Text, including the two scores - Columbia University Department of ...

eenter more placidly, with the entrance of the carve effect now correlating to a reduction in instrumental pitches, while the swelling of the wrapped brightness addition in the video mirrored by bowing shifts to sul tasto and back. Instruments
Here, audio and video samples are examples of the ‘Splice’ process, which makes quick cuts between disparate samples at moments of greatest spectral similarity. The durations of the splice samples shorten over the section, which functions as a transition from the electronic aural ambience of the previous 9.
into the more percussive nature of the rest of the piece. This process is combined with a duo instrumental riff culled from the Vertex process and then sections
with its downward cycles slightly rhythmically offset from one another. A string chord swell punctuates the introduction of the ‘carve’ effect and a zoom into the video material. 10. This section is a brief revisitation of material from section 4, with the looped,
of a couple of distorted and degraded hits (along with distorted instrumental attacks). The kaleidoscope entrance here is mirrored temporally as a doubling, and then a quadrupling, of note attacks. 11. The sixteenth note figures of the end of the previous section are a transition substitution
the figuration here, which is a repetition of the end of section 7. The source score (from which an algorithmic process generated section 7) is then to
instrumentally in its original form, without electronics. Immediately upon its conclusion another algorithmic process acts upon that source score material, a process that gradually interpolates pitch and rhythm data between the original and its fragmented reconstruction. This serves as a momentary
presented
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