Ex. 1. illustrates the process, encompassing mapping, sampling, sharing, embedding, embodying, and listening to specific sounds (piano and reeds) as they undergo a sonic transformation. The listening transcripts form a new mapping of the sonic territories, which are then sampled, re-cut, and shared as track titles, poetic text snippets, and, concretely, as sampled voices and words. Ex. 1. is excerpted from the piece, 'Soft beating, Small ladder', released on the album 'Traversing Sonic Territories' (see Published Works)
Ex. 2 is another excerpt from the same piece mentioned above. It exemplifies related yet distinct samples that carry different contexts, such as the samples from Kjærgaard's solo piano album 'Concrescence'. The bleed from Snekkestad's acoustic saxophone can be heard as sustained notes when he triggers piano samples from 'Concrescence'. Meanwhile, Toop's bone conduction microphone is audible, (re)playing samples on drum skins. Once again, the listening experience is transcribed, mapping out new territories and laying the foundation for further explorations.
Ex. 3 is another passage from the same piece. Among other sounds, we can directly trace samples from Kjærgaard as they traverse the sonic field. In this instance, 'Lineworks' is (re)played through Toop's bone conduction microphone onto a drum skin, while 'Fieldworks' is (re)played through a sampler at a slower speed, causing the pitch to drop. The disjunction between these two lines, even if indeterminate in how they intersect, creates an unforeseeable counterpoint and polyphony.
Ex. 4. is a duo track excerpted from the piece entitled 'Hushed Chronologies',released on the album 'Cutting Together/Apart' (see Published Works)
