Whatever heightens (your/my) attention to the immediate textures and surfaces of sounds and rhythms, not by concentrating on the surfaces themselves, but by playing ambivalently with the ways that you might otherwise organize your perception of them.
Emphasize the idea of surface, and technique
Emphasize “floating rhythm” because your sense of time is first one thing, and then another.
First organized, then disorganized … or at least, contra-organized … then contradicted, and then reorganized. This is, for me, just an object floating on the multidimensional waves of converging currents. Your lines of flight, and theirs across the musical surface are diagonals and spirals, each one balanced against its detractor, nothing allowing a permanent attachment.
Emphasize ” s o t t o v o c e ” b e c a u s e i t i s t h e c o n v e n t i o n a l m u s i c a l t e r m f o r q u a l i t i e s o f t o n e q u i t e b e l o w t h e l e v e l e x p e c t e d f o r a d e c l a m a t i o n o r a n o r a t i o n. A t o n e o f v o i c e , a w a y o f s p e a k i n g , t h a t s o m e t i m e s l e a v e s y o u
… w o n d e r i n g a b o u t t h e d i f f e r e n c e b e t w e e n i n t e n t i o n a l p e r f o r m a n c e a n d
t h e e v e r y d a y e n v i r o n m e n t s o f n o i s e s, u n n o i s y a n d o t h e r w i s e.