With our rigorous systems of reasoning in place, now the mechanisation of our world, and our place in it, begins. I was interested in how we could show not only a mechanised process of creation, but also how that process could carry an emotive message, and how its breaking could humanise it.
I worked with Optical Arts studio in London on the project, and they created and destroyed real sculptures via industrial robotic processes as a means of capturing the idea visually.
Musically, I worked with feelings of playful creation and a touch of sadness. It was another example, as with Spectrum, where the words describing the piece don’t feel entirely correct, and don’t seem to be compatible, but again, can fit without contradiction emotively when communicated musically.
The writing process was that of countless iterations and searches for machine artefacts. A very simple underlying structure was used to add more than 200 layers of warblings as I looked for sounds representative of the edge of the machines and the start of a more humanised frailty.