After having written below about the need to introduce constraints into the creative process, and then having fully immersed myself in the composition of the piece, what has become clear is that while it is useful to introduce pre-compositional constraints – establishing a work-concept that informs the creative process – these constraints themselves are only a scaffold which is eventually replaced by the more substantial constraints the work itself gradually establishes the further one moves inside this emergent territory. For example, in working with vocal material for the newly completed Let x = I had presumed that the heterogeneity of voice, the fact that it resonates at causal, semantic, and reduced levels (voice as voice, meaning and sound), could be accomodated in a single work. Certainly it can be and there are plenty of examples of works in which all these levels (and more) are operating simultaneously (one of my favourites remains John Young’s Sju), but in Let x = the constraint that the work itself introduced was a product of exploring the spatial sound environments afforded by IEM’s Ikosaeder (20-channel loudspeaker) and ambisonic hemisphere (24-channels), and the combination of these. In investigating what can be done with these spatially, it quickly became clear that the work was veering away from voice as speech (semantic), and voice as voice (causal) (aside from in a delimited but structurally significant way, i.e. as a means to mark key structural moments in the piece), and that in fact it needed to, wanted to, was going to, do so. The voice as sound, transformed but still vocalesque (voice-like), afforded enough sonic ambiguity and abstraction for sound materials to be utilised spatially without the histrionics of voices that behave like winged creatures or the schizophrenic effects of invisible conclaves, juries and choruses. The outcome is a work that, at least in my reckoning (I don’t need to be reminded that “the author is dead“), through which I manage to achieve one of the initial aims, but which also guided itself in a direction I had not anticipated. In the vocally tinged spatial atmospheres, textures and trajectories of Let x = there is a commingling of voice and environment which I feel fulfils my stated aims of “the transformation of speech into objects resonating at embodied.. and environmental levels” and the dissolution of “the barrier between ‘over here’ and ‘over there,’… the illusory boundary between ‘inside and outside’” (Tim Morton). Yet at the same time, the aim of deploying speech “as an ‘interface language’ between the kinaesthetic (nonverbal expression, including music, utterance, gesture and space) and the cenaesthetic (complex cognitive structures, including poetic language and the semantics of music)” has not really begun to be explored, simply because there is so little direct speech in the piece and when speech is heard it is in forms difficult to understand unless one is Indonesian (“Kaki langit,” the foot of the sky is the phrase that opens the piece) or capable of deciphering 6 languages at once (the closing moment of the piece simultaneously introduces the same phrase in English, German, Italian, Farsi, Bengali and Indonesian). Recognising that the piece guided itself is an important thing for me, not only because it recognises the extent to which things themselves have their own propensities and powers to which we are always having to respond (Graham Harman’s Guerrilla Metaphysics is good on this topic), but also because it means one can feel good about letting one’s own work-concept fall away and trust that engagement with the complex thing-in-itself (shadowy though its being is) will produce an object which is cohesive in its own ways, irrespective of how closely these match with the hypothetical thing it was intended to become. One of the other very satisfying aspects of this is that I can still attempt to compose the piece I thought I was composing, and by concentrating less on spatiality and more on semantics, perhaps a new work will emerge which “[deploys] speech “as an ‘interface language’ between the kinaesthetic… and the cenaesthetic”. Therefore the work itself is not finished. Let x =.