Joanna Wozny: Blenden | Tilgungen

"[The desk] hasn’t been cleaned down to the original wood surface since 1942. Things have fallen roughly into layers, over a base […] made up of millions of tiny red and brown curls of rubber eraser, pencil shavings, dried tea or coffee stains, traces of sugar and Household Milk, much cigarette ash, very fine black debris picked and flung from typewriter ribbons, decomposing library paste, broken aspirins ground to powder. Then comes a scatter of paperclips, Zippo flints, rubber bands, staples, cigarette butts and crumpled packs, stray matches, pins, nubs of pens, stubs of pencils of all colors including the hard-to-get heliotrope and raw umber, wooden coffee spoons […] … above that a layer of forgotten memoranda, empty buff ration books, phone numbers, unanswered letters, […] the scribbled ukulele chords to a dozen songs […], an empty Kreml hair tonic bottle, lost pieces to different jigsaw puzzles showing parts of the amber left eye of a Weimaraner, the green velvet folds of a gown, […] the orange nimbus of an explosion (perhaps a sunset), rivets in the skin of a Flying Fortress, […] … a few old Weekly Intelligence Summaries from G-2, a busted corkscrewing ukulele string, boxes of gummed paper stars in many colors, pieces of a flashlight, top to a Nugget shoe polish can […], any number of reference books out of the ACHTUNG library back down the hall – a dictionary of technical German, an P.O. Special Handbook or Town Plan – and usually, unless it’s been pinched or thrown away, a News of the World somewhere too."
Thomas Pynchon: Gravity’s Rainbow

Wie konstituiert sich ein Zusammenhang innerhalb einer (scheinbar?) zufälligen Aneinanderreihung (musikalischer) Fragmente, Bruchstücke, Partikel, Gesten?

Die kompositorische Vorgehensweise erfolgt auf dreierlei Art: Fragmente werden "unkommentiert" in den Raum gestellt oder besonders ausgeleuchtet; es wird der Bemühung des menschlichen Gehirns, welches – ständig auf der Suche nach Mustern – versucht Zusammenhänge herzustellen, entgegengewirkt; durch den Transfer/Austausch der destillierten (konstruktiven) Bestandteile der musikalischen Fragmente untereinander werden neue Beziehungen generiert. Den Residuen von Zusammenhängen nachspürend, dem – schmalen oder sich verbreiternden – Grat folgend, der Zusammenhänge von deren Auflösung trennt.

English

"[The desk] hasn’t been cleaned down to the original wood surface since 1942. Things have fallen roughly into layers, over a base […] made up of millions of tiny red and brown curls of rubber eraser, pencil shavings, dried tea or coffee stains, traces of sugar and Household Milk, much cigarette ash, very fine black debris picked and flung from typewriter ribbons, decomposing library paste, broken aspirins ground to powder. Then comes a scatter of paperclips, Zippo flints, rubber bands, staples, cigarette butts and crumpled packs, stray matches, pins, nubs of pens, stubs of pencils of all colors including the hard-to-get heliotrope and raw umber, wooden coffee spoons […] … above that a layer of forgotten memoranda, empty buff ration books, phone numbers, unanswered letters, […] the scribbled ukulele chords to a dozen songs […], an empty Kreml hair tonic bottle, lost pieces to different jigsaw puzzles showing parts of the amber left eye of a Weimaraner, the green velvet folds of a gown, […] the orange nimbus of an explosion (perhaps a sunset), rivets in the skin of a Flying Fortress, […] … a few old Weekly Intelligence Summaries from G-2, a busted corkscrewing ukulele string, boxes of gummed paper stars in many colors, pieces of a flashlight, top to a Nugget shoe polish can […], any number of reference books out of the ACHTUNG library back down the hall – a dictionary of technical German, an P.O. Special Handbook or Town Plan – and usually, unless it’s been pinched or thrown away, a News of the World somewhere too."
Thomas Pynchon: Gravity’s Rainbow

How is a context constituted within a (seemingly?) random sequence of (musical) fragments, pieces, particles, gestures?

The compositional approach is threefold: fragments are placed "uncommented" or they are specially highlighted; the effort of the human brain, which – constantly searching for patterns – tries to establish connections, is counteracted; through the transfer/exchange of the distilled (constructive) components of the musical fragments among each other, new relationships are generated. Tracing the residues of connections, following the – narrow or widening – ridge that separates connections from their dissolution.