The Interludes (2002) grew out of a collection of short video and sound pieces originally created for a production of the play Blood Relations. The play examines the infamous Lizzie Borden axe murders, casting the story as a guided flashback, or staged recollection, played out by one of Lizzie’s close friends. At several points in the play Lizzie interrupts the flashback with reminiscences—of her as a child playing on the family farm, of a reoccurring dream about a carousel, and of the pigeons she used to keep as pets. Segments of video and audio originally produced as material for the play were taken, further processed, and reassembled into these three short pieces to be shown independently from the play. Separated from their dramatic elements, the three movements each have a particular meditative quality. The first movement, the farm, is a careful study in minimal visual activity with sounds intended to focus on the landscape. The second movement, the carousel, balances a more active visual frame with cyclical harmonic material (processed calliope samples). The final movement, the birds, focuses its visual and musical gestures on an expanding and contracting flock of birds. The audio processing owes a great deal to the other dramatic elements and material from the play, but removed from its context it seems much more focused on elements of flight. The Interludes won an honorable mention in the 31st Bourges International Competition of Electro-Acoustic Music and Sound Art.