After many years of careful listening, writing about music, and supporting the Boston improvised music scene, I began to question how I was thinking about improvisation. I needed something to push me towards a new approach to listening and a deeper understanding of the elemental aspects of spontaneous sound-based interactions. I knew Vic Rawlings from his solo performances and participation in groups like the BSC, undr quartet, as well as duos and trios with Michael Bullock, Tim Feeney, Tatsuya Nakatani, Bryan Eubanks, Chris Cogburn, and many others. I had also talked to him about his ongoing explorations of electronic instrument design and construction. And so I dove in and approached Vic about studying with him.   Over the course of the last year, Vic and I have worked together on a regular basis constructing (and deconstructing) instruments for sound generation and amplification, as well as methods and forms for deploying the resulting sounds. We have eschewed the traditional notions of conversational counterpoint and development of tension and release; instead, weighing the congruities and contrasts of activity, densities, and silence.  

Michael Rosenstein