Todos los tracks son la muestra 66 “estratificada” y / o reconstruida por scripts (Apple Script sobre aplicaciones basadas en Quick Time) que responden a sencillos cálculos aleatorios. No creo haber utilizado más de 3 “drag & drop applets”: Otros scripts similares han servido para “re-estratificar” lo ya procesado. Tambien he utilizado MAX/MSP, un editor de audio y un secuenciador para modelar y / o aislar algunos sonidos. El track 24 es un “rendering” de un script ajeno a “mi proyecto TIP” y muestras escogidas al azar. Estas ocupan el lugar de los sonidos originales conservando la estructura primigenia. Todos los scripts han sido registrados mediante AIFF Writer, que roba el audio del output y lo canaliza al disco duro. Mientras se ejecutan los scripts no puedes oir nada... Todo esto ha sucedido en el interior de un iBook 128/555/OS 9. 2.

 

"And in phenomenal existence there is nothing that is independent of everything else. Given that there is Continuity, everything is a degree or aspect of whatever everything else is. Consequently there is no way of defining anything, except in terms of itself. Try any alleged definition. What is an island? An island is a body of land completely surrounded by water. And what is a body of land that is completely surrounded by water? "

                                                                                                                    Charles Hoy Fort. "Lo!", 1931

"It's not so technical, it's just a lot of work — it requires a lot of time and progresses very slowly. Just imagine someone doing his own animated film, perhaps equipped with some high-end rendering tools, but for some reason insisting on using the old cut-and-splice method for doing the actual animation. And of course everybody's shaking their heads in disbelief that when he's using the high-end workstation to render the characters, how can he insist on using the old way to make the images move? But this is just how it is. On the few occasions when I've got to talk to other producers of electronic music, they've always been really shocked that I actually do the music like this. Everybody was assuming I had my own custom software or custom Max patch or generative sound network that was sampling the sound and structuring it, and that all I had to do was sign my name to it. They were surprised by how manual the work actually is, and this is why it's essentially so time-consuming."

                                Markus Popp. Interwiew with Sam Inglis published in "SOS", October 2002

"Maybe we just have to look into the past. A couple of days ago I visited the mayor crypt in the Cheops pyramid in Giza. The operating sounds here were fantastic. A soft rumbling low frequency drone combined with higher-pitched combinations of between 500 and 1000 Hz tones were constantly sweeping the rather small room. I haven't heard anything so beautiful in a long time. Where did they come from? Probably from air that travels around inside the structure combined with vibrations due to the delicacy of the architecture. I highly recommend it. Maybe the past has a lot to tell us about the future—perhaps it has to be reinvented."
                                      
                                  Carl Michael von Hausswolff. Sonic Art Roundtable. "Artforum",04.30.04