DEDICATED TO THE
HISTORIAN-WRITER-EDUCATOR
EILEEN SOUTHERN

Composition {82} is the first completed work in a series of ten compositions that will involve the use of multiple-orchestralism and the dynamics of spacial activity. This work is scored for 160 musicians and has been designed to utilize both individual and collective sound-direction (in live performance). Each orchestra is positioned near the corners of the performing space, and the audience is seated in both the center and sides of the space (around and in between each orchestra). The resulting activity has been constructed to fully utilize every area of the room--which is to say, each section of the performing space will give the listener a very different aspect of the music. The science related to how this multiple use of space is utilized, will also open another chapter in multi-orchestra activity, and hopefully this work will be viewed as a positive contribution to transitional multi-orchestralism--as we move to the next cycle.

The nature of how {Comp. 82} extends the dynamic possibilities of multi-orchestra activity has to do with its use of spaciality--involving both the nature of how information is transferred from orchestra to orchestra (where the listener of this record can hear the actual movement of activity change speakers) with the addition of 'trajectoral-activity' (where, in a live performance, the listener can experience the route of a given transfer). More

so, this composition has also been constructed to include the actual change of performance direction as well. In other words 'information' in {Comp. 82} would also involve how the rotation of a given ensemble (as that ensemble is playing) changes the actual direction of the group making the music. This has been accomplished by having all of the performers (with the exception of the percussionist and the harpist) in rotating chairs--where even the direction of the music is calculated. Thus, the nature of spaciality in this composition would encompass an additional dynamic inclusion, for the spacial implications of environment would thus take on added dimensions. Because, in fact, to experience the realness of this composition is to experience a living and breathing universe. The methodology underlying this use of dimensionalism, would open up several new organizational approaches as well. Compositionally speaking, the solidification of this approach would help clarify the exact nature of how 'information' could be channeled for spacial activity--and this is especially true for acoustic instruments.

To that is added:
E. the given direction of multiple information
F. the spread (or directional change) of a given idea
G. the double spread of activity (involving two or more orchestras changing into different directions)

And this is only the beginning. For the circular implications of this methodological approach would also allow for 'trajectoral-coding' (the ability to project a sound to a particular time-space—co-ordinate) and this breakthrough would enable information to be channeled in exact 'sound-paths' (rather than only the basic area that is desired).

The dynamics for this technique would thus give new insight to the question of spacial-location, and the implications of what this development would now pose for multi-orchestralism is enormous. The solidification of multi- orchestralism—as a transformational projectional (creative) route—can now be viewed as a medium that utilizes the same sonic dynamics as activity on the physical universe level—as well as a medium that is functional with respect to how the laws of universal activity seemed to function—and finally as a medium that would have the dynamics to re- shape (and participate in) the next challenge of alternative functionalism.

Moreover, the realness of 'trajectoral-coding' would give new insight to the whole understanding of 'performance space,' in that the use of this technique would establish some basis for viewing the concert as something more than just a space to present the music. The use of this technique would move to outline the significance of both how a given section of the space is to be utilized with regards to its scientific treatment, as well as what that treatment might vibrationally (or spiritually) mean. In other words, the use of 'trajectoral- coding' would establish the performing space as an equal

factor in the 'experience' (not just in the sense of whether the space has a good sound for music or not, or if the space is visually pleasing) and as such, the total performance is not separate from what is being performed. For this reason, I found it necessary to move towards establishing an alternative approach to cataloging space as well. In other words, every section of the performing space is calculated with respect to its function spacially and a coding system has also been established (later to be superimposed on the space) as to the aesthetic and mystical significance of what a given utilization really implies. When complete, the realness of {Comp. 82} can be viewed with respect to what its performance will mean in a total (i.e. aesthetic—scientific—spiritual) sense. For at the heart of this work is only the desire to participate in creativity and have the participation be of positive value (and intention) and, while doing so, also 'mean somethin' as well.

and is represented in Diagram A. The nature of how this coding has been utilized is as follows:
I. Trajectoral activity with mass.
J. Trajectoral activity with opposition.
K. Trajectoral activity that is isolated (by itself).
L. Trajectoral activity in each given zone (or sector).

However, while {Comp. 82} is the first complete usage of this approach, it should not be viewed as totally representative of my use of multi-orchestralism. For all of the impositions in this series will be constructed from this same central pool of information, and each work will hopefully underline some basic projectional and vibrational aspect of that information. The use of 'source material' has to do with my construction of a central pool of 'sound-shape-relationships' as a focal point for developing a particular projectional thrust of creative activity. The basis of this approach has to do with my belief that certain types of sonic materials have multi-dimensional consequences—and that the mystical and vibrational information related to have given areas of shape and color could be utilized (for transformational creativity) is directly connected to the next understanding of process—that being, a kind of of information that moves to restore world 'meaning' and spirituality (as well as dynamics). For the last year and some, I have been constructing a language pool—having to do with isolating various uses of shape and color as a means to provide an alternative methodological basis for 'construction' (in this context 'construction' as related to vibrational 'postulation' or 'doing'). The progressional development of this information would move to clarify my own creative projectional route as well, and this area of research has become very important to my work. Yet, I have not meant to imply that my information—or even understanding—of this area is complete, because there is much more information to learn in the next cycle.

The basic reason I have moved to create a pool of shape possibilities is to establish a series of works which utilize the dynamics of how principle information can be viewed—(hopefully with a transformational attitude— rather than looking at process as isolated function with no 'meta' purpose in a life giving context)—and while doing so, also help establish alternative basics for viewing functional creative possibilities. It is for this reason that I have come to view my activity as an exploration of color and shape, rather than 'something' that only expresses how I feel in a given moment. More so, the projectional realness of my activity can be viewed in the same context —that being; a conceptual, emotional, and methodological inquiry into the nature of how given areas of color and shape are utilized and how that utilization is related to the 'meta-reality' significance of creativity (what it really is) —as viewed through the collected information handed down through World culture (and also what this question could mean for transitional, 'earth,' in this time zone). Rather than function from the absolutism of 'system,' as it is viewed in this cycle, I have opted to move toward the subjective—affinity—interpretation of 'shape' and 'color' as a means to establish my viewpoint. It is because of this affinity position that I have established the pool resource that {Comp. 82} is drawn from, and the actual 'stuff' (the creativity) of this composition cannot be separated from what this position implies as well. To experience this piece is to participate in a given 'aspect' of what this information has yielded at this point.