These intermedia works are predicated on the notion of “kinetic electronic painting.” The video has become almost completely subverted as an artistic medium by television, and essentially languishes as a means of reportage - however obtuse the content may be. Yet, the techniques of digital image manipulation are highly congruent with those of electroacoustic music composition and sound processing - with the use of filtering, modulation, time and spectrum manipulations, and so on. It may be natural, therefore, for the electroacoustic music composer to become interested in the visual domain as enlivened by the context of video synthesis.
My goal is to create works that might best be described as “visual music” - a synergistic melding of electronic sound and electronic image that I originally investigated beginning in 1981. Generally, my musical work tends toward abstraction in morphology and conception, and this is also true of my visual music works which eschew transparent narrativity in favor of a more enigmatic expression of shape, density, light and color in the visual domain.