As the most eloquent machines, instruments predict the future of culture, when we will communicate increasingly through machines. The Gu Zchung is one of the Chinese classical harps. This piece is structured more as a linear narrative than a composition. Lanier Angklung are tuned rattles that are played by groups in Java and Thailand very much in the way that bells are played in bell choirs in the west. Actual Angklung serve to introduce this piano piece, whose texture they inspired.
Ravel is a guiding spirit here as well.
I sought a bridge between impressionism and the jeweled sweetness of the gamelans of Sunda. The fingering technique creates a phantom third hand, which I think of as an invoked demon. Although this piece hasn't yet been written down, I experience it as a fairly stable composition, which is very different from a full improvisation, such as Cream Soda. These pieces were written during the tiny cracks of time left as my life was increasingly consumed by the world's initial interest in Virtual Reality. They helped me maintain a connection to an inner world under assault.