It has taken over a year, but I have pieced together a selection of photos and instrumental excerpts from the original production in 2010. Enjoy!

George Santayana suggests that fanaticism is a “redoubling your effort when you have forgotten your aim.”[1] Postman and Weingartner in Teaching as a Subversive Activity are more blunt arguing that it is a redoubling one’s efforts in the face of irrelevancy or obsolescence.[2] Applying this idea the researchers suggest teachers whose business is the transmission of cultural heritage are irrelevant when students are working to prepare for a future occupation.

How well do we receive the impact of music? Specifically, can we overpower our moods or preconceived notions about a performance once we enter a concert hall or will shear stubbornness or preformed ideas about the event prevent any change in our emotions and sentiments?

I wrestle with what I perform and why I choose it; this is a constant in my life. I want to be more than a musician; I desire a life as performer, activist, reformer, and scientist, current with news, politics, technology, and open to emotional and spiritual evolution.

As my work progresses away from the conducting realm and into the performance art realm I wrestle with what I perceive to be the mainstreaming of multi-disciplinary art.  While I support large institutions exploring interdisciplinary performances, the result is often a diluted and pre-masticated production ready for mass consumption.  What follows are my recent thoughts regarding what might constitute a multi-sensory performance.