The piece takes place with two percussionists separated at a linear distance of 150 yards. The performers are equipped with personalized metronome tracks which guide the them through the various stages of the piece.

There is a microphone placed at each performer. Four additional microphones partition the ensemble, each 30 yards apart, equidistant in its relationship to the next. This distance is sought after, as the piece is written specifically around this spacial arrangement and its relationship to the speed of sound.

As one impulse is triggered, a five-note delay succeeds the initial in the playback of the piece.

As sound travels from one microphone to the next, one hears the entire lifespan of a sound in an instant, an over-exposed photograph revealing multiple points of time. The natural filtration of these sounds, though complex in this abstraction, contain no forms of electronic manipulation.

For here the sound of a snare drum, a point digit in the anatomy of perfection, travels along the line of the horizon, a ceaseless and uninformed voyager. The metronome tracks lead the performers through the various phase relationships that occur throughout the piece. As the piece progresses, the phase relationships split, but the delay pattern created in the microphone placement alludes to an increase of interconnectedness, eventually reaching a singularity of infinite complexity. At this point anything and everything imaginable will occur instantaneously. This is the goal in a sense, or something like it. A resonant pond.

Performed on Nov. 7th 2010 by Ryan Packard and Christian Smith in Oberlin, Ohio