--- name: ARC bio rewrite — English deployed; multi-language structure pending content spec description: Bio rewrite composed in dialogue 2026-04-30 through the eight foundational voices in /colophon/ + steward's flamenco-substrate disclosure + homecoming framing. English version deployed (commits 2a19d07, 3d5775c); /resume/ replaced by /cv/ with current professional CV; multi-language structure + translations return when content spec is written. type: project originSessionId: 17dee884-74bf-43e7-9b6a-44bc82b97303 permalink: claude-memory/project-bio-rewrite-pending-multilanguage-spec --- # ARC bio rewrite — English deployed; multi-language structure pending Composed in dialogue 2026-04-30 in response to steward's request to weave a bio through the eight foundational voices named in `/colophon/`: Alexander, Bachelard, Berger, Sennett (the Guides); Vico, Leopardi, Harrison, Heidegger (the Formation). Steward then disclosed the flamenco family of origin and the *homecoming* framing; the bio's final ¶1 ends with reverent acknowledgment of the substrate. **Status: English version live as of 2026-04-30. Multi-language structure pending content spec.** - `2a19d07` — feat(arc): publish revised /bio/ with homecoming acknowledgment - `3d5775c` — feat(arc): /resume/ → /cv/ rename with current professional CV Initial parking call (steward 2026-04-30: *"this is good. Let's let it be for a while and revisit later once we decide how to handle multi-language support."*) was then clarified: *"I meant, let's publish the English now as is and revisit if we feel it needs refinement when we do multi-language."* So English deployed; what's pending is the multi-language structure (and re-translation when that lands). --- ## Final prose (English-only — full body of `content/pages/bio.md`) I am a violist, based in Barcelona. For more than twenty years I have worked at the center of historically informed performance — as principal violist of Le Concert des Nations under Jordi Savall, and of Les Musiciens du Louvre under Marc Minkowski. In chamber music, I am a founding member of L'Harmonie Universelle. That work has been my longest education: in listening, in ensemble responsibility, in what it means to inhabit a musical world that was built by the dead and belongs, ultimately, to the unborn. What made the work possible was given before training, in a music that came to me as family. The life it has become, in Spain, has the form of a homecoming. I have always thought of myself as a ligature — the living tissue that connects what has been handed down to what will be passed on. That is what a musician in the historically informed tradition actually does: holds the inner voice, transmits the rhetoric, keeps faith with a form of attention that does not belong to the present moment alone. It is also what I understand teaching to be, and writing, and the design of the spaces in which thinking happens. I have always written. Liner notes, program notes, correspondence that became essays before I knew that's what they were. The attention that writing requires is not different from the attention that music requires — the bow listening for what the string will permit, the sentence for what the meaning is asking. Both demand fidelity to meaning, and fidelity to meaning is what I have tried to practice in everything I do. I am a man who wants to be taken at his word. That word is my honour. *Animal Rationis Capax* is where that writing becomes visible — and where the full range of my preoccupations can coexist without having to justify themselves to a single discipline. Essays on Monteverdi and the acoustics of a Cremonese church. On what an instrument keeps and what it can lose. On what we owe the unborn in an age that has stopped being able to wait. On pedagogy and transmission — how things pass from person to person, and what conditions make that passing faithful rather than merely efficient. On the ethics of attention, and on whether artificial intelligence can be made to mean what it says. *Animal Rationis Capax* is also itself a designed object. I have been building it on the conviction that how thought is housed changes what thought can become — that the vessel is not neutral, that form is an ethical commitment. The typographic framework, the threshold objects that open each essay, the household of voices acknowledged in the Hearth — these are not decoration. They are the same argument as the writing, made in a different material. I do not have a clean account of how all of this fits together across music, writing, pedagogy, design, and the governance of intelligent systems. What I have is a consistent fidelity — to the things that were handed to me, to the people who will inherit what I do with them, and to the obligation of meaning something when I speak. *A formal record of dates, ensembles, recordings, and lineage is at the [CV](/cv/).* --- ## Decisions locked 1. **`Animal Rationis Capax`** — Title Case + italics in the bio (publication-naming register; resolves the lowercase-Latin vs Title-Case ambiguity by grammatical role: in the bio the phrase names the publication, in the Colophon's blockquote it cites Swift's Latin coinage. Both registers correctly coexist.) 2. **`Pilgrim` italic subtitle** — hidden for now. Steward 2026-04-30: *"the words show that to an attentive reader anyway."* Will return when context warrants. 3. **Multi-language structure** — deferred until spec written first. Translation of this English text is "relatively easy when the time comes" per steward. 4. **CV link** — italicized trailing line outside prose body, apparatus register: *"A formal record of dates, ensembles, recordings, and lineage is at the [CV](/cv/)."* Modest, doorway-shaped, no servile *please see*. 5. **Reverence in ¶1 closing two sentences** — passive *given*, *came to me as family* (no scare quotes; bio asserts the truth of the relation), *the life it has become* (allows agency to the work itself), *form of a homecoming* (steward's word). Substrate acknowledged without biographizing. Flamenco unnamed; parents/grandparents unnamed; childhood loneliness held private. 6. **Three sensory weavings from the eight-voices read** — kept: (a) Sennett-shaped bow/string moment in ¶3; (b) instrument-relic through-line in ¶4 (*on what an instrument keeps and what it can lose*); (c) Alexander-yielding *I have been building* in ¶5. --- ## File work — done 1. **`content/pages/resume.md`** was stale and partly mis-pitched (last modified July 2025; marketing register; missing Education / Pedagogical Lineage / Languages / Contact sections; the apostrophe-L error on L'Harmonie Universelle). **NOT a fabrication** — the flamenco mention was true (genuine biographical fact) and *"trusted member of Savall's artistic leadership circle"* was true (just in a register meant to impress that no longer fits). My initial framing as "fabrication" was an attribution-by-pattern-match-instead-of-verification drift; corrected on disclosure. 2. **Replaced** `resume.md` content with the steward's professional viola CV (received 2026-04-30; preserved below as historical record). 3. **Renamed** `resume.md` → `cv.md` (URL: `/cv/`; matches steward's term and European convention). 4. **Redirects added** in `static/_redirects`: `/resume/ /cv/ 301` and `/resume.html /cv/ 301`. --- ## CV source text from steward (preserved for the file work) ``` David F. Glidden — Curriculum Vitae Viola Professional Profile Violist working at the center of historically informed performance, with a long-standing commitment to ensemble sound, transmission of practice, and fidelity to the musical worlds he inhabits. Principal violist of Le Concert des Nations under Jordi Savall and Les Musiciens du Louvre under Marc Minkowski, with whom he has maintained sustained collaborations devoted to 17th–19th-century repertoire on period instruments. His work is shaped by close attention to sound and space, a craft-based approach to musicianship grounded in listening and shared responsibility, and a deep engagement with the conditions that allow a musical tradition to endure. Alongside his orchestral work, he has been active in chamber music, pedagogy, and writing. Based in Barcelona. Current Positions Principal Viola • Le Concert des Nations — Jordi Savall (2019–present) • Les Musiciens du Louvre — Marc Minkowski (2011–present) Orchestral and Ensemble Work (selected) • Les Musiciens du Louvre — violin / viola (2001–2005) • Le Cercle de l'Harmonie — founding member, principal viola (2005–2014) • Opera Fuoco — principal viola (2005–2009); section viola (2010–present) • Capella Augustina — principal viola (2014–2016) • La Ritirata — principal viola (2017) • Capriccio Stravagante, Les 24 Violons (2002–2014) Chamber Music L'Harmonie Universelle — founding member, principal viola (2003–2014) Collaborations include the Penderecki String Quartet, Quatuor Cambini-Paris, Salzburger Haydn Quintett, Café Zimmermann, and work with Jordi Savall, Jos van Immerseel, Francesco Corti, Xavi Puertas, Manfred Kraemer, Balázs Máté, and Hiro Kurosaki. Recordings (selected) • Michael Haydn: Complete String Quintets — CPO • Mozart: Piano Quartets — DECCA (Mozart 225) • Saudade – Rendezvous in Brazil — documentary on the life of Sigismund Neukomm Numerous recordings and filmed projects with Le Concert des Nations and Les Musiciens du Louvre for Alia Vox, Archiv Produktion, and other labels. Awards • ORF Ö1-Pasticcio-Preis (2016) • Förderpreis für Kultur Stadt Salzburg (2016) Teaching and Transmission His teaching approaches historically informed performance as a living craft: sound production, articulation, ensemble listening, and the relationship between music, space, and historical context. He understands teaching not as the delivery of method but as sustained inhabitation — a shared dwelling in repertoire through which the narrative thickness of the music and its world is preserved and handed on. Teaching engagements include the YOPCA program, the JONC Early Music Program, and the Curs de Música Antiga de Girona. Pedagogical Lineage His formation draws from several interwoven traditions: the Auer lineage, with its emphasis on expressive responsibility and rhetorical presence; the Franco-Belgian and Galamian traditions, with their attention to structure and clarity of gesture; historically informed performance, understood not as style but as a mode of listening grounded in historical awareness and embodied rhetoric; and a Canadian chamber music culture centered on collective responsibility and shared musical ethics. Principal transmission paths include: Leopold Auer → Mischa Mischakoff → Sidney Harth → Angelo Calcafuoco; Leopold Auer → Alexander Chuhaldin → Steven Staryk; Ivan Galamian → Eugene Kash; Henryk Szeryng → Martin Beaver; Lorand Fenyves → Martin Beaver / David Stewart; Oscar Shumsky → David Stewart; and direct study with Jaap Schröder, Marilyn McDonald, and Pavlo Beznosiuk. Education • Royal Conservatory of Music, The Hague — Historical Performance with Pavlo Beznosiuk (1999–2003) • Wilfrid Laurier University — Chamber Music with the Penderecki String Quartet (1995–1999) • University of Manitoba — Violin and Viola Studies with David Stewart (1993–1995) Languages English (native) · French (fluent) · Spanish (C1) Contact d@davidglidden.eu animalrationiscapax.org ``` The CV's *sustained inhabitation* and *narrative thickness* phrases (in Teaching and Transmission) are reserved phrases the bio ¶2 could borrow if it ever wants to thicken; held back in the current bio per "one pattern at a time." --- ## Dependency Steward 2026-04-30: *"i want to write spec for how to handle multi-language content on ARC first (translation of this is relatively easy when the time comes)."* When the multi-language content spec exists and the bio's multi-language structure is decided, this prose returns and gets deployed alongside its translations. ## How to apply when multi-language work begins 1. Read `content/pages/bio.md` for the canonical English source (it's the same prose preserved above). 2. Implement multi-language structure per the new content spec. 3. Translate to French + Castellano (and any other languages the spec defines). The previous bio.md held outdated French/Castellano translations of an older marketing-register English; those were removed in commit `2a19d07` and should not be revived — the new translations work from this English text. ## Related memory - `user-formation-flamenco-substrate.md` — the substrate-disclosure that informed the homecoming acknowledgment. - `user-influences-humic-layer.md` — ABG and Moy as primary cultivators; this bio rewrite extends that genealogy backward to the flamenco family of origin. - `feedback-tabula-rasa-add-later-not-subtract.md` — discipline applied to the bio composition. - `feedback-composition-avoid-announced-antithesis.md` — discipline applied to the bio composition. - `feedback-over-decorating-as-proving.md` — discipline applied (held the additions to three sensory weavings + reverent two-sentence coda).