This piece might be viewed as an archeological dig, on two main levels. In the first level I was beginning to use the analude to explore the parts of myself that are deeply hidden, entirely non-verbal, and essentially therefore nameless. In the second, later, meaning of the dig metaphor—but still connected to the first—is the resurrection of the piece, in 2011, as a recording, through the various labeling, storage, and re-coding systems that have been used to preserve it in the intervening thirty years. The two types of digs interpenetrate, but since I’m using my sequential and linguistic brain-side to compose these notes, I have no choice but to refer you to the Technical Comments for this piece (in the book accompanying the album) for a description of the second. Back to the first dig: as the range of the different types of sounds I could make with the analude increased, I became more deeply expressive of my subconscious while using it, although I was only vaguely aware of this at the time; most of my conscious attention went to the details of developing the analude, and physically adjusting its setup; and playing it...
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