Considering Light Is dedicated to Dorothy Stone. Light is defined in science as an electromagnetic radiation of a wavelength that is visible to the human eye, and exhibits properties of both waves and particles. Owing to this 'wave-particle' duality, light remains enigmatic to the sciences. Light's resilient behavior is uncommon to any other waveform; for instance, light can exist in a vacuum. In 2004 it was shown that pulses of light traveling through a refractive material, such as water or glass, will cast off secondary pulses that travel in advance of, and outlive, the initial light pulse. These light "precursors" as they are known, consist of the various frequencies (i.e. colours) that are manifest in the initial light radiation, and change spontaneously and continuously; while the primary light wave will diminish and eventually disappear over distance, precursors continue traveling indefinitely, altering their frequencies repeatedly. In the summer of 2004 I was invited by a friend, a visual artist I had met at an artists residency in Florida, to attend a drawing workshop at the ranch of sculptor/painter Jane Rosen in San Gregario, California. Jane and I made unique (and cherished) connection as we discovered together that composing music (giving form to sounds) and drawing (giving form to shadows) are very much the same process. In fact, the physical action of drawing notes on the page, for me, a former graphic designer, is profoundly connected to the act of drawing. I imagine both notes and visual images in the same way: as multi-dimensional existences, with backs, sides, and fronts, exposed by light and defined by shadow. That weekend in San Gregario Jane talked extensively about the three opacities of light—transparent, translucent, and opaque. I immediately recognized these measurements of intensity as being directly applicable to layers of musical sounds and can think of a hundred times when Lucky Mosko, my first composition teacher, talked about Mel Powell, his mentor, and Mel's musical approach to the concept of translucency. He called it density. I am an avid science and math fanatic and have always incorporated systems and complex mathematic equations in my work. In Considering Light I have utilized the mathematic structure of light to generate rows, pitch groups, rhythms and other serial materials. I have isolated the numeric structures of each color of the spectrum and, in the tradition of James Tenney (with whom I also studied), I used math to generate specific scales and systems. Then, in the method of Lucky Mosko, I ignored all of my own rules and attempted to create a piece of work that simply "is."