This album is designed to almost (but not quite) fit onto a CD, such that when deployed in hard copy, the end product will either have to split onto two disks, and optionally be padded out in both cases with 'other' material, which might not yet be written, or else one of the two parts has to be left out and exchanged for 'other' material. This formal indeterminacy is in keeping with the methodology of the pieces themselves, which are semi-unstructured chunks of chance material for fake instruments. Bear in mind that where two pitch-classes coincide there's a 58%-66% chance of consonance (depending on your ear). I'll be looking into a proper statistical study of this at some point in 2006 and will try to find objective opinions to support the findings (online surveys, university studies, etc.) but my hunch is that 'chance' (and/or stochastic approaches) not only compares/resolves well (when heavily clustered) to complex deterministic music, but also very much to tonal music. The first part is related to material from another of my CDs, 'Sinister Symphony' and is relatively organic in its final shape. The second part is more akin to rhythmic irregularities of the heart, and has a tendency to induce altered states. In this age of utilitarian 'relaxing classical music' (*spits*) I hope I can subvert the process of 'sticking a CD on to go to bed with' and return some specific meaningful artistic experience to the process.
![[item image]](http://ia341305.us.archive.org/1/items/GregFoxBoxingDayRetreat/banner.gif?cnt=0 "[item image]")
![[help]](/images/question.gif "[help]")
)![[Attribution-NonCommercial]](http://creativecommons.org/images/public/somerights20.gif "[Attribution-NonCommercial]")
