The cybernation of composer and machinery is the animating principle emphasized here. In this scheme, the creative process is facilitated when physical interfaces conceptually vanish.The piece is a conjunction of concrète/analog/digital sound sources in overlapping progression throughout. The digital elements were generated from stochastic algorithms on a MIDIfied Apple II+ microcomputer. I acted upon these by modifying the sound parameters in real-time which produced the tonal play sequence or the various atonal textures found in the piece, all depending on the algorithm selected. The resultant underwent subtractive compositional discernment.The work was completed in March 1987 at Université de Montréal and at Concordia University’s electroacoustic studios.

Source: 2007