He has presented master classes and workshops in improvisation at many conservatories and universities worldwide, including the Yehudi Menuhin School and Juilliard.
It enabled retuning on-the-fly, and allowed MIDI compositions to be transposed into some 125 different scales from ancient Greece, India, Bali/Indonesia, the Middle East, Africa, and various mathematical temperaments.
In the years following the millennium his time has been divided between improvisation concerts on violin, viola, electric violin and viola d'amore, both solo and in partnership with other musicians, dancers, and theater artists, lecturing and teaching workshops on improvisation, writing about creativity and about the influence of Gregory Bateson on modern thought, and visual music and other multimedia works.
He has served on the boards of the International Society for Improvised Music,[6] the New Violin Family Association[7] and the Bateson Idea Group.
It’s probably no surprise, then, that his most recent release takes a weighty subject as its underlying theme: the earliest forms of life, and processes of organic evolution.