The music contained herein was constructed in 2005 and 2006 with sounds obtained from the sculptures of R. L. Croft (Daddy tool, Mama cool, Perpetual notion machine, Abandoned tools with dandelion, Shunpiker, Tragicomedian, Guardian, Sower, and Wilted, tilted & jilted) on tracks 1, 3, 5, 7, 9, 10, 12 and 14, and the sculptures of Ken Huston (Meaning Of Red, Origin Of A Straight Line, Cradle, Is Three The Square Root Of Nine, Edifice, Untitled, Remains Of A Small Tree, Three Broken Hearts and Ritual Vessel) on tracks 2, 4, 6, 8, 11 and 13.

For the sonic pieces in the show, the raw sounds of percussion and movement of sculptures, tool use and conversation are harvested with recording equipment and then replayed and manipulated in ways that alter their origins to create new contexts and environments. The process is one of intuitive choices and emotional responses realized through technical and organic means. These sound compositions could be appreciated as an alternative and complement to the unscripted sounds of daily life or as a separate story of their own. The methods build on the tradition of musique concrete set by Pierre Henry, Pierre Schaeffer, Edgar Varese, Karlheinz Stockhausen, John Cage, Alan Splet and other found-sound manipulators.

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