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Naturally enough, I couldn't have foreseen the vast sea change which has come upon that scene as a result of German reunification and associated events.
My own position is, that it is largely up to the work itself to suggest the nature of these referential points without dimensions in and through the processes by which the distance between them is maintained.
It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony.
In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent.
In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really 'about.'
In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.
If the work of art is to continue pursuing the vision of both being in and of the world but nevertheless in some fashion being more than just one more object to the mounting clutter, this is the specific point, I think, where this must be assured.
If nothing is at risk, nothing is established.
I'm perplexed, though, by your application of the term 'negative' to my figural imagery.
I would not say that I was, these days, a 'student' of philosophy, although in my youth I was quite deeply involved with certain aspects of the British pragmatists.
I suppose that the scope and implications of such forces have rendered my personal accounting ritual pretty much obsolete. That's how things sometimes go.
I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.'
I don't see 'lines of force' as being destructive, except to the extent that they are exclusively traceable through observance of the path of distorted material left in their wake.
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