L∞P is an experimental sonic composition that exploitatively explores repetition and the impermanence of human focus. The piece consists of a repeating 2-bar loop, made of 8 lines of harmonic notes and synchronized rhythmic punctuation. The dense saturation of the composition is intended to lead the listener to an aurally satiating experience; unable to focus on the seemingly stagnant piece of music, the listener’s mind wanders and begins to hear a myriad of micro possibilities within the piece. Once aware, the listener may consciously drift and sift through the piece, paying attention to the fallibility of their own cognition, allowing their mind and awareness to guide them through the dense cluster of tones. The compositional agency and this piece’s performance fall heavily on the individual listener and the ever-fluctuating ebb and flow nature of their wandering mind.
Ben Glas (b. 1992) is an experiential composer based in Berlin. Through ephemeral compositions Glas’ work questions preconceived notions between the acts of passive hearing and active listening. In seeking to discover open ended forms of music and pragmatic listening perspectives, Glas’ compositions focus on the realms of subjective perception and cognition, via the use of acoustics, psychoacoustics and space as tools for sonic composition. His work has been exhibited internationally, including the Portland Institute for Contemporary Art (PICA), Glasgow’s Radiophrenia festival, the Soundwave Biennial (SF) and the Czong Institute for Contemporary Art (CICA). He is currently receiving his M.A. in Sonic Studies at the UdK.
https://www.thankyouforyourunderstanding.com/
For physical products, L∞P was present as endless loop-tape cassette produced by Zhu Wenbo. Each cassette is 6 seconds around in each side, super short but could be played to the end of the world. Because of the joints on loop-tape, it sounds totally different with digital music.
Full hand-made product. And line notes was printed on hand-ring calendar (a product from Atmosphere Office).
