THE TIME WITHIN explores different relations between time (duration – horizontal) and sound complexes (vertical – group formations – chords). It is composed with the help of IRCAM’s open music. I made a set of rules for how the piece should be formed, variations of application of duration to n notes and a initial probability that certain phenomena should appear or not (e.g. how sound complexes should be formed… completely vertical or in group formations, ornaments etc.). I, so to speak, show the direction of the piece to the program whose function is to map out this direction. One thing that became interesting to me, except the result itself, was to observe how a computer went from being a recalcitrant tool (or maybe my reluctance against the computer) to “open up”.

passage – plateau – with variation
An initial musical object; passing through a sort of passage which continuously rotate and transform it. The path over which the approach is made are, in a sense , arbitrary; and could obviously be many, with passage suggesting a number of possibilities; but it tries to be mobile – always moving towards the centre and searching for a material that is both a flickering interplay of surface gestures and trying to sink below the surface. Arriving at a musical ‘plateau’ the focus has shifted; with the material becoming ‘static’, as it were, exploring time domains. Objects which are folded with memories, breaking time. As the time is speeded up, the material starting to rotate, we move towards the passage once again, with new suggestions, a passage variation, trying to move, successfully or not, from the centre towards outer space.