Inspired by Olympic sprinters throughout history.

Inspired my journeys inside Malaysia on a visit in 2007.

The composition was originally inspired by watching kites one summer afternoon in Prospect Park, Brooklyn. The soaringness and elegance of motion brought my thoughts to the concept of solar sailing. Extremely large and thin membrane mirrors that reflect starlight in order to “push” a spacecraft through the cosmos, solar sails first came into popular consciousness with the 1960 novelette, "The Lady Who Sailed The Soul" by Cordwainer Smith. Although the story concerns the legendary romance of two solar sailors, Helen America and Mr. Gray-no-more, my imagination was more intrigued by the beautiful and elegant “image of the great sails, tissue-metal wings with which the bodies of people finally fluttered out among the stars.” While solar sailing has been mostly thought of as science-fiction (most recent examples include a Bjorian ship in an episode of Star Trek Deep Space Nine and Count Doku's ship of choice in Star Wars Episode II-Attack of the Clones), space engineers have begun to seriously explore solar sails as a way to create continual propulsion for spaceships without the need for heavy and expensive fuel. In the spring of 2005, the Planetary Society co-sponsored the launch of Cosmos 1, which was to be the first test of solar sail technology. Unfortunately, the Russian-made rocket booster failed to fire and Cosmos 1 never reached orbit and the project was lost. However, plans are being made to raise money for a second launch attempt.

Premiere performance. "19" is inspired by two, seemly disparate sources: Arnold Schoenberg's Sechs Kleine Klavierstücke Op. 19 from 1911 and Angela Davis, in particular Davis as described in James Baldwin's "An Open Letter to My Sister, Miss Angela Davis" from November 19, 1970. "19" is one part of a larger, as of now untitled, mixed music composition that will be recorded on the next Numinous album.

from Thomas Paine project with Edisa Weeks "To Begin the World Over Again" premiering Fall of 2012.

"Kelip-Kelip" was inspired by my trip to a Malaysian riverbank that featured million

Morton Feldman meets Meshell Ndegeocello, by way of Marvin Gaye. Let funkiness ensue.

I first heard J.S. Bach's cantata "Ich habe genug" BWV 82 in the hauntingly beautiful version sung by mezzo-soprano Lorraine Hunt Lieberson on her much praised 2003 Nonesuch recording. The German title, which translates as "I have enough," is a sublime spiritual expression about fulfillment and acceptance of the life waiting beyond the living.  I first heard Donny Hathaway's "Someday We'll All Be Free" sung by Aretha Franklin on the end credits of the great Spike Lee movie "Malcolm X" and later found the original on Hathaway's last studio album, "Extensions of a Man."  Whereas the words and music of the Bach and Hathaway reflect a faith in salvation in the hereafter, my "Miserere" does not seek any kind of religious statement or connotations. While most Miserere's in music come as a setting of the 51st (or 50th) Psalm ("Miserere mei, Deus", translated as "Have mercy on me, O God"), I am using miserere in one of its other non-religious meanings: as a vocal lament. In ancient Greek drama and later in operas, the lament was a moment of focused expressive intensity in the overall formal structure of the drama or opera.

Inspired by my experience on September 11, 2001 in New York City, my composition is about a small moment of beauty in an otherwise shockingly horrific time for the city.

A chamber version of a composition that in an expanded version will be featured on the next Numinous recoding. This version was premiered by the Pulse Ensemble in our collaboration with Take Dance at Merce Cunningham Studios.

Commissioned by The Miles Johnson Endowment for the St. Olaf Band, Dr. Timothy Mahr, conductor. This work was also funded in part by the Composer Assistance Program of the American Music Center. I first heard of the Long Now Foundation when years ago a friend of mine worked a summer "internship" on one of their projects: The Rosetta Project, an attempt to create a publicly and easily accessible on-line library of all documented human language. The Long Now Foundation, founded in 01996, is a California based organization whose goal is "to provide counterpoint to today's ‘faster/cheaper’ mind set and promote ‘slower/better’ thinking" and "to creatively foster responsibility in the framework of the next 10,000 years." The term ‘long now’, which connotes a stretching of what people consider as now, was created by composer/producer Brian Eno, a founding board member of the Foundation. One of the things that fascinated me about the Long Now Foundation and, subsequently became it’s most mainstream and well-known concept, is The Clock of the Long Now. Sometimes called the 10,000 Year Clock or the World’s Slowest Computer, the final monument sized, all-mechanical Clock will be built to last about the same length of time (10,000 years) as human technological progression to date. The concept of the Clock reminded me of the awe the 11th century near mythological 30 foot tall astronomical water clock of Sun Sung must have instilled in the ancient Chinese who were lucky enough to see it. To me, just the idea of some distant post-human, 10,000 years from now, stumbling upon a still functioning 21st century Sun Sung clock, a mysterious artifact from our own times, is quite an intriguing, inspiring, and beautiful thought. My composition The Long Now is inspired by the wonder and hopefulness of that thought.