<\/span><\/h2>\n\n\n\nProposition here is that Driscoll, Edelstein and others (E.g. Fishkin, Lopez) seek opportunities for ongoing and new work given our current circumstances.<\/p>\n\n\n\n
We are interested in works that utilize sound in motion as a structural spatialization element for composition, improvisation and orchestration.<\/p>\n\n\n\n
We explore here new works and adaptation of extent works that to date have relied on more traditional spatialization techniques.<\/p>\n\n\n\n
We see the opportunity for further development, construction and use of rotating loudspeaker instruments as applied to individual and group works. <\/p>\n\n\n\n
As discussed in separate discussions with Driscoll, Edelstein and Lopez, we view the possibility of inviting others to use instruments we\u2019ve developed including others in our work and seeing these techniques and devices available to others. We hope this will encourage new instruments developed by others. <\/p>\n\n\n\n
We have a portfolio of instruments coming out of works such as Gestures & Murmurations<\/em>, Stall<\/em>, Speaking in Tongues<\/em>, Impulsions, Pepscillator<\/em> that invite such participation and evolution. <\/p>\n\n\n\nWe have an initial set of techniques and design templates that support design, construction, and usage of these instruments by others as a continued avenue for collaboration. <\/p>\n\n\n\n
Catalyst include John Driscoll’s refinements adapting DMX lighting instrument retrofitting and re-purposing for rotating loudspeakers. This has surfaced in the collaboration with Cecilia Lopez on Gestures and Murmurations <\/em>; Edelstein has been applying some of the design and construction techniques and has been developing software in Max and Ableton Live to support orchestration of diverse moving and sonic elements. <\/p>\n\n\n\nAs of Feb 2026, with upcoming performances of David Tudor\u2019s Pepscillator<\/em>, we are moving forward with using these instruments as the \u201crotating\u201d elements from Tudor\u2019s original description of the work as originally done at Pavilion 1970 Osaka.<\/p>\n\n\n\nWe have long been looking for a framework to continue bringing to fruition the formative work of the NEA CIE 1977(date to be confirmed?) Focused Loudspeaker project at Media Studies Buffalo.<\/p>\n\n\n\n
These techniques also can be extended for application to acoustic kinetic sculptures for a new generation of works. <\/p>\n\n\n\n