Phosphenes I: Isolation (2012) for chamber orchestra
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Program Notes
Written specifically with the University of Texas New Music Ensemble in mind, I completed this work during my first semester in the doctoral program at UT as part of a larger trilogy. The word “phosphenes” is used to describe the phenomenon characterized by the experience of seeing light without light actually entering the eye. Phosphenes can be directly induced by mechanical, electrical, or magnetic stimulation of the retina or visual cortex as well as by random firing of cells in the visual system. The most common of these are pressure induced – the spots you see caused by rubbing your closed eyes. There are, however, a variety of reported phosphene-like instances that are brought on by extreme isolation, meditation, being confined to darkness in complete solitude for an extended period of time with no visual stimulation (often known as the prisoner’s cinema), or by use of psychedelic drugs.
The three works in this series are each given a subtitle related to the potential of seeing hallucinations of light while also seeking to employ some sort of programmatic element linked to one’s emotional experience in each of these cases. “Phosphenes I: Isolation” is written for chamber orchestra and focuses on imagery connected with extreme isolation (whether intentional or not). The work deals with everything from boredom to frustration and anger… peace and discomfort… joy and disturbing self-consciousness. The orchestration attempts to create a world where bits of light start to penetrate the fabric and textures heard until these “light” motives take over and propel the piece into a frenzied ending as if reaching the height of being in isolation with no determined resolution (and likely being driven mad).
The following works are “Phosphenes II: Meditations” for winds, percussion, and celesta; and “Phosphenes III: The Prisoner’s Cinema” for large orchestra. The three works are very closely connected with the idea that they could be performed in one sitting – with the large orchestra on stage the entire time and only using the forces called upon in the first two works. The end of each work is meant to continue immediately into the following work in order to create one, long, continuous piece. This idea is also taken one step further by writing the end of the final entry in the series just as the opening of the first piece so that the work could potentially be heard as one enormous, never ending loop.
Performance
Written specifically with the University of Texas New Music Ensemble in mind, I completed this work during my first semester in the doctoral program at UT as part of a larger trilogy. The word “phosphenes” is used to describe the phenomenon characterized by the experience of seeing light without light actually entering the eye. Phosphenes can be directly induced by mechanical, electrical, or magnetic stimulation of the retina or visual cortex as well as by random firing of cells in the visual system. The most common of these are pressure induced – the spots you see caused by rubbing your closed eyes. There are, however, a variety of reported phosphene-like instances that are brought on by extreme isolation, meditation, being confined to darkness in complete solitude for an extended period of time with no visual stimulation (often known as the prisoner’s cinema), or by use of psychedelic drugs.
The three works in this series are each given a subtitle related to the potential of seeing hallucinations of light while also seeking to employ some sort of programmatic element linked to one’s emotional experience in each of these cases. “Phosphenes I: Isolation” is written for chamber orchestra and focuses on imagery connected with extreme isolation (whether intentional or not). The work deals with everything from boredom to frustration and anger… peace and discomfort… joy and disturbing self-consciousness. The orchestration attempts to create a world where bits of light start to penetrate the fabric and textures heard until these “light” motives take over and propel the piece into a frenzied ending as if reaching the height of being in isolation with no determined resolution (and likely being driven mad).
The following works are “Phosphenes II: Meditations” for winds, percussion, and celesta; and “Phosphenes III: The Prisoner’s Cinema” for large orchestra. The three works are very closely connected with the idea that they could be performed in one sitting – with the large orchestra on stage the entire time and only using the forces called upon in the first two works. The end of each work is meant to continue immediately into the following work in order to create one, long, continuous piece. This idea is also taken one step further by writing the end of the final entry in the series just as the opening of the first piece so that the work could potentially be heard as one enormous, never ending loop.
Performance
- March 27, 2013, UT New Music Ensemble (world premiere)