When sets of forces, such as temperature
variants, ideologies, or gene pools come in contact, there is always a
time of disruption and reorganisation. If the differences are too great, the choices
can swing from maximum entropy to none; from the heat of nuclear explosions
all the way to the cold black of city council action. Disparate ideologies
may yield coalition governments or genocide. Crossing species' borders
may produce inviolable offspring or hitherto unseen beautiful blends of
skin, hair, fur, and eyes.
Context, the mediums of expression and the measures of difference feed each other in seamless loops of state dependant mirrors, each recoloring according to the image fed it by its predecessors, and each modulated by any and all values of the new parameters.
Last summer (2000) in Alabama, I was in a band called Liquid Brick. We were experimenting with some dry ice bought for a show fr stage effects.
The world was around 85 degrees Fahrenheit with about 90% humidity. The dry ice was around 100 below. As the alien substance attempted to cool the southeast US, its significance became lost in the massive heat sink of the continent. Once channelled, those differences screamed and whispered.
I grabbed a pair of microphones a few months later and me, Shea and Scott repeated and revamped. I started messing with it at home.
The direction for this work was realised in the Sheffield University Sound Studios (SUSS) and continued in my own studio in Alabama. My thanks go to Dr. Adrian Moore and SUSS, a place in which more work was done in 2 weeks than the entire previous 3 months.
This is Not a Model can be found at Sonus.ca; an online database and jukebox with thousands of electroacoustic works.