enclosures addresses issues of space, place, reverberation and resonance across five pieces. An
exercise in scale, each piece is a portal: a biome, containing its own environment, weather, sense of time. Featuring juxtaposed convolution reverbs that transport an ensemble through real and imaginary spaces, beatings between Just Intonation and Equal Temperament, a triptych of environmental portraits, an exercise in the musicalized resonance of the harp’s pedal mechanism, and finally, an exploration of precarious sounds and sonic expiration, these works are attempts at worldbuilding that conserve intimacy—each piece a sonic imprint, a palimpsest of both positive and negative space, a constellation of both event and aftermath.

Kari Watson (b.1998, they/them) is a composer, performer, and sound artist working between
the mediums of concert music, electroacoustic music, live performance, and interactive
installation work with the aim of creating immersive, tactile, and embodied works for their
audiences.

Their work has been performed in the United States and abroad by Ensemble Dal Niente, TAK
ensemble, Collective Lovemusic, the MIVOS Quartet, the Chicago Philharmonic, and Quatuor
Diotima, among others. Watson’s work has also been featured on a variety of concerts and
festivals, most recently, at the Donaueschinger Musiktage, the Composers Now Dialogues
Series, the Darmstädter Ferienkurse, the Ravinia Festival, Frequency Festival, and at the New
Music Gathering. Watson is currently pursuing a Ph.D. at the University of Chicago on a full
fellowship from the Division of the Humanities.