His recorded output is the culmination of a compressed yet wide-ranging exploration of the man and his work which began, simply enough, as a search for an understanding of Helmholtzian thermodynamics. It has since evolved instead into an analysis of the more arcane work in acoustical research and other forays into the psychophysics of human perception. Although todays technology bestows pragmatic credence and relocates musical activity closer to the abstractions of science and mathematics, Mr. Douglas's attempts at a unique treatise on sound events (the sonic object) is a bold endeavor and a far more radical option to the commercial production of sound.
Sound, rhythm, and space. Ultra-chromatic chord frames. Deep and unreachable worlds explored with innovative experiments in form and structure. These are just some of the sonic avenues ventured down by the composer in his search for a new musical language.
In an effort at realizing this new sonic architecture, Mr. Douglas has been active in the world of sound installations and audio/visual production. He has performed and exhibited at numerous performance spaces, galleries, and festivals. Early in his career, he specialized as a percussionist, performing works by John Cage, Karlheinz Stockhausen, and Edgar Varese.
During this time he became fascinated with the concepts and experiments of Dr. Vladimir Gavreau. Since then his work has become increasingly focused in the realm of infrasound and it's practical and non-practical applications. He is currently working on a song cycle for voice, computer and a proprietary device, derived from military research that generates frequency in the "range of death", found to lie between three and seven cycles per second.
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