der Wind versteht nur den Wind

The title is bor­rowed from the poet­ry of a young Thomas Bern­hard, and it speaks to the struc­tur­al and metaphor­i­cal qual­i­ties of the piece. A stub­born delay line — some­what akin to an infi­nite impulse response fil­ter act­ing upon a num­ber of sam­ples bet­ter count­ed in the mil­lisec­onds — inter­acts with its input to reveal con­stants in time and tim­bre. Its rates of change and devel­op­men­tal process­es are most­ly mold­ed by feed­back process­es, and unfold just beyond our usu­al time­frames for musi­cal perception.