Rothenberg then goes on to make strong connections with musical structures in African drumming, emergent musical orders where complex structure emerges from layers of repetition, and electronic dance music. The book also includes many examples of poetry from disparate cultures that describes the phenomena of cicadas and other insect singers. The 17 year cicada’s periodic reappearance is investigated in great detail and Rothenberg’s musings on its mysterious emergence from darkness to sing and have sex are amazingly insightful. I am extremely happy to be performing with David in my current musical project.

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In Audible Horizon, the sounds and controllers of Neill’s hybrid electro-acoustic instrument animate the still images, creating a synthesis of audio and visual media that is made possible through multiple software applications. Over the course of the work the sound impacts the visual elements in gradually more radical ways. The music in the piece relies primarily on the live sampling of Neill’s instrument; the tones, timbres and modulations are all mapped across the audio and visual parameters. Minimal electronic beats and sub bass lines are introduced periodically to support Neill’s sonic and visual explorations. The work has an overall shape but the details of each performance are improvised, and therefore unique.

Both Moses and Neill use high-tech materials and techniques in their works to mimic patterns in nature. This approach is reflected in the fluid, open-ended character of Audible Horizon, which is created to be an immersive ambient experience. Neill has been making interactive music and video works for the past 15 years and in this piece chose to work with still images in order to challenge the idea of cinematic sound which functions as an accompaniment to the moving image. Audible Horizon can be described as an example of Visual Music that utilizes Audio-Visual Objects. These techniques along with the use of video as a light source give the work its futuristic yet natural quality.

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