Excerpt from the score:
In his 1976 paper “The Making of the Present: A Tutorial Review”, Dutch experimental psychologist John A. Michon wrote about the term “the psychological present” which he defined as “a time interval in which sensory information, internal processing, and concurrent behavior appear to be integrated within the same span of attention.” Michon found that the width of this subjective “present” was highly variable but noted the upper limit seemed to lie between 7 or 8”. Although The Psychological Future draws its formal inspiration from this upper limit (beginning with 7.5” between each event) and stretches it almost threefold (ending with 20” between each event), its other main concerns involve the anticipation and gradation of micro-intervals, site-specific yet performer-chosen harmonies, and timbral contingencies. If the events in The Psychological Future begin within the “present” threshold and then move far beyond the attention span of integration, can this “disintegration of the present” allow us to move into a new mode of “future listening” and perception?
Jordan Dykstra: woodblocks and violas (track 1), metal objects and sine tones (track 2), gamelan and violas (track 3).
Anthony Deal: double-basses (track 3)
Matthew Wellins: cellos (track 3)
David Scanlon: gamelan (track 3)
Gamelan recorded in the World Music Hall at Wesleyan University. Jordan Dykstra played gendèr, kenong, saron, and slenthem while Dave Scanlon played bonang, kempul, saron, and gong.
All tracks recorded, mixed, and mastered in Middletown, CT during January of 2017 by Jordan Dykstra.