"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."

[PDF AVAILABLE FOR DOWNLOAD] An extensive monograph exploring what experimental music can teach us about recognizing and communicating with forms of intelligence other than our own, including examples from several decades of the author's work and with implications for the future of interactive processes and media.

This article has been cited often. However, it was created for a book/journal collection that never appeared. All of it's content is contained in the larger monograph, Collapsing Distinctions: Interacting within Fields of Intelligence on Interstellar Scales and Parallel Musical Models, which is available on this website under Written Works - Books.

Percussion. New release of a historically significant recording made in 1968 by a band known as Time, eventually reformed as Think Dog!, started in 1967 by composers, Lynn David Newton, Tom McFaul, and David Rosenboom, later joined by plucked-string musician, Richard Stanley, to explore avant garde rock and experimental sound worlds, Shadoks, 054 (both LP and CD), Germany, 2003.

In Avanzini, G., Faienza, C., Lopez, L., Majno, M., and Minciacchi, D. (Eds.). The Neurosciences and music, Volume 999 of the Annals of the New York Academy of Sciences, (New York: NYAS), 263-271. doi: 10.1196/annals.1284.037.

Interview by S. Bekwith in York, the founding generation, 1970–2000. (Toronto: Department of Music, Faculty of Fine Arts, York University), 69-78.

Interview for French television, Paris and Los Angeles, CA.

Interview for British radio, recorded in Paris, France.

[SCORE AVAILABLE FOR DOWNLOAD] Duet for two instruments capable of making continuous glides in pitch; one–page score includes instructions and graphic notation.

Interview and demonstration of Four Lines performance excerpts produced for Italian educational television at Venice International University and Venice Conservatory of Music Benedetto Marcello, Venice, Italy.

New Music LA. January–February. (Los Angeles: American Composers Forum, Los Angeles Chapter.)