Today I went to Auto Italia South East to see Terre Thaemlitz: Interstices. I was just checking their website and it describes and element of his/her practice:
Thaemlitz’s other main compositional technique is ‘systolic composition’. Just as a systole in prosody means the shortening of a naturally long syllable, systolic composition is the process of abridging sound sources by removing primary passages in order to create new compositions. The passages most commonly deleted are vocals, figuratively silencing the dominant discourse within popular music in order to hear the interstitial sounds at their periphery.
‘Systole’ also refers to the rhythmic contraction of the heart pumping blood out of the chambers – an ostracism of essence. This removal of the music’s voice, heart, or lifeblood is neither silence nor death. New melodies and phrases arise. Often the remnants of a singer’s breathing can be heard in the remaining passages, suggesting emotional, physical and/or sexual exasperation, and occasionally resulting in the whispering of new words.
Which also reminded me that I was recently was in the car, listening to this programme:
It's about how the simple process of cutting and splicing has changed the way people view the world. The one quote I went away with was from a filmmaker saying 'what we've all got to think about when we read a report or watch a film is what's been left on the cutting room floor' (just to paraphrase, or add another layer of editing).