8.45 am. I cleared my inbox, arranged tutorials for the next few weeks, and paused to reflect upon the coming day. 9.15 pm. The new set of sound samples, which I’d gleaned on Saturday, were re-equalized for clarity and sifted for component parts that could be incorporated into the composition. The extractions are very small, and chosen on the basis of their musicality and potential for being looped. Once inserted, an entirely new dimension of coherence opened up. In retrospect, the logic of the inclusion was self-evident; one of those ‘of course’ moments. The composition now has a second speaking voice and fragments of acoustic guitar playing:

12.30 pm. Dr Roberts, my accomplice in electronic noisiness, came for lunch and a discussion of mutual interests. 1.30 pm. Afterwards, he demonstrated his new box of tricks — a modular analogue/digital synthesiser:

We’ve entirely contrary approaches to sound composition, even though we are fully agreed on what makes for a satisfactory outcome. He modifies waveforms generated by oscillators, whereas I use found sound sources exclusively. He moves towards a sound; I move away from one. Collaboration requires a measure of difference between the participants. Without it, the one does not extend the potential of the other. The principle is the same as that which undergirds colour complementarity, wherein the juxtaposition of two colours enhances the strength and contrast of each. We closed the afternoon with a reflection on the nature of ‘performance’ in relation to our respective practices. For my part, I’m not in favour of audience-directed activity; that is to say, where the practitioner feels an obligation to either entertain or else be interesting, engaging, and successful in the construction and presentation of the composition in public. However, I would countenance an open-access practice, wherein the sound artist permits others to observe, and listen-in on, the process of composition — just as a painter might countenance someone looking over their shoulder while they paint.

3.45 pm. A putting away of equipment; a reflection upon the afternoon’s business, and  a little email catch-up.

7.00 pm. Further chapter queries were addressed. Thereafter, I returned to the composition. Will my impression of the new additions be as favourable as it was this morning? …

… Indeed. The whole now sounds vaguely like something that The Velvet Underground might have laid down. I didn’t determine this quality; it arises from the interaction of the component samples. This is very satisfying. I’m determined to finalise the composition, tomorrow.