an ever shifting prism (stolen synthesis no. 4) is the forth piece in a series of text based works that deals with memory, language, and sound through a deconstructive process that eliminates the linearity of the text by equally weighting each letter as its own sonic event. While the original text remains in tact, the presentation challenges normal modes of comprehension and experience. Juxtaposed against the spoken text is material based on instrumental and vocal sounds presenting a situation in which each player must negotiate the various conflicting demands of each part of the work. The title is derived from a quote by Asian American art historian Margo Machida, who writes “[M]emory, consciously or unconsciously, does not necessarily register what actually took place, but rather what we preconceive (or wish) to have happened or what others inform us has happened. Responding to differing appeals for continuity and change, and selectively bound up with the needs, terms, rites, and personalities of the present, memory is an ever-shifting prism.” pressure = change/time Use It Wisely 1-4 Will picks the most comfortable note to play for an extended period of time. He plays this note as long as possible at a comfortable dynamic. Within this period of time, each player has one note/sound they can play/make. It must be short, and again, only one. Use it wisely. Ta-Da? Only air sounds. No pitch. Avoid making sound while someone else is. Only one at a time but don’t be selfish. Will will play a D like a sad clown (not too short, not too long, aim for somewhere around ‘just right’). When this is heard, continue with the air sounds but be ready. Will is now in control and can end the piece when he wishes. On his cue, play your given note. Not too long but still legato. Ta-Da! 1-2 Frenzied ‘non instrumental’ sounds. Can be loud or soft, but they cannot stop. Continue until Will plays a D. When the D is heard, continue playing but be ready; at any point from there on out, he is in control and can end the piece when he wishes. When Will decides the piece is over, he will give an 8th note cue and everyone will play their given note. They should be short and quiet. Hallway With Many Doors Imagine what you desire more than anything else. In front of you is a hallway, very straight and with no end in sight. In this hallway, there are hundreds of doors leading to different rooms. You are under the impression that one of these rooms contains what you desire. You may find it, but odds are, you won’t. As you quickly move through the hallway, you stop in many or all of the rooms along the way for any amount of time you wish. In each of these rooms, there is something, anything really, and the contents of every room are different. One Draws More Freely "One draws more freely on unruled paper." --- Morton Feldman (1926-1987) 一個人在沒有線的紙上畫得比較自由. You Are Living "You are living as if destined to live forever." --- Seneca (c. 4 BC - 65 AD) 你活得就像是你注定會永遠的活下去. The score for through a glass, darkly consists of a list of durations and instructions for each player. At a given moment, a player is either improvising, listening to another player, imitating what another player has already improvised, resting, or some combination of the above. The structure consists of sections with durations of 163, 204, 245, and 286 seconds, rotated through the parts.