The program notes found in the scores, and original CD booklets for these works [Physics of Seduction] all suffer from postmodern pretension. Instead I will reflect on the three works as a group.

During the 1970s and into the 1980s I was inspired by free jazz, which I listened to and performed. The intensity, the rhythm, the physicality of the performance and the ability to do real time composition seemed very exciting and new. By the 1980s the music had become completely mannered and now its practitioners follow a formula. The music has become so institutionalized that it has immortalized and mythologized the pioneers.

Late in the 1980s I started discovering similar approaches and attitudes to music making in a lot of South East Asian music and North American native music. Free jazz now seemed all so unoriginal to me.

These three works perhaps best represent a very physical style of performance that was inspired by my original love of free jazz. In Physics of Seduction. Invocation #1 I am the guitar soloist and in retrospect I realize many of the live parts I had often used similar playing in a free jazz situations. In Physics of Seduction. Invocation #2 Ms. Spiteri sounds like she will break that quaint Baroque instrument. In Physics of Seduction. Invocation #3 Ms. Lee sounds like she is tearing up the hair on her bow and about to break a string.