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If we take a longitudinal look back at our rehearsals and performances, we notice that we have inverted the old warehouse-band paradigm, or at least torqued it into a different sort of banding together. Under the warehouse paradigm, collaborators rehearsed the same music endlessly in preparation for shows; shows in turn served as markers of progress towards a band chemistry that warranted recording sessions. But we have flipped this chemical script: we relentlessly record everything we do, and play and tune the energy created by this constant motion to induce patterns of non-semantic but at the same time community-bonding resonance. In other words, if we look for consistency in our collective practice, we notice a process of growth and development that unfolds as a sort of stigmergy external link, as a process of constant motion accompanied by frequent, routine, and almost mandatory motion capture external link which is itself both the activity and the stimulus to further activity, as well as the means for creating opportunities to rest, be silent, and listen, as well. In our sonic ecology, stigmergy depends on the art of listening and facility with listening technologies. Listening sustains our space of resonance, which operates according to a mostly non-semantic interaction and communication between collaborators through sensing and modification of the local environment external link. In other words, as we all know, its the listening that produces our sound: we record all basement activity, all mix down sessions, and try our best to make and distribute stable copies of our rehearsal activities, so we can listen together remotely. As they accrete, these listening experiments do in fact yield recognizable patterns and recursive feedback loops, and some of these feedback mechanisms, we have discovered, serve as attractors to other resonant domains.
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