fluid narratives

a 15-minute work following an alchemical arc across five sections. the harmonic field is progressively stripped until only a single pitch remains. the ebru tray acts as the primary electronic sound source; the voice emerges from its world.

opening pitch: g3 (shadow). final pitch: e6 (singularity). low register to high. ambiguity to presence.

a six-movement chamber work setting the poetry of ken ueno, written specifically for this project. the voice traces a lifecycle of language, water, and memory: from stable mythic origin in mvt I, through fracture and embodied pre-language (II–III), into political argumentation (IV), to total erasure (V), and finally returns as a transformed timeless voice (VI). water is the constant; language is what moves through its phases.

tuned to the just-intonation harmonic series of D. the ebru instrument is treated as a co-equal performer — actively gesturing in some movements, holding still while exciters move the liquid in others, inscribing silenced text into the water in another.

echopraxia names involuntary mimicry — the body repeating a gesture before the self has consented to it. the piece treats imitation not as metaphor but as a physical condition: a system in which voice, instrument, water, and machine continuously reflect and transform one another.

the first sound is a single drop of pigment on water. the first movement is in the water, not in the ensemble. across five movements, no gesture remains singular and no repetition remains identical.