[porkmarras]

Computer synthesis allows for the analysis and resynthesis of input sound sources - or to put it otherwise, it allows for the generation of a means (middling) from a previously constructed end point. Such generations use numeric equivalents of sound waves to establish ranges of numbers which are then edited or used as variables in equations applied to other sound sources. Associations between sound sources can be made more or less obvious, depending on one's technique and desire for explicit referentiality. This process bears similarities with general processes of social recontextualization, wherein previously constructed histories (end points) are filtered and reconstituted to advocate a particular cultural agenda (means, or middling of past events with transformative desire). As all analyses of such processes of social recontextualization take their footing in interpretive abstractions, any attempt for a total comprehension and/or control of socio-material processes is an impossibility of no interest to this project. Once this most traditional presupposition of popular Western cultural analysis is disposed of (as it has been countless times over the past century), one finds there is a vast difference between cultural processes which actively engage a multiplicity of constructed contents, and those which promote a rarefied and linear teleology of historical processes intended to conceal the construction of contents. It is hoped that these recordings contribute to a developing discourse of the former.
The functions of sound as a material, social, and socio-subjective medium lend to its simultaneous identification as a site, a discourse, and a form of 'personal expression.' The cultural implications of these multiplicious functionalities are anything but harmonious, despite the bourgeois liberal content of 'music's universality' to which the majority of producers, theorists, journalists, manufacturers, and listeners subscribe. For any assertion of universality must involve a concealment of circumstance, an erasure of the precise variations in context which allow such an assertion to be made at the expense and dismissal of alternative contents. Placed in the context of post-Industrial Capitalist marketplaces, such an alienation from context engages cultural processes not unlike those contributing to an alienation from labor. Sound becomes reified and appears to take on mystical properties of universal value in and of itself, distinct from processes of production, distribution and reception.
Obviously, a major impetus for this project is the re-clarification of a desire for contextuality (not to be confused with a desire for the re-clarification of context, or origin). A desire for contextuality takes as its presupposition limitations of contextual understanding. All re-clarifications of context are denied any essential origin. Rather, notions of 'origin' encapsulate a state of flux, elucidating both the ends and the beginnings of layered transformative contents. Every analysis is simultaneously approached as a site enacted within a social context, a discourse in dialogue with other analyses, and a form of 'personal expression' manifested of desires. Turning to the utilization of sound towards this end, Electroacoustique methodologies have come to philosophically encompass the complexities of this circumstance quite well. Whether the final sounds produced find their start in intangible mathematics or in analyses of material sound sources, the act of production remains one of overt contingency. And in a best-case scenario, the result presents a transformation of contents which requires a listener to reconsider the interpretive dynamics around such contingencies, therein deriving a means from an end. Audio Advisory: This disc includes extreme frequency shifts and digital distortion. These sounds are intentional and are not indicative of problems with your audio equipment or the disc itself. Please start playback at a relatively low volume, being particularly careful when listening with headphones, and then adjusting the volume as desired. A wide range of playback experiences can be produced by using extremely low and high volume levels, as well as varying the use of speakers, headphones, or a combination of both.

[_slavo_]

Sometimes I think Terre is too smart for us.