Photo: Yura Adams
"A briefcase crammed with 44 music-box movements mounted on a brushed-aluminum panel presented the user with an array of winding knobs much like the controls on analog electronic music synthesizers of that day. Some of the music-box mechanisms were 'prepared,' in the style of Cage's piano modifications, to alter their sound from tonal to percussive qualities. A number of contact microphones attached to the face panel further transformed the sounds electrically and conducted them to audio outputs, and from there to an amplifier. The instrument was played by winding, starting, stopping, and 'scratching' (hip-hop fashion) the music-box mechanisms. The enduring problem of live electronic (and now computer) music---what place does human gesture have when all a performer does is press buttons and turn knobs---was brushed aside elegantly by Pomeroy. His placement of the contact microphones ensured that all performative actions were amplified as well, resulting in a sonic conflation of intention, mechanism, and meaning."