Spinning Silence in the Possible Blue (2016, dur. circa 11:00”) was written for the Lydian String Quartet. The work is inspired by flocking birds, using both images of flocks and flocking algorithms as a means of creating fundamental temporal and registral materials. The musical surface simulates flocking behavior by using gestures that imitate one another while never precisely replicating behavior, creating a dense and active counterpoint. Similarly, images of flocks of birds provide the structural underpinnings of the composition. Though the resultant score is not augenmusik, it does represent a sonification of visual information. In some cases, this sonification is achieved through “transcribing” visual images while in other instances the visual images provide time and pitch constraints for a flocking algorithm. Indeed, an alternate score could consist of the series of images that provided the impetus for the work.