Obj 1 - Composition

Our first objective is indeed the kernel of the whole project. We assume that the persuit of this aim will be accompanied by a slight deviation – not as a break, but as an extension – in the apprehension of the sound-object1 itself. It must embrace a certain degree of plasticity, or, otherwise stated, it must integrate a plastic dimension in its nature. This means that it will seem to occupy a space, and to a certain extent or other acquire a certain persistency and materiality. In the extreme, further on, we think we can push this new dimension to provoke "the emergence of the perception of materiality" of sound matter in a controlled, consistent manner. Then we would, indeed, be able to talk of an almost tangible materiality of the sound object. Let us state it from the start; this can only be but a compositional achievement, resulting from the intricate relationship of temporal, qualitative and spatial aspects. Motion, behaviour, temporal evolution in short, will be consubstantial to our sound object's spatial dimension.

Several prerequisites must be met, in order to achieve this objective:

Integration of the spatial attributes at the same level, i.e. with the same degree of formal embbedement, as the other attributes of the sound  object.

What we are looking for is to create interrelationships, across formal levels, of all attributes of the sound object, with a special attention to space. Information technologies have offered us the means to embed in one sole software environment all formal levels of the composition, from the lowest (e.g. the definition of the sound object) to the highest (e.g. the description of the large form). By residing in one and the same environment, the composer is free to create as many structural and functional links as needed in the process of composition.

Full awareness and careful conscious design of the material means with which the music is to be performed.

The external space will be quantified and represented by a structured network of loudspeaker-nodes. It is not a question to find a uniform, universal setup, but ad hoc configurations for different approaches and different scenarios, where certain sub-configurations will certainly recur. Besides this, the different characteristics of the loudspeakers, as well as loudspeaker arrays with special characteristics merit a serious consideration. To develop a sensibility to the potentials deriving from the varying characteristics of our fundamental physical source seems to be an important requirement too.

Study of the spatial: acoustical, psychoacoustical, technological, aesthetical, choreographical, interdisciplinary.

We need to gather information, to create links and relations, to overview different approaches, to discuss and inform (see Obj 3). If the spatial has to achieve another functionality in music, much can be learned from other arts and fields of knowledge. At the same time, it is very important that our study remains specific and subordinate to the demands of our experiments, experiences and advances; a full study of the spatial in the arts would probably endanger our true objective.

1 Let us underline that we do not talk merely about sound, but about a sound-object, which is a compositional entity. Being conscious that the exact meaning of sound object might be controversial, we can still be sure that in all cases it is a musical and not a physical or perceptual concept. (see an extended discussion in [Gonzalez-Arroyo 2005])