All great systems of production and interpretation, including musical discourses, increasingly appear as a large futile body. A universe that can no longer be interpreted in terms of psychological relations, or in structures or oppositions, must be interpreted in the terms of play, challenges, duels, and the strategy of appearances — that is in terms of seduction. Moreover seduction threatens all orthodoxies with their collapse as it is a black magic for the deviation of all truths.

I can no longer discuss my music in terms of structures and narrative unfolding (ie: Below the Walls of Jericho, In the Natural Doorway I Crouch, Caught in an Octagon of Unaccustomed Light and The Melting Voice Through Mazes Running [these are recorded on the compact disc The Threshold of Deafening Silence, Tronia Disc, TRD 0190]). These stories and ideas was only intended for those whose imagination were so weakened by the virtual reality of the mediascape that they needed a visual analog or a story for the music. The music always began where words ended, and the best that I can hope for is that I have provided the physics, or the interaction of motion and energy, for your own seduction.

Physics of Seduction. Invocation #1 was recorded and produced at the composer’s studio in 1991. It was commissioned by guitarist Tim Brady with assistance from the Canada Council for the Arts (CCA). The work was premiered by Tim Brady on May 1, 1991 at the Music Gallery in Toronto (Canada). Physics of Seduction. Invocation #1 was performed by Tim Brady for the 1992 compact disc Imaginary Guitars on the Justin Time Records label (JTR 8440-2).

Composition

• 1991, Personal studio, Vancouver (British Columbia, Canada)

Premiere

• May 1, 1991, Tim Brady, electric guitar • Concert, The Music Gallery, Toronto (Ontario, Canada)