rhythm for me

Zipping a file saves space. But that compression also takes some time to process. One has the choice to either take time to compress or take more space into memory. In nature, excepted from the case of black-holes maybe, there seems to be no information loss in the transfer process between time and space, and vise-versa. Apparent losses in a computer could be into heat; noise.
These simplified entropic concepts taken from information theory are a great source of inspiration for me. They fit with the way I work with algorithms because they stand at the foundation of data composition.
Algorithms indeed describe, or conceptualize, several parallel time representations into a box. The latter are spread into a real space at the moment the play button is pressed; that tiny right triangle. Once again here, one can see how spatial and time processes can be linked together; where process is displacement. This is an opened door for spacial computing

Rhythms are from another side; from a perceptive and cultural aspects. They are the product of how patterns are being recognized. Those unit patterns can sometimes be recognized and counted by an instrumentalist unless they are too blurred and complex to be clearly tangibly perceived. Not being able to perceive it however does not mean there is no rhythm. That physical aspect makes another couple between time and space; where process is movement.

Rhythm is for me not only the quantization of time slices. Accentuation can indeed exist from the continuous intensity of “musical” elements. Rhythm can be elastic and swing until the very limits of perception or concentration.
My audio and spacial works often explore these considerations using sound spatialization (wfs, ambisonics, pannings etc) or narration timelines (literature, music-theatre, opera etc). I can for instance start from a skeleton of sliced information into perceivable elements. Ornamentation is then hooked onto it thus creating almost fractal patterns. Could that be some digital baroque ? I am inviting the listener to have a similar active listening as if he was reading a text; from infinitesimal rhythmic forms to a macroscopic architecture.
My times and spaces are like any other polyphonic parameters in the compositional concept, any dimension. Playing with their scale gives the impression to hear complex textures from far away and hear infinitesimal rhythms that creates it. This is similar to moiré interference. These rhythmic zooms are the place where the audience can interpret the piece; they have enough time and space to freely explore the abstraction and make the personal discovery they are into.

These concepts are broad enough they for me do not have to be rational or formal. I am more interested in the opposite from entropy (negentropy): how a work culturally emerges and exists from simple microscopic quantize rhythmical structures. The fact I come from techno might help for that matter.