I composed Disappearance Studies in response to Mike Osborn’s photography series Federal Triangle. In his commentary on the work, Osborn describes Washington D.C. as a kind of “Bermuda Triangle,” and reflects on the capital’s potential for activating paranoid conspiratorial fantasies. I felt this paranoia in his shots of government workers, taken from behind to hide their humanity, cropped to hide context. The Bermuda Triangle comparison was apt; the sensation I experienced was a fear of disappearing, a fear of becoming as unidentifiable as the subjects of the photos. Disappearance Studies depicts three different kinds of disappearances.