On the meditation about the arrangement of sound events and layering them on the timeline

I-V (2017)


I realized that it can take other forms, others then the one imposed. Not just a section, but a circle or an ellipse, a closed path where you may see a cyclic repeat of events where not everything has a beginning and an end.

So, impressing /recording these events on the tape does not happen in a linear way, but through changes of direction, slowdowns and disconnections between the time the event happens in the real and its repetition on the new timeline. It’s still linear of course, but internally configured by successions of recurring sound-germs, arranged on different levels and filtered in a different ways.

It’s like a patina laying on the renewed patina, on a renewed patina, on the renewed surface, recorded on tape.

Curling / Crumpling

There is a perfect match between hysteresis (concept) and this kind of practice: both are in the field of reality, and both are related to objects (physical objects, sound objects, living things).

$and / ßand




Se la farfalla al suo splendor ameno vola, non sa ch’è fiamma al fin discara; se, quand’il cervio per sete vien meno, al rio va, non sa della freccia amara; s’il lioncorno corre al casto seno, non vede il laccio che se gli prepara. I’al lume, al fonte, al grembo del mio bene, veggio le fiamme, i strali e le catene. S’è dolce il mio languire, perché quell’alta face sì m’appaga, perché l’arco divin sì dolce impiaga, perché in quel nodo è avvolto il mio desire, mi fien eterni impacci fiamme al cor, strali al petto, a l’alma lacci. (Giordano Bruno)