“In much the same way we might think of a sound installation as a work of infinitely large time: could we conceive a musical/sound phenomenon of infinitely short time? What size and form could it take, this instant? What consequences (or possibilities) would it project upon the piece and its perception?
In a certain sense, it would be similar to inventing Photography after Cinema; stills usually experienced as continuous time; the creation of a musical experience of the instantaneous. If within a sound installation the expansion of time acts as a broadening of the perception of sound (making possible the emergence of other elements): could we think that the condensation of time into an instant might, equivalently, act as a magnifier of the sound material with all its aesthetic and meta-aesthetic implications?
The poetic of the “singular” in opposition to the old musical-aesthetic paradigm of diversity: not only a “singular” in material terms -one which may, through the mediation of time, reveal a diversity in perceptual differentiation (e.g. La Monte Young) -but rather a material “singular” which occurs uniquely within a temporal “singularity”.
The “sound statement” is thus manifested as a Work-instant in which its content is exposed with the compressed force of the instant, with the radical singularity and contingence of those things which only happen once”.
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