The following description would have been valid, were it not for unforeseen and inexplicable technical difficulties:

“detritus | reconstructions presents the listener with the products of a chain of robotic and acoustic interventions. Objects derived from my recent work entitled detritus I (for counter-tenor, ensemble, and electronics) selected and reconfigured by Max/MSP in real time, are projected via piezo discs into the piano in my studio. The piano-resonances are continuously fed into an accumulating bank of sounds, which are subsequently transmitted into four contrasting acoustic conditions within the academy—the iteration of this process forming a series of feedback loops. Ultimately, a) the presence of visitors in the ‘activated’ spaces and b) interactions with a small sampling-robot, trigger the articulation of the ‘output’ of the various imposed filters.”

A live realization of the piece was presented during the 52-hour-lab. However, due to unfortunate circumstances, a greater focus was assigned to the selection/reconfiguration process of the source-material than the feedback/accumulation process described above. The performance also included a presentation of terminal_expansion, a work from 2008 originally for 4-channel electronics.