Picking up the Piece(s)

Where to from here?--The eternal question--What next?

I have a few ideas.

A few ideas:

1. Have an FM motive serving as the spine that changes, but almost imperceptibly, to serve as the armature and generate tension. Contrapuntal to this would be a granular harmony that is never static or repetitive and is ONLY composed of changing elements.

2. Have a granular motive that appears to change very, very little. Would serve the same purpose as the FM motive in the previous idea: to generate tension and carry the piece. Have an FM motive that would be nothing but change. The FM motive would be the primary melody.

Problems with these two ideas: there is not enough overall change, simply an extended contrast of two distinct layers. How can we move toward a compelling climax? How can we continue to change?

......

I really need to do more research into FM and granular synthesis, create a few mini-experiments, and find my central idea, before I can nail down anymore what exactly I want to do.

......

So many of my DXARTS projects are self-reflexive. Only a while after have I been able to apply what I've learned and generate something that exists without being self-consciously aware of what it is, without being a direct response to what it is. But isn't all great art by nature, aware of what it is? Isn't it through this awareness that it is able to transcend past nearsightedness? By being aware of itself, by knowing fully what it is, can it know what it is capable of. And by knowing what it is capable of, it can become, realize that capability.

But all of this flows out of knowing. Knowing flows out of doing. Doing flows out of knowing.

Ouroboros.

That's my generative idea. Badda-bing.

Listening to: Mozart's String Quartet No. 1