Glass Transition for solo flute (2014)


Glass Transition, as a title, is intended as a verb, not a noun.  It is a comment on the dangers of a kind of cognitive mineralization and suggests that this kind of pliancy is characterized by a certain approach to activity.  It is an empirical study of the relationship between movement and sound and in order for this to work it requires a split, a severing of their mutual reference.  Because we are quite used to movement as sound, I wanted to explore some sonic consequences of movement as movement in order for sound to be sound.

In much the same way that the shards and scrapes of Stan Brakhage’s films suggest nothing more than what they are, the notation must not suggest anything other than the specific movement in its raw singularity: movement itself, not its generalization.  In order to encourage thought that resists assimilation into prior conceptualization, the notational image must be infused with that “little bit of chaotic reality” (Dale, 2002, 97).


Best, M. G., & Chritiansen, E. H. (2001). Igneous Petrology. Wiley.

 Dale, C. (2002). Cruel: Antonin Artaud and Gilles Deleuze. In B. Massumi, A Shock to Thought: Expression after Deleuze and Guattari (pp. 85-100). New York, New York: Routledge.

Michael Baldwin and David Pocknee are documenting their learning process here: