ONGOING PROJECTS

Creative Realizations

  • Composing new compositions is ongoing.

  • Re-releases of several historically important recordings.

  • Work has begun compiling live performance recordings from the late 1980s made by the legendary group “Challenge” — (Anthony Braxton, David Rosenboom, and William Winant) — to be disseminated as a set when ready.

Technological Designs

  • Touché II — continued development of software instrument inspired by the original Touché hybrid digital-analog keyboard instruments designed in collaboration with Donald Buchla at Buchla & Associates in 1979-1980 with potential dissemination.

  • Developing scientific and technological resources with collaborators needed for “Concurrent Complexity,” (see below).

  • Possible development analog module(s) inspired by historical designs from Neurona Company (1969-1970).

Research

  • Concurrent Complexity — the development of new work in what I refer to as concurrent complexity, a neuro-cybernetic approach to measuring complexity in multi-modal, networked stimulus environments and correlating those to measures of complexity in signals from hyper-brains (linked EEG measures from multiple participants) to produce immersive, creative experiences in a feedback framework that can enable self-organization. This is an example of working with complex adaptive systems and dynamically emergent forms.


Writing & Publishing

  • Propositional Music (book anticipated in 2025-2026) — propositional music is my term for a point of view about composing, in which composers might build proposed models of worlds, universes, evolution, brains, consciousness, or whole domains of thought and life, and then proceed to make dynamical musical embodiments of these models, inviting us to experience them in spontaneously emerging sonic forms. Such a practice fuels creative music methodologies when energized in composition, improvisation, analysis, and adjacent areas of interdisciplinary thought. According to this view, composing involves proposing models for whole musical realities. Their correspondence to proposed realities navigates a profound and complex meeting place for creative license and scientific verification. In science, one brings an idea to the world mostly by proving it. Artists, musicians, and engineers manifest their ideas through making. The concept of propositional music unifies the two in an area where music, science, and philosophy can meet in shared theoretical investigations, one in which distinctions may collapse into a new kind of artscience. For a look into this area of thinking, see my book chapter “Illusions of Form” under Works/Writings on this website.

  • Stories From my Life in Experimental Music — a storybook of unique encounters with extraordinary people.

  • On the Invocation of Physical and Temporal Metaphors—A Musicians View — looking into how the language we use to describe physical models and properties influence our understanding of material existence.

Legacy & Outreach

  • Archive Collection

  • Revision and completion of scores never before made publicly available.

  • Preservation and publication of additional historically important media and print materials as funding permits.

Links

David Rosenboom on Frontiersin – Research Gate – Academia.edu