This performance features two electroacoustic works focusing on relationships between nature and technology. The first work focuses on how the human voice can meld and mesh with electronic sounds, and the second work is inspired from how aerospace vehicles travel through air in the earth’s atmosphere. The title and program notes for each work are as follows:
If I Could Do It All Over Again
Fragments and utterances of vocal syllables, whispers, hums, and whines form the basis for this piece's language. This language translates into the varying aural environments of the electronics. In some moments, the electronics and voice meld together. In other moments, they grow toward or apart from each other, contrast yet live with each other, or even abruptly shift the direction of the piece. Consequently, the form of the piece is erratic even in spaces of stability where uncertainty still pervades like distant morphing memories. In these memories, words are a blur yet tone of voice and feelings are poignantly vivid. Living in these feelings can certainly foster obsessive self-defeatism and an insistence to fix the past. Just as one cannot take back the words of the past or travel back in time and change their actions, the piece does not return to an aural environment already visited. Instead, the music weaves forward with an ever-shifting focus like compounding experiences molding and distorting each other yet reinforcing an obstinate inner drive to enact change.
Max Q refers to an aircraft's or spacecraft's moment of maximum dynamic pressure in the atmosphere during flight. This is a significant value to evaluate in determining the limits of what maneuvers the vehicle is capable of handling. This piece illustrates an aerospace vehicle's navigation into and out of Max Q while also portraying other aerodynamic or natural forces such a vehicle may become subject to in flight.