One question asked during the work was if the way in which we perceive music has something to do with how we have learned to perceive specific sounds, and how this in turn connects to different general types of dynamic processes in nature? Is there a way to understand on which grounds we create, perceive and value the wholeness of larger informational structures? And if so, how can this be used as strategies for musical composition?
The text also discusses the fact that the artistic work has its ground in two different and simultaneous conceptual fields. Or rather that one field con- cerns itself with concepts while the other makes itself known by more or less precise emotions, hunches and subjective purposiveness, to speak with Kant.
The text is searching for some clues concerning how to describe the relationship between the two forms of knowledge. Are there any subterranean connections between them, or are these two cognitive domains totally sepa- rated? Some fifteen compositions have been the outcome in connection to working with the above thoughts and artistic ideas. Text and music comment on each other in a way that is similar to compositional work where the source material grows out of an oscillation between structural and intuitive perspectives. An important basis for the ideas around the compositional process and its general requirements has been the poem Alfabet by the Danish writer and poet Inger Christensen.