THE QUASAR (QUASI-STELLAR OR STAR-LIKE) EMITTED RADIO WAVES REACHED OUR GALAXY AFTER 13 BILLION LIGHT YEARS AND SUN RA, WHOSE MIND-WAVES ARE SYN-CHRONISED TO NATURE WITH COORDINATED INTUITION, PRISMED THE VOICE OF THE QUASAR ON A COSMIC TONE PIANO AND THIS THUNDER IS LIKE SHOCK WAVES SHAKING AWAY THE STAGNATION OF LIFE IN THE MIND, WHEN YOU CAN MOVE IN A DIMENSION FASTER THAN LIGHT YOU SOLVE THE RIDDLE OF TIME AND YOUR MIND’S COSMOSIS COMPLETES THE EQUATION: LIFE EQUALS DEATH, FOR IN THE EXPANDING UNIVERSE THE INFINITE DESTROYS THE ILLUSION OF LIMITATIONS WHICH TRAP MAN TO THE PLANET EARTH. THE INFINITY OF CONTINUOUS AND ACCELERATING MOTION CHASES THE FLEEING GALAXY ANDROMEDA . . . THE MUSIC OF THIS FLIGHT ENERGIZES THE QUASAR AND SUN RA RECEIVES TONES FROM THAT QUASAR WHICH HAS BECOME PREGNANT WITH RADIATION AND THIS COMPLETES THE EQUATION: DEATH EQUALS LIFE IN A DYING UNIVERSE WHERE GALAXIES COLLIDE AND WHERE DEATH WEARS A MYSTERIOUS CROWN OF CONSTELLATIONS CALLED CREATION. TO HEAR THIS MUSIC IS TO HEAR THE SOLAR BAND OF REVE-LATION. THE TONES REVERBERATING HERE PASS THROUGH THE TIME SPECTRUM OF THE ARKESTRA’S MIND AND YOU SEE WITH EAR AND WITH EYE AND YOU BECOME THE METAGENESIS OF COSMIC ATOMS.

– Henry Dumas

[[[From Soundworld Disposition Settings (2022)

Each Disposition Setting can be played with any sounding equipment/material, necessitating only that electronic (including electroacoustic) sound sources are always utilized during performance of the material. Each Disposition Setting is otherwise an open invitation for a set of players (at least 2, excluding Derive Interity which should be done alone ) to explore a text’s tonal inclination as filtered through their own apparatus for noisemaking. Each composition acts as a sonopoetic nudging towards that should be followed from top to bottom in its performance.]]]

Derive Interity (Dipolar Acquisition of Extended Bodily Consciousness Through Ambient Biological Monitoring)

Set-up:

This score is for a single player only. In many places of varying terrains (at least 10), over an extended time (at least 3 months), follow these instructions:

“Go for a walk,
and breathe musically.”

Pay special attention to the differing percentages of your ability to focus on the sound taken up by your breath as you move through these different spaces, and make a list ordered by the varying levels. Once you have done as instructed in all chosen locations and your psychogeographical research is compiled, pick out the two places (which we will now refer to as Space 1 and Space 2) where your perception/consciousness of your breathing was the most and least prominent. 

Re-visit the general areas of Space 1 and 2 (do not have to follow the exact same route as during your first visit) with a recording device and record 10-40 minutes of yourself following instruction #1, and 10-40 minutes of sitting neutrally not performing any action somewhere along your route. Once again keep track of the percentage of total aural perception your breath takes up in Space 1 and 2 while following instruction #1.

Sounding:

The performance of this score will be broken into two separate pieces, divided into information from Space 1 and Space 2. During the performance of each piece, do the following:

1. Layer and play the set of two field recordings taken first at Space 1 (and later at Space 2) and allow them to take up a percentage of the total loudness of the soundfield equal to the halfway point between the percentages of aural perception of the breath during the first and the second visits to the space. 
2. The other part of the soundfield will be created via a ratio (expressed via percentage of time performing the two actions) of unsounded physical gestures (what gestures left at discretion of performer) in relation to the the performer sounding electronic sonic material (can be anything as long as it is not generated with an acoustic sound source) equal to the percentage of total aural perception taken up by the breath to one minus the percentage of total aural perception.
   • So say that at Space 1, Visit 1, your total aural perception of your breath took up 30% of your aural soundfield. In this case, you would perform unsounded physical gestures for 30% of the performance time, and perform a sounding of electronic sonic material for 70% of the performance time. Performance time should be broken into minutes when accounting for this ratio to allow for 3b) to be followed correctly. The unsounded physical gestures and electronic sonic material can be interspersed as long as they do not overlap.
3. Over the course of the length of the field recordings, transition this percentage of total aural perception (from which you are performing according to) from the one observed during visit one to that observed during visit two.
4. When you arrive at about the halfway point between ratios of total aural perception during visit one and visit two (in above case, 50%), one should change style of both gestures and sounding.
5. Piece should always end on at least 15 seconds of unsounded physical gesture (along with field recordings which have been playing the whole performance and whose end determines the end of the performance), no matter the performance ratio being used during the last minute of the performance.
   • Allow a period of rest of at least thirty seconds before following the above Sounding instructions for Space 2.