‘which is without being’ is a quadraphonic non-durational generative sound environment, with no clear beginning, end point or progression. It rather exists as a state, driven by repeated renewal of itself, within the boundaries of a confined conceptual terrain. Change and musical development inside the work’s trajectory are thereby indeterminate, and dependent on the interaction of individual independent agents within the construct. Resembling a closed system, once set in motion, it relies only on stimulus contained and transmitted within the system. All individual parameters, controlling and processing acoustic information vary according to simple sets of behavioural rules, triggered by feedback and interaction between the components, and acting in response to the overall state of the system. The rhythms, textures, patterns and timbres of its fluid auditory motion are emergent, resulting from self-organisation within the system, rather than predetermined conception.
In its entirety and sub divisions, which is without being is a representation of natural chaotic systems, and aspires towards the unpredictability and impulsive resourcefulness of organic life. Working towards natural infinite recursion, without exact repetition, but rather continual self-similarity, the system improvises its future development on a momentary basis, drawing on its immediate past. Its decentralised control and sound generating structure is thereby inspired by behavioural patterns as seen in super-organisms such as swarms or flocks, displaying responsive spontaneity and unlimited complexity within the parameters of its characteristic conduct.
The aesthetic aim of the work is to create continuous auditory information from a seemingly insignificant minute sound source, initially inspired by the drop of a needle. Constructed in its entirety from one 75 millisecond sound sample, the resulting processes within the work aim to transcend this short temporal event by multiplication and spatial extension of its characteristics, whilst retaining its singular audibility as a reference point. Pitch variations of the original sample inhabit the range of 33 overtone frequencies, present in the 6th octave above the fundamental, and within their pure harmonic interaction create a changing timbral structure inherent to the work. The texture and grain of the sound quality throughout the piece revert to the carefully constructed original sample, which within its acoustic parameters bear the seeds to all inherent audible properties. With the fundamental notions of natural fluidity and a sense of layered fragmentation, which is without being aspires to awaken within the listener a state of meditative alertness. |
