Was originally designed to explore the capacity of finger combinations on a fretboard, i.e 24 combinations of four finger patterns. Broken down into 3 stages, the first stage worked by exposing finger independence difficulties and non – scalar improvisation and composition potential. the second stage was ‘ superimposing ‘ 2 of these configurations on to a geometrical shape constructed from the imagination or by using naturally occurring shapes such as star constellations. The order of the fingers to be used referring to the 2 finger combinations, would correspond to the nodes in the shape and reveal an order of nodes of the shape in which to play or interact with. The third stage was to take this shape and order to visualise this as three – dimensional and large scale, an architecture originating in the combination of finger orders and mapped geometry.
The next stage intended the process that has already happened to happen again but instead while ‘ inside ‘ this created architecture to query how the results would differ.
This system is full of inconsistencies and irrational leaps of faith and serves now as a concept model or generator for ideas to be put through. Thus far it has been used to generate choreography, performance strategies and improvisational scores. However the model asks fundamental questions, being, how creative and effective can a concept system/generator be even with major flawed rationales? What happens when that concept system/generator is ‘ weighted ‘ that being significantly or emotionally?