“The less meaning there is to discourse, the closer it is to power. Behind the mouth, the largest, all-swallowing mouth, there is nothing but the immense noise of the ocean. Chaos, noise, disorder. The base of existence. This parasite chases out all the others. Behind power, behind the ultimate power, behind the universal appetite, in their vicinity, on their edge, noise spills out into space. The bottom of the well is black; the back of the cave is dark; the pure wave is bitter.”

-Michelle Serres, The Parasite

Appetite

Valve Delay

Visions of Horror

Composed for and performed by Yarn/Wire:
Laura Barger–piano
Julia Den Boer–piano
Russell Greenberg–percussion
Sae Hashimoto–percussion

Notes:
Spilling obsessively iterates, reiterates, and loops four modes within the ensemble. Through each cycling of these loops, pitches are subjected to processes of randomization, and rhythms conform to the cycling of very slow-moving independent waves. In my music I try to sustain a state, a form, or maybe even a kind of object, that one can experience from various angles through listening.

“We hypostasize information into objects. Rearrangement of objects is change in the content of the information; the message has changed. This is a language which we have lost the ability to read. We ourselves are a part of this language; changes in us are changes in the content of the information. We ourselves are information-rich; information enters us, is processed and is then projected outwards once more, now in an altered form. We are not aware that we are doing this, that in fact this is all we are doing.”

-P.K. Dick, Valis (1981)

Nathan Corder

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