Phil Edelstein, May 2026
A simple essential in a euphemism of (my) creative travels is the idea of a point of departure. This point contains a set of precepts and pre-conditions about the arrival, a recognition of present circumstances, and departure perhaps with a goal though certainly a direction, a path if not a vector. I see in this an idea of function both in the mathematic sense and of the idea of something working.
I admit to having limited interest in fixed goals. For the departure, I hope to join fellow travelers as collaborators, a set of materials and algorithms of compelling interest and need. I prefer meanders in contrast to linearities. I suppose that the larger purposes will become apparent in the journey rather than necessarily having a sense of mission. I enjoy the sense of imagination and visions of what comes along.
I am cursed to an extent of building with a sense of process, design, architecture, structure inherently and explicitly shaped by available technologies.
These meanders start with premise inherent in the exploration of a selection of materials and collaborators.
The current points of departures are collections and incremental evolutions of new and old unrealized ideas.
Some of the structural elements include explorations of:
- Resonance of materials
- Sound in space
- Essentials of human in the loop of cybernetics and the nature of feedback
- Compositions and structure that rely on the dimensionality of mathematically chaotic system
- Definition of process, of algorithm
- Of characters and interactions
There is an occupation of what’s found in the reflection rather than the direct source.
This stands in contrast to randomness, of noise, of linear predictive systems, of narrative, plot, political agenda.
I’ve come to his as a means of navigating the world at small and large.
I’ve managed mostly to avoid public explanation and seek to remedy that to the best of my abilities.
In my latest departures, I have the need to be more articulate about the nature of sound in space, of sounding objects real and virtual, composition and orchestration in time and space.
Perhaps I have come to these points with time and mind space for reflection to aid in explanations. There is an underlying use of the nature of sound that exists in space at a point in time. Rather than seeking to fill a room with a single sound, there is a premise of possibilities to be realized where space, sounds, objects be real or virtual are to be presented for exploration by others be they collaborators, composers, performers, visitors, audience, participants.