In this flat dimension; information gets stripped to immaterial data (into the realm of virtuality) allowing multiple manoeuvres without constraints of materiality. Information as data can be stretched, looped, cut, past, shared, analysed, modelled, etc. - the virtual layer of time can stretch from extremities. Within this ‘electronic time unification’ and the proliferation of digital networks, we are able to experience co-presence, to be virtually present in different local temporalities. 1.
......working with both software and hardware manipulations of time the track unfolds. Droning modular is populated by a soft stretch of Brian Eno’s Windows 95 startup, elongated to perform elastic chronology. Samples of increasing bpm synthesis demonstrate the line between audible rhythm and drone in manipulated pitch. The audio departs with the sonification of constellation patterns which gesture towards pseudo-pop territory. [pop is transmission].
1. The hardcore continuum demonstrates the accelaration of the drumloop which gains momentum to the apex of split time. The relentless bpm creates an elongation of chronology through repetition - the duplication of beat enters a kind of vacuum space operating outside of linear time - this is the location of Goldie’s ‘Timeless / Inner City’. Meditating on this in John Akomfrah’s 1996 ‘The Last Angel of History’, Goldie states that “Technology has broken time down, ‘cause we are the future. ‘Cause the time we’re in is the future”.