psychologist Stephen McAdams (earlier at Ircam in Paris, and in recent years at the CIRMMT facility in Montréal), the ACTOR initiative encourages the writing of musical works whose purpose, while remaining centrally musical, also engage with perceptual and cognitive issues that, while always contributing to the listener’s experience with any music, rarely come to the fore in purposeful ways. Reynolds is presently engaged in creating an 8-minute section of what will eventually become an extended work for instrumental septet (flute, bass clarinet, trombone, piano, percussion, violin and cello) and integral electronic processing. This new work (at his stage still without a title) will be premiered in May of 2023 by Los Angeles-based WasteLAnd under the direction of Nicholas Deyoe.
NEWS RELEASE FROM THE LIBRARY OF CONGRESS, December 2020 The Library of Congress released a series of interviews and conversations with Roger Reynolds that discusses the celebrated composer's use of text, thoughts on sound spatialization, site-specifics works, intermedia, technology in music, his compositional methods, and relationships with other composers (including Iannis Xenakis, Toru Takemitsu, John Cage, and Elliott Carter). IN MEMORIAM COMPOSER CHOU WEN-CHENG The composer Chou Wen-chung and his wife, Yi-an, were longtime and much admired colleagues and friends. When he passed on, it seemed appropriate, indeed necessary, to memorialize the ways in which we had interacted, though mine was necessarily a limited perspective. The range of what he cared about and contributed to culturally, intellectually, musically, administratively would be hard to summarize. My article, “Words About Wen-chung: Concentric Connections: Thoughts after his passing … ” will appear in German and Chinese translations: the former in UPDATE FOR BRIDGING CHASMS A heads-up on the third Bridging Chasms "EVENT" to be held in the late Spring or Summer at UC Berkeley's Center for New Music and Audio Technologies, and organized by Director Edmund Campion. Participants will include Berkeley faculty and others associated with Bay Area tech companies. As has been true in the first two EVENTs, Concordia University faculty ethnographer, Kari Zacharias, will be observing and making notes on the evolution of the Bridging Chasms Initiative. EVENT 2 The Smithsonian Institution’s National Museum of American History presented the second Bridging Chasms EVENT on the 5-7 April 2019 as a part of the 2019 ACCEL Festival. Co-sponsored by Virginia Tech’s Institute for Creativity, Arts, and Technology (ICAT), Benjamin Knapp, Director, it featured Participants from Syracuse University, University of North Carolina, Wake Forest, Boston College, North Carolina State, Virginia Tech, University of Pittsburgh, and the University of Louisville who faced one another in a series of ENCOUNTERS spread over the three-day Encounter. [See www.bridgingchasms.org] "Toward Another World: LAMENT" Collaborating with clarinetist Anthony Burr and computer musician Jacob Sundstrom, Reynolds has completely re-written a much earlier work for solo clarinet, shaping it into the fourth in a series of duos for solo instrument and computer musician. In Toward Another World: LAMENT, “seeds” extracted from Burr’s playing of three movements – Innocence, Awakening, and Resolve – undergo elaborate processing with computer algorithms of Reynolds’s design. The new work was presented in its final form on the “Wednesdays@7:00” series presented at the Conrad Prebys Concert Hall on 27 January 2019. BRIDGING CHASMS a conference – the beginning Bridging Chasms is an initiative two years in the making. It is dedicated to the improvement of cross-disciplinary communications by way of identifying tools and strategies that improve communication and factors that inhibit it. One of the major issues facing our society (and others around the world) is the increasing difficulty in finding ways to both explain our beliefs to others unlike ourselves, but also to listen to those "others"' perspectives. Such difficulties not only occur at a societal level, but also between members of different disciplines, both academic and non-academic. PASSAGE – the book Reynolds’s ongoing PASSAGE Project has now been realized in a book form, released from Peters Edition Group in September 2017. Printed by Halstan & Co Ltd in London, the result is an “art book” that simulates the interweaving of the read and recorded texts, sound movement, and projected images experienced in an actual PASSAGE performance. The medium is now, however, confined to the printed page. In order to do this, Reynolds, working with Karen and their collaborator Stacie Birky Greene, conceived a presentation in which images and text are melded into a single, balanced visual impression. The letters of text words are individually altered in color, density, and spacing in order to integrate with the content of associated imagery (photos, diagrams, and so on). The outcome is a completely novel mix that lends a constantly altering viscosity to the reading experience. At some moments, it is clear sailing, at others the letters and their associate words have to be “found out” by close examination. So an encounter with the book is, as is the experience of a live PASSAGE presentation, a kind of performative collaboration between artist and audience. "'O'o" PREMIERES The quintet 'O'o was sighted and also heard in Toronto (at the final concert of the Toronto Conservatory’s season-ending “21C Festival”) on 27 May 2018, then again at the LAMP Festival on Nova Scotia on 21 June 2018. It is dedicated to Reynolds's longtime friend and colleague Robert Aitken (flutist, composer, conductor) who premiered it with the Iris String Ensemble. The work was commissioned by New Music Concerts and the Lunenburg Academy of Music Performance, with the financial assistance of The Koerner Foundation; The Merryweather Fund; Austin and Beverly Clarkson; Camille Watts; Véronique Lacroix and Paul Taub. Reynolds’s new work for flute and string quartet explores the emergence of the need – universal among animate beings – to call out. Why? Companionship? Recognition? BRILLIANT Eric Huebner gave two recitals featuring Ligeti's two books of études and Reynolds's first book of études at UC San Diego on 10 January 2018 and at Bowling Green University on 2 December 2017. 2-CD SET OF COLLECTED VIOLIN MUSIC PERFORMED BY IRVINE ARDITTI Kairos Records in Vienna released a 2-CD set in June. The set includes a searching virtual discussion between Mark Menzies, Reynolds and Arditti, exploring the origins and pathways of their long collaboration, and Arditti's recordings of the new Shifting/Drifting duo (with Paul Hembree), imagE/violin, and imAge/violin, as well as the violin concerto commissioned for him by the Oslo Sinfonietta and Montréal's Nouvel Ensemble Moderne). Arditti is backed by the inauthentica ensemble under conductor Mark Menzies. The Strad NEW WORK FOR PIANO AND COMPUTER Pianist Eric Huebner and Reynolds are engaged in a longterm collaboration with computer musician Jacob Sundstrom. Based on materials drawn from Reynolds's Piano Études: Book II (2016-2017), they have fashioned an extended duo for pianist and computer musician in six parts: OBSCURING, FRAGMENTING, FIXATING, ACKNOWLEDGING, ELABORATING, and RESONATING. The new work is built in the manner of the Shifting/Drifting project (which involved violinist Irvine Arditti and computer musician Paul Hembree). Huebner is Professor at University of Buffalo - SUNY and Anna-Maria and Stephen Kellen Piano Chair of the New York Philharmonic. THE MONTHS OF JUNE AND JULY 2018 June 2018 proved an active time for Reynolds. Rehearsals in Boston with the wondrous Gabriela Díaz, conductor Gil Rose, and his Boston Modern Orchestra Project; then a Coolidge Auditorium concert featuring Aspiration, as performed for an attentive full house, on a program that included a set of three of Reynolds’s Piano Etudes: Book I stunningly realized by New York Philharmonic pianist, Eric Heubner. THREE COLLABORATIONS in 2017 I. Reynolds’s ongoing PASSAGE Project has now been realized in a book form, released from C. F. Peters in September 2017. Printed by Halstan & Co Ltd in London, the result is an “art book” that simulates the interweaving of the read and recorded texts, sound movement, and projected images experienced in an actual performance. The medium is now, however, confined to the printed page. In order to do this, Reynolds, working with Karen and their collaborator Stacie Birky Greene, conceived a presentation in which images and text are melded, virtually, into a single, balanced visual impression. The letters of text words are individually altered in color, density, and spacing in order to integrate with the content of associated imagery (photos, diagrams, and so on). The outcome is a completely novel mix that lends a constantly altering viscosity to the reading experience. At some moments, it is clear sailing, at others the letters and their associate words have to be “found out” by close examination. So the encounter with the book is, as the experience of a live PASSAGE presentation is, a kind of performative collaboration between artist and audience. DARMSTADT Reynolds was invited to the 70th Anniversary session of the International Summer Course for New Music Darmstadt, July 10-August 14, 2016. Among other activities, he performed one of his intermedial PASSAGE lecture events, PASSAGE 11, in a customized "Darmstadt" version. It featured Irvine Arditti, the Arditti Quartet, with Paul Hembree. Reynolds also presented a Workshop/Performance event focused on the new collaboration between him, Irvine Arditti, and Hembree: Shifting/Drifting (for violin and real-time algorithmic transformation). Reynolds's four Darmstadt Lectures included:
After his Darmstadt residency, Reynolds visited the Sacher Foundation in Basel, working with Angela Benedictis, the musicologist in charge of his materials there. Their sessions were focused on new arrivals: the sketches and drafts for imagE/violin, imAge/violin, and Shifting/Drifting (all composed in 2015). FULL HOUSE FOR SAN DIEGO JACK QUARTET FLiGHT took off again from UC San Diego's Conrad Prebys Music Center's Experimental Theater on 30 November 2017. The team included JACK, computer musician Paul Hembree, and Kyle Johnson, who realized the Projection Design created by Ross Karre. FLiGHT was performed four times in October 2016: a pair of preliminary presentations at Atlas Digital Media Center, University of Colorado, Boulder and the premiere performances at Park Avenue Armory in New York on the 30th and 31st. International online news magazine OZY feature "Provocateurs". Also, Bruce Hodges, in his Musical America review which advises readers that one should "simply sit back, letting [Reynolds's] airborne fantasy race through the mind." ON VARÈSE Working at the invitation of the Sacher Foundation in Basel, Reynolds examined the thinking of Edgard Varèse on the subject of musical space (actual and metaphoric). Two extended papers have resulted. Part I was published in Perspectives of New Music (Volume 51, Number 1, Winter 2013): “The Last Word Is Imagination: A Study of the Spatial Aspects of Varèse’s Work”. Part II is published in the print edition of Leonardo, Vol. 50, No. 5, available in the Fall of 2017 from MIT Press. REVIEW Reynolds is the subject of a 2-page editorial by Philip Clark in Gramophone, March 2016:
DUO FOR VIOLIN AND COMPUTER Shifting/Drifting, a new collaborative duo for violin and real-time algorithmic transformation, received its premiere performances, at UC San Diego's Conrad Prebys Experimental Theater (the season opening ArtPower event) on 25 September 2015; then also at REDCAT CalArts Downtown (an Arditti recital featuring its source solos: imagE/violin & imAge/violin), Los Angeles, 29 September); the new collaboration at Cal Arts' The Beast on 1 October, and at Stanford University's CCRMA on 4 October, and at Darmstadt's 70th Anniversary Festival, 4 August 2016. NATIONAL GALLERY OF ART AMERICAN MUSIC FESTIVAL The National Gallery of Art concert previewed FLiGHT on 8 March 2015 in the first of a set of 10 events that comprised the 66th SOUND ICON Reynolds was the featured composer on the dynamic young group SOUND ICON's season opener, including conductor-music director Jeffrey Mean's performance of Thoughts, Places, Dreaming, with cello soloist Rafi Popper-Kaiser and also a complete, integral performance of his Piano Etudes, Book I, wherein pianists Aaron Likness and Yoko Hagino passed materials back and forth between their two pianos. TWO ARTICLES Reynolds has recently contributed to the German publication, MusikTexte (a remembrance of Pauline Oliveros), and to the Contemporary Music Review ("Considering the Roots of JUSTICE", paired with Robert Kirzinger's survey "Text, Language, and the Voice in the Music of Roger Reynolds". Reynolds had earlier written "Thoughts on Enabling Creative Capacity: Provocation, Invitation, Resistance, and Challenge", also for CMR. TWO NEW DC's A new CD on innova Recordings appeared in September, featuring the first 6 in Reynolds's longterm imAgE/ Project. Complementary solos (e.g., imagE/cello – an Evocative work – and imAge/cello – an Assertive complement – for flute, piano, guitar, viola, cello, and contrabass are performed by Mark Dresser, Yuji Takajashi, Alexis Descharmes, Rachel Beetz, Mark Menzies, John Pickford Richards, Eric Huebner, and Pablo Gómez Cano.
A second CD is now available at Mode Records, mode 277/78, Complete Cello Music. Please visit the Alexis Descharmes YouTube Channel for a complete performance recording at the Conservatoire à Rayonnement Régional de Paris on 15 November 2013.
JUNE IN BUFFALO In June 2015, Reynolds was a featured composer at the 30th anniversary of David Felder's June in Buffalo. Two major works were heard, Kokoro (performed by its commissioner, Irvine Arditti) and the Piano Etudes, Book I (in an integral performance by Eric Huebner, one of its dedicatees). Reynolds also gave master classes on the Etudes (with pianist Huebner), and on four real-time computer algorithms (with computer musician Paul Hembree). ARDITTI QUARTET AND MUCH MORE Reynolds's achievements were celebrated on several occasions during early 2015. The UCSD Music Department presented a birthday celebration 3-5 February at the Conrad Prebys Music Center. Events included a Ross Karre- and Josef Kucera-curated installation concentrating on four Reynolds intermedia works spanning four decades (PING, SANCTUARY, MARKed MUSIC, and george WASHINGTON), an international symposium: "The Interaction of Scientific and Artistic Imagination: Perceptual Studies and the Making of Music", featuring Stephen McAdams (McGill), Philippe Lalitte (Bourgogne), and Aniruddh Patel (Tufts), and a concert by the celebrated Arditti Quartet, featuring two commissioned Reynolds works, as well as quartets by Chaya Czernowin and Ben Hackbarth. Katharina Rosenberger was the coordinator for all the celebratory events, and participated with Ross Karre and Reynolds – along with the festival guest speakers – in a panel discussion moderated by Steven Schick. NEW ENGLAND CONSERVATORY OF MUSIC In June 2014, Reynolds was composer-in-residence for Stephen Drury's yearly epic at the New England Conservatory of Music: the Summer Institute for Contemporary Performance Practice (SICPP). During his residency, a dozen diverse works of his were rehearsed and performed. The Iditarod marathon on the Festival's final day admirably fulfilled its title's implications: musical vitality, even heroism. "...A YOUNG EXPLORER." On 23 February 2014, the Miller Theatre presented a “Portrait Concert” including two performances of Reynolds works commissioned by and for his longtime friend and collaborator, Irvine Arditti, as well as the East Coast premiere of Positings (2012-13) for instrumental ensemble and real-time computer algorithms (with computer musician Paul Hembree). Positings was commissioned by Southwest Chamber Music. george WASHINGTON A PREMIERE This major work for orchestra, three narrators, projected imagery, and 8-channel computer sound received its premiere performances on the season-opening concerts of the National Symphony Orchestra, under the direction of Christoph Eschenbach, October 3, 4, and 5, 2013. Reynolds fashioned the work’s text from Washington’s letters and diaries, and collaborated with videographer Ross Karre, computer musician Jaime Oliver, and recording engineer Josef Kucera, as well as the research staff of the Mount Vernon Ladies’ Association.
It was co-commissioned by the National Symphony Orchestra through a grant from the John and June Hechinger Commissioning Fund for New Orchestral Works, the Mount Vernon Ladies' Association, and the University of California. HARVARD FROMM PROFESSOR Reynolds was Fromm Professor at Harvard during the Fall Semester of 2012. While there, he gave two public lectures: “What I Do (with some whys)” and "PASSAGE 8: On Learning, Varèse, Cage, Ashley, Musical Experience, and Intermedia”. He also taught individual composers and conducted a Fromm Seminar on Analysis and the subsequent extrapolation of procedures arising out of the analytic process. Reynolds's music was heard at Harvard in a Portrait Concert by New York's Alarm Will Sound Ensemble. The program included his performance of the PASSAGE 8 intermedia work with computer musician Paul Hembree, as well as the first performance of a revised version of SEASONS: Cycle II, in four movements. UCSD colleague Susan Naruki was the soprano soloist, and Alan Pierson conducted. During the PASSAGE performance, clarinetist Bill Kalinkos performed Toward Another World with Hembree, and John Pickford Richards gave the world premiere of a new work written for him by Reynolds: imagE/viola. While in Cambridge, Reynolds's music was also heard at MIT, Boston University, Tufts University, and on several New England Conservatory of Music concerts, directed by Stephen Drury. “Transcending Place and Time” A SEMINAR AT UCSD Contrabassist Mark Dresser (UCSD) and trombonist Michael Dessen (UC Irvine) joined with Reynolds during the Winter of 2013, to offer “Transcending Place and Time”, a pathbreaking exploration of the potential of telepresence and high-resolution multimedia documentation. The seminar met simultaneously with separate groups on two University of California campuses (San Diego and Irvine), using ultra-high speed fiber-optic connectivity that virtually eliminated auditory latency. During lecture/discussion meetings and associated laboratory sessions, a group of two-dozen faculty and graduate students explored the limits, opportunities, and, of course, the frustrations of using state of the art technologies to re-formulate the ancient tradition of performance experience. That tradition’s three components – privileged place, performers, audience – can now be located in different places and times, creating a limitless new set of possibilities … and perils. ONCE. MORE. on PBS "In the 1960s, Ann Arbor was known as a hotbed of radicalism – not only in student political and social activism, but in new music. The University of Michigan was a center of change, where composers were in the vanguard of a cultural revolution. |
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