To cut-out

The work seeks to generate a densely-populated, immersive space in which listening forms, through perception, its own constellations, making it a poetic act.
 
Conceived for an enclosed space and 22 channels, the work comprises various possible “spaces.” The material that inhabits each of these spaces is ungraspable by nature, at least to a certain extent; whether because the individual sounds are too short and fast, or on the contrary because they are so long and their alterations so slow that they are extremely difficult to perceive. Occasionally, sounds with a medium duration, defined height or traceable trajectory provide a temporal support for the experience of listening, a stable micro-space amidst the chaos.
 
Generated in real time using the sound programming platform SuperCollider, the piece is potentially infinite. The listener who visits the space more than once will encounter a different ecosystem each time—perhaps only minimally, but perhaps drastically.
 
Contingency—the fundamental principle of Mallarmé’s poem, is also an important aspect of various levels of understanding and realization of To Cut-Out.