A major aesthetic tenet in my music in general is ambiguity, which can be created in many ways. In this project ambiguity is created partly by tonal organization, and partly by the rhythmic.
The tonal organization is inspired by serial methods such as 12-tone techniques, permutations, in addition to bitonalities, and "trompe-d'oreille" constructions that fool the ear, such as shepard tones, and open chord constructions with many possible outcomes. Inspiration comes from jazz, particularly Ornette Coleman, else from Joni Mitchell, and classical composers such as Olivier Messiaen, and the post World-War II avant-gardistic and experimental music traditions.
The rhythmic organization can, in short, be described as pulse-based without meter.3 This means a pulse-based music with no obvious one, the down beat is ambigous, and from time to time the pulse is not clearly audible. The main inspiration comes from eastern traditions such as Arabian maqam, Iranian radif, and Carnatic music of South India. To achive this, different methods can be used: one way is to employ the probablity function in the Octatrack, namely the possibilty to program each sequence event with e.g. 50% probablity to get through. Another "trick" is to put accent generation under random control, in order to override the rigid bar division at the machine.