La idea es muy simple: una composición infinita.Un compás
4/4
Tempo = 1
60/1*4 = 240 s = 4 minutos
Los primeros tres cuartos se ejecutan completos
el cuarto cuarto divide en cuatro
De los dieciseisavos resultantes
los primeros tres se ejecutan completos
el cuarto dieciseisavo
se divide en cuatro
De los sesentaicuatravos resultantes
los primeros tres se ejecutan completos
el cuarto sesentaicuatravo
se divide en cuatro
De los doscientoscincuentaiseisavos resultantes
los primeros tres se ejecutan completos
el cuarto doscientocincuentaiseisavo
se divide en cuatro
De los milveinticuatravos resultantes
los primeros tres se ejecutan completos
el cuarto milveintricuatavo
se divide en cuatro
De los cuatromilnoventaiseisavos resultantes
los primeros tres se ejecutan completos
el cuarto cuatromilnoventaiseisavo
se divide en cuatro
De los dieciseismiltrescientosochentaicuatravos resultantes
los primeros tres se ejecutan completos
el cuarto dieciseismiltrescientosochentaicuatravo
se divide en cuatro
De los sesentaicincomilquinientostreintaseisavos resultantes
los primeros tres se ejecutan completos
el cuarto sesentaicincomilquinientostreintaseisavo
se divide en cuatro
De los doscientosesentaidosmilcientocuarentaicuatravos resultantes
los primeros tres se ejecutan completos
el cuarto doscientosesentaidosmilcientocuarentaicuatravo
se divide en cuatro
…Bueno, creo que ya tienen la idea…
Se hizo lo que se pudo hasta que la resolución del secuenciador de mi sintetizador no dio para más (la resolución es bastante menor que mi ocio al escribir fracciones, de hecho el doscientosesentaidosmilcientocuarentaicuatravo equivale a .00091 segundos)
En principio si suena un poco como los Acordeones (I y II) y Aceleración, pero escuchen el final con cuidado, según yo si suena como si colapsara…
Un agujero negro.
*****
A very simple idea: create an infinite composition.One measure
Time signature 4/4
Tempo = 1
60/1*4 = 240 s = 4 minutes
The first three quarters are played in its entirety
the fourth quarter is divided into four
the first three resulting sixteenths are played in its entirety
the fourth sixteenth is divided into four
the first three resulting sixty-fourths are played in its entirety
the fourth sixty-fourth is divided into four
the first three resulting two-hundred-fifty-sixths are played in its entirety
the fourth two-hundred-fifty-sixth is divided into four
the first three resulting one-thousand-twenty-fourths are played in its entirety
the fourth one-thousand-twenty-fourth is divided into four
the first three resulting four-thousand-ninety-sixths are played in its entirety
the fourth four-thousand-ninety-sixth is divided into four
the first three resulting sixteen-thousand-three-hundred-eighty-fourths are played in its entirety
the sixteen-thousand-three-hundred-eighty-fourth is divided into four
the first three resulting sixty-five-thousand-five-hundred-thirty-sixths are played in its entirety
the fourth sixty-five-thousand-five-hundred-thirty-sixth is divided into four
the first three resulting two-hundred-sixty-two-thousand-one-hundred-forty-fourths are played in its entirety
the fourth two-hundred-sixty-two-thousand-one-hundred-forty-fourth is divided into four
…well, you got the idea…
I did what I could with my synthesizer (its resolution is much lower than my patience writing fractions, the fourth two-hundred-sixty-two-thousand-one-hundred-forty-fourth is equivalent to 0.00091 seconds).
At the beginning it’s similar to the Accordions (I & II) and Acceleration. But listen carefully to the final seconds; I think it does capture resembles the composition’s collapse…
A black hole
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