In the summer of 2002 in Hollywood, I began to envision a future and discover a past that is both utopian and scientific: the aesthetic of supermodernism, whose nature is psycho-cybernetic and whose aim is to overthrow the dominant illusion of reality.
I thought of a new music, completely synthesized with no imitational reference to the empirical world. It was perceived to be [1] recorded only on the verge of sleep, [2] created directly to a recording medium without preconceived forms and with nothing but intuition and transcendental ideas in mind. Furthermore, it shall be [3] synthesized on the electric instrument IFORMM through discreet mathematical operations on sine waves. Its polyphony shall be [4] multi-tracked from only one electronic source and all parts to be [5] played by the "Ego and Its Clones", multiple time-shifted rothkamm's playing together as one.
The architectural formula of these pieces will express a continuous sequence of events or a series of space dramas. The plan for the pure and applied electronic music of supermodernism calls for the randomization of man and machine, so that the boundary between them won't be told with certainty and the randomization of music and time, so that no absolute placement in linear historical terms can be made.
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