The piece finds a tangential echo in a sentence by Timothy Morton in his Dark Ecology:

“Two kinds of weird: a turning and a strange appearing, and a third kind, the weird gap between the two.”

Although written with period instruments in mind, the piece is performable on their modern equivalents. All the instruments are prepared with styrofoam. Inviting a restricted freedom; in the first part the performers can move between and interpret the information there-within, but have allotted time to do so. Time limitations are suggestions and can also be swayed at the discretion of the performers. The last section is optionally timed with a strobing light cast onto the performers or close to them.

Bergrún Snæbjörnsdóttir