“It followed that | should deliberately create
some quite transitory kinds of just-in-time by-
products of my personal mediation process with-
given operating systems or user interface tech-
nologies in digital productivity media [in place of
contributing to electronic music or experimental
music in the first place]. So even though read-
only audio cds were not exactly capable of con-
veying that in all consequence, my records and
my music tried to introduce a new standard to
define and contribute to a classification of music
that is rather to been seen in procedural terms
[as process] as opposed to being seen as this cul-
tural category or container for musical genre.

“So, | was always--and with oval process even
more so--aiming towards a realized music cate-
gory that would finally do justice to what | see as
substantial transitions in electronic music produc-
tion that has [emerged] in previous years. So
these assumptions lead to the conclusion that
today's contemporary range of musical possibili-

ties in the sense of musical creativity are--in my
observation--to be evaluated in terms of a tightly
integrated, rather complex work flow. [Therefore,
the engagement] of the user or producer is to be
seen as rather a navigational effort from within
musical productivity. So what | would define as
the typical productivity in digital audio today is in
fact a navigational endeavor or an activity that is
centered around a range of software applications
which each on their own right allow for very
increased complexity through interchangeable file
formats. It is to be a common ground from
which musical productivity has to be interpreted
as opposed to being through the personality of
the artist.

“Finally, | see my task as not to artistically
explore but vigorously comment [upon] these
transitions in music making. Oval process's for-
mat was created more as a statement to shift the
focus of attention to procedural factors in the
work flow rather than just another interesting

artifact in the field of [the now] interactive digital
media. With electronic music production in gen-
eral being increasingly dependent on graphical
user interface[s], simple analysis and pattern
recognition on the side of the user (especially
since the personal computer has been serving as
the medium capable of integrating and providing
access to all former medias under one iconic
desktop) electronic music productivity software
has become clearly visible as the universal con-
tainer that is merging all the originally developed
dedicated musical definitions of productivity.
That is, whole decades of musical research
[experimental and academic] into one tightly
integrated work environment. This effectively
determines and ,of course [by definition], also
limits the range of any one particular application.
Therefore, | have decided to locate musical pro-
ductivity software as the main platform from
which | would like to see electronic music or pro-
duction to be discussed as opposed to always
being discussed as a form of innovative electron-
ic music.” — SFU Harbour Centre, October 19,
2000

“It followed that I should deliberately create
some quite transitory kinds of just-in-time by-
products of my personal mediation process with-
given operating systems or user interface tech-
nologies in digital productivity media [in place of
contributing to electronic music or experimental
music in the first place). So even though read-
only audio cds were not exactly capable of con-
veying that in all consequence, my records and
my music tried to introduce a new standard to
define and contribute to a classification of music
that is rather to been seen in procedural terms
[as process] as opposed to being seen as this cul-
tural category or container for musical genre.
So, | was always--and with oval process even
more so--aiming towards a realized music cate-
gory that would finally do justice to what | see as.
substantial transitions in electronic music produc-
tion that has femerged] in previous years. So
these assumptions lead to the conclusion that
today's contemporary range of musical possibili-

ties in the sense of musical creativity are--in my
observation--to be evaluated in terms of a tightly
integrated, rather complex work flow. (Therefore,
the engagement] of the user or producer is to be
seen as rather a navigational effort from within
musical productivity. So what | would define as
the typical productivity in digital audio today is in
fact a navigational endeavor or an activity that is
centered around a range of software applications
which each on their own right allow for very
increased complexity through interchangeable file
formats. itis to be a common ground from
which musical productivity has to be interpreted
as opposed to being through the personality of
the artist.

“Finally, | see my task as not to artistically
explore but vigorously comment [upon] these
transitions in music making. Oval process's for-
mat was created more as a statement to shift the
focus of attention to procedural factors in the
work flow rather than just another interesting

artifact in the field of [the now] interactive digital
media. With electronic music production in gen-
eral being increasingly dependent on graphical
user interfacefs], simple analysis and pattern
recognition on the side of the user (especially
since the personal computer has been serving as
the medium capable of integrating and providing
access to all former medias under one iconic
desktop) electronic music productivity software
has become clearly visible as the universal con-
tainer that is merging all the originally developed
dedicated musical definitions of productivity.
That is, whole decades of musical research
[experimental and academic] into one tightly
integrated work environment. This effectively
determines and ,of course [by definition], also
limits the range of any one particular application.
Therefore, | have decided to locate musical pro-
ductivity software as the main platform from
which | would like to see electronic music or pro-
duction to be discussed as opposed to always
being discussed as a form of innovative electron-
ic music." — SFU Harbour Centre, October 19,
2000