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Mortalitech

No piece of technology has a set purpose. Perhaps the designer had a function in mind. Perhaps it was bought out and reconfigured by the manufacturer. Perhaps as times changed it was re marketed as something else or developed a cult following of its alternative uses. The same of course goes for music technology. If it makes sound it can be wired into something that changes sound. If it makes many sounds it can be run through something that augments the signal in a variety of ways. If it has multiple inputs and outputs elaborate intersections of signals in different formats intertwine to unleash frequency spectrums far in excess of the confines of the preset. But the search for new noise is riddled with pitfalls. The Nexus/hub/current set up is never stable. Overheating, freezing, feedback, peaks in amplitude, software glitches, walls of noise or the special kind of audible riddle that no one can solve, these are the weapons of the machines. We of course have our brains and sense of aesthetic. As cohesion with the Nexus manifests we take it to the stage and attempt to wrestle it into submission before a live audience. Sometimes we win, sometimes we lose, and always we learn. Those perfect instances performers or audience have yet encountered fall into place existing only for that one brief moment in time make every struggle worthwhile. Every Nexus defeated is redesigned to be more powerful and complex. The redundant techniques discarded, the successful experiments passed on, the death and rebirth cycles of nature made manifest in the world of machines.