After the first event the composer calls for an even distribution of short wave events and other events, but much freedom is allowed here. The score carries notations of the characteristics mentioned in last paragraph, which are to be considered according to the consecutive order of the transformation signs laid down by Stockhausen . The short wave event should be imitated to the limit of the players talent, and retained on over into the next event, until replaced by the next short wave sound that emerges. The score even asks the player to articulate the searching process itself. This instruction applies to all visual and theatrical possibilities.
Amplification is used throughout at performances, and the sound is distributed through loudspeakers.
The spatial projection uses faders and a rotation-mill. I will not elaborate on this, but the method is more complicated and useful than it may sound in this description, and greatly elevates the experience of movement, almost to the point of dizziness. I don't know to what extent the environment had any impact on Stockhausen 's writing while there. He drew the sketches of the work in 1969, elsewhere in the world. It is incredibly rich in sounding adventure, and the feeling while listening is like sitting down at a dinner table set with the most magnificent eatables of all kinds, with spices from the far corners of the Earth and fruits of exotic origin of many colors and shapes.