Discussion and demonstration with David Rosenboom and David Frost, produced for the David Frost Show by Westinghouse Group "W", New York.
"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."
Record liner notes. (New York: VOX Records.)
Two pianos playing patterns in fast, note–by–note alternation with each other, or one piano with head–gap tape delay at 7 1/2 ips or equivalent short delay.
Two unrealized proposals for both large, monumental and small, personal sound sculptures that function as listening instruments consisting of very large and small, exponential cones, the resonances of which are activated only by existing environmental noise, injecting no new sound of their own into these environments; participants then create music by activating keys that change the nature of the resonances.
Interview with others for the article by Barnard Law Collier. Saturday Review. (April 10, 1971).
On biofeedback and the arts, with David Rosenboom, Dr. Edgar E. "Ted" Coons, Dr. David Vandercar, and David Rothenberg, produced by Thais Lathem, video taped at Automation House, American Foundation on Automation and Employment, New York, 1970, video.
Interview for the Mike Douglas Show produced by Westinghouse Group "W" and CBS networks with David Rosenboom, Hermione Gingold, Jack Haley, and Mike Douglas, Philadelphia, PA.
[PDF AVAILABLE FOR DOWNLOAD] The Composer, I,4. (Redondo Beach, CA: Composers Autograph Publications.)
[PDF AVAILABLE FOR DOWNLOAD] In Proceedings. (New York: American Society Of University Composers/American Music Center), 56–68.
Interview by Donal Henahan. The New York Times. (November 20, 1970).
Environmental participation, performance, and installation event created for Automation House, New York, NY involving brain signals of up to ten participants controlling electronic processing and mixing of music played by keyboard performers along with electronic phosphene stimulators creating group dynamic, bio–electronic encounter situations for performers and audience members.
Interview with others by Barnard L. Collier. The Washington Post. (December 7, 1970).