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The mind and body, as it becomes inserted into environments of newness, is hyper-aware of both the internal and external processes of perception. The aim of this composition was to capture what I was experiencing when I lived in Hong Kong. The processes of melding an extreme “mind-noise”, almost in a dream-like state and then to be whisked into the reality of a culture of speed and mass consumption was the central targeted theme of the piece.
The experience and hence the piece is described in 3 stages: 1. An awareness of what becomes new. Entering into a space so alien to what one is use to is completely bombarding. This city with its dense population immediately becomes shocking to those who are not very use to crowds. 2. In a stage of intense adaptation-mode I came to grasp the rhythms and codes of the culture. It was the internal stages of reflection pushing itself out into the surroundings, not only for survival, but also for the genuine interest in the utterances of that culture. That is, an interest in the sonic components of Hong Kong. Being that all differences are located within a frame of reference, one can be determined to flow within those patterns and be accepting to change. 3. The last stage represented would have to be awareness and choice. It is located in the ability to thoroughly recognize all of the previous stages and make a choice about how to observe this aural space. The process of recording and composition is a very useful tool. Thinking about those two words “recording” and “composing” is a process of both collection and recapitulation. Encounters with the Dragon is exactly that: an encounter, a collection of the “aural space” of my encounter and a summarizing representation of that experience.