This text analyzes the process of composing and improvising the musical experiment Flow Vertical. This artistic exploration for chamber orchestra responds to a theory of biosignals, incorporating a putative sonic mapping of “inaudible” sound vibration of the author’s biofield as understood to be measured by an SCIO device. The interpretation and represent ation of measured frequencies influenced the creation of an “assemblage,” the system of interconnected human and nonhuman agents within the piece. The artist applied an original eight-week-long method of creation, investigating how this idea of body vibration and a specific yogic routine could aesthetically affect music.
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