Thanks for sharing the insights! That page of the score is really wild. I"m imagining that a conductor has to be able to "hear" all of those channels in his head, together, and separately in order to fully grasp the piece and to decide how he wants to interpret it with the orchestra. And yet, as you point out, the conductor can't really "know" the degree to which the musicians can provide ultra-fine acoutic detail to their playing....but I guess that's what rehearsal is all about, where the conductor must have a very active interchange between him/herself and the various sections and then listening to how the different sections sound together.
And yeah, plenty of your readers are still here. I think we all respect that you have other things going on besides the RR and sometimes they have to take priority.