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Writing

The White Swan [Edition 0]

Cover — peacock-feather mandala in iridescent blue and gold, title in Isenheim caps, 'Notes from an Unfinished Novel, Part 1a: Sound'

Colophon — Studio 417K imprint, copyright, publication details, 'Set mainly in Bembo, with some hints of Utopia'

Epigraph — Studio 417K header, 'Iridescent Asymptote', poem in coloured Isenheim lettering: 'Once upon a time, I saw a hue of blue, so transcendentally beautiful and bright', OC monogram

Selected Reviews of Current/Past Words — reader testimonials in bordered cards, from a Sterling Professor at Yale to a former coworker at Duke

Introduction — opening essay, 'a multimodal fugue in thirteen movements', justified ETbb body text with line numbers and coloured navigation dots

Template page — Transcendence as format explainer, QR code, moon photograph, waveform visualisation, radar chart, song box metadata, essay in ETbb describing the anatomy of each track page

Track I: Subzero — Ben Klock, Before One EP, dark forest corridor cover art, kanji 牛, essay on minimal techno and the Berghain sound

Track II: Black Russian — DVS1, Klockworks 13 vinyl sleeve, kanji 牛, essay on ethereal synthetic sadness and the Berliner Dom at sunset

Track III: Aurora Centralis — 747, alien-sculptural silver cover art, kanji 龍, essay on acid techno, Sisyphus, and the Olympian ascent of sound

Track IV: Solah — Amotik, Amotik 005 white-label vinyl, kanji 兔, essay on ethereal synthetic sadness and the Berliner Dom at sunset

Track V: Stüp — Holden Federico, Dust EP on SK_eleven, circular vinyl photograph, kanji 龍, essay on Sisyphus, grandeur, and the Olympian ascent of sound

Track VI: I (One) — Aoud, Se Mkii on Persephonic Sirens, cumulus cloud photograph, kanji 蛇, essay on thundering cloud, crashing tsunami, and desert dunes

Track VII: Nyctophilia — Dorian Gray by Edit Select, orange marble vinyl on Android Muziq, kanji 馬, essay on night, Oscar Wilde, and chaotic aesthetic hedonism in Berlin

Track VIII: Marionette — Mathew Jonson, Gothic ink-sketch cover art of wide-eyed faces on Freedom Engine, kanji 羊, essay on Lovecraftian sound, Dresden, and Caspar David Friedrich

Track IX: Phantom Studies — Marcel Dettmann & Ben Klock, Rorschach-mirrored face cover on Ostgut Ton, kanji 猴, essay on the label's 100th release and the Panorama lounge

Track X: Nostalgia — Introversion on ARTS, orange coral and lichen texture cover, kanji 雞, essay on acid techno's primal divine and the memory of emotion

Track XI: Target Line — Radhåd by Veil, dark forest photograph on WSNWG, kanji 狗, essay on machine music, the autobahn, and the unmistakable call of Valhalla

Track XIII: Paradise Engineering — Barker, Memento Mori skull painting on Ostgut Ton Utility, kanji 貓, finale essay on trance and the outer limits of dance music

Back cover — pure black with 'Objects in the mirror are closer than they appear' in faint script at the bottom

The White Swan — full resolution page