To a certain extent, the way we currently create musical products is mediated by a series of devices, both theoretical and practical, that respond to a production method similar to what we see in the automated production of mass-produced products. These devices are marked by a deep process of lattice reticulation, segmentation, structuring and classification proposed from the very history of music and extensively studied by Trevor Wishart. Furthermore, since the end of the 20^th century, music has been reduced to a single and infinite mode of reproduction, from the phonautograph to digital playback platforms. This problem exhibits the lack of openness to the affectation that could exist in the processes of creating a musical work. Indeed, the very concept of a “finished work” reveals the impossibility of the living process that sound itself has, trapped and systematically subjected to its automated reticulation.

Source: 2022