Added to other sites (blogroll): a page dedicated to the late Texas-based composer Jerry Hunt.
The page has been mentioned here a couple of times but it seems to have expanded over the years with more content, including some amazing interviews and a full, up to date discography/videography.
Bandcamp has an audio excerpt from a Hunt performance available for seven bucks, which includes a nice PDF brochure with photos (such as the above) and explanations.
I think about Hunt frequently. I saw him perform three times in the early '90s and this website gives some helpful background on his methods. His stage persona -- an unlikely, square-looking shaman waving strange wands at the audience -- sticks in the mind, but his real interest was in a flow of unpredictable musical events, with the physical gestures (and the objects in his hands) acting as focal points, or as he put it, seeds for audience attention. As for the unpredictability of his gestures, he says:
Every piece I've ever done has involved what I regard as a rational translation of something that's happening in the space (picked up through sensors) into a consistent rational schedule of changes. I don't do direct translation, which I think is vulgar after three minutes. It's fascinating to watch somebody go like this (wave arm) and hear a sound connected with it for a minute or two, but then it becomes compositionally appalling after a while. It's like watching etch-a-sketch, you know, it's wonderful for a few minutes and then it limits itself. It becomes so self limiting that no matter what you do in way of effects, it just gets increasingly self-defining until it just keeps getting tighter and tighter and after 30 minutes you're almost ready to scream, because you say, I got the idea. Oh hey, he did a new sound. I got the idea. Oh hey, he did a new sound. I got the idea ... (etc.) That's all you can think of at a certain point. So, I wanted to stay away from that.
As an antidote to this, Hunt developed systems, originally for tape cassettes and later digitally, for how certain sounds could be triggered at certain times (or not triggered -- accidents were built into the process) as he moved around the stage. In the interviews he goes into detail about how he used time codes on the tapes, and external randomization sources such as alchemical texts, to achieve this. In his formal writing about the pieces he relied on scientific-sounding jargon to mystify the proceedings, but in the interviews he is much clearer, and very entertaining with his Texan gift for gab.
some editing after publication