by Richard A. Ogar
The Berkeley Barb, Aug. 11-18, 1967

“Describing the total effect is impossible. After a few moments of immersion in ‘total darkness at zero decibels’, one finds oneself suddenly congronted with teh flow of fiery corpuscular forms in an emerald lake, the rush and swoon of Bacchic, Bach-likeorgans in shuddering revolt, galactic chaos, ferns against the universal quiet, amplified brain-waves, synaptic fractures, cerebral dislocations, unfurling silver semen, lab slides of irridescent angel-flesh, crescendoes of exploded energy, a microtempest in a stellar sea, flux and fusion, creatin and eternal holocaust — the perpetual oscillation between the microscopic and the telescopic, blending the subatomic with the super-cosmic, thrustin inner galaxies into outer cell-grace.”

“The uncontrollable plasticity of the liquid projections is stabilized by the introduction of static geometric forms, producing images as formally elegant as the Kandinsky watercolors they so often resemble. And he has done this without reducing the excitementinherent in the medium: if anything, it has been heightened by the use of lyric counterpoint.”

“Perhaps the most amazing feature of Light Sound Dimension — given its formal structure — is the fact that the entire performance is improvised and spontaneous. Nothing is pre-arranged.”

“… it’s all sheer genius.”