Night Traffic

The starting point was a set of programmed sketches. The work was deciding which of those elements should stay exactly as they were and which needed a person playing them.

Keeping the grid, losing the stiffness

Where a part stayed programmed, it stayed quantised and unapologetic. Where a part was replaced, it was played without correction so that the contrast between the two is audible rather than smoothed away.

Remote and in-person

Some of this was tracked in a room and some of it arrived as files. The practical difference is only where the notes get given — the decisions are the same, and so is the order they get made in.