The experiment Chaos Sive Natura is an interval, an in-between, an “&,” a critical space between Schönberg’s “to make music with ideas” (Schönberg and Kandinsky, Musica e pittura: Lettere testi documenti), the impartial acknowledgment that sound is the physical effect of vibrations travelling through air, the effect of these vibrations on the human cognitive function, its displacement in a “chaotic” spatial dimension, the Electric Tree (2016) of Franco D’Andrea’s electronic jazz, and the “molecularisation of sound” that puts to the test Deleuze and Guattari’s notion of rhythm in A Thousand Plateaus. Chaos Sive Natura attempts to trace a new path among the many that are possible towards new forms and contents, offering a reading of the Refrain plateau from the perspective of the new musical and philosophical culture theorised by Kodwo Eshun (More Brilliant Than the Sun: Adventures in Sonic Fiction, 1998), Erik Davis (“Roots and Wires,” 2008), Louis Chude-Sokai (The Sound of Culture: Diaspora and Black Technopoetics, 2016), Achim Szepanski (“Technodeleuze and Mille Plateaux: Achim Szepanski’s Interview (1994-1996),” 2017), Edmund Berger (“Killing Art,” 2017), among others. Departing from Nietzsche and Spinoza, and arriving at Deleuze and Guattari, OCSS claims that even a small difference in the milieu can cause a radical change from the initial sonic material. At the horizon of Nature as rhythm, OCSS catches sight of how a “non-orientable accelerationism” may look like.

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Chaos Sive Natura