The rgms presents:
Over the course of the next months, albums by members of the rgms collective will be released.
These include collaborations and solo projects; however, all albums will be released under the name 'rgms'.
In the nature of the collective, identity is formed from a dynamic relationship with the parts that make up the whole.
These albums releases will begin to emerge in discrete pairs whose relationship will be either dialectically opposed or directly related. They will be issued either simultaneously or a week apart.
Release series #1 is comprised of albums born to the minds of all current rgms artists before the inception of the collective itself. It may be considered the 'Primum Mobile' of the unspoken centre.
The reason for this unspoken centre is that we do not wish to precipitatley impose an aesthetic or meaning upon the rgms. Instead, the rgms must be approached as a symbol with its own desires, allowing it to flower by its own volition.
By nature, creation is limitation, consciously or unconsciously we create a structure within which a symbol may begin to take shape. Without this form, a symbol (or an idea) escapes back to the realm of pure abstraction. This limitation (or structure) of the rgms is that of the Apollonian and Dionysian dialectic. (more on this)
With this in mind, the rgms has devised a heuristic to begin to understand the desires of itself.
This method of self-reflection makes use of a Release Code Chart consigned to a Cartesian plane:
RGMS Release Code In-Depth
Due to the nature of the collective, there will be a wide range of aesthetic output within the rgms.Despite this variance, each artist strives to remain true to the unspoken centre between that of Apollo and Dionysus.
Every release will therefore be labeled with coordinates from the essential rgms Cartesian plane.
The two poles of identifiability within rgms releases thus include, density (x) and anticipatability (y).
The latter pole concerns not only density of the occupied spectral band, but also that of the sonic and structural complexity.
The former pole of anticipatability, which also may be considered 'convention', is far more nebulous.
This is due to the fact that each individual possess a distinct and highly personal set of protentions when engaging in a music.
The artist places their respective brainchild on this graph then in accordance with their own predispositions balanced with that of pre-existing content relative to the collective itself.
Our four cardinal directions may be further classified as the following:
maximal immersions
minimal deserts
avante-garde tessellations
traditional re-workings.
And at the center, meditative canopies attempt to delicately straddle the four directions.
Note that all coordinates must be integers, and may not include a zero.
All zero coordinates are reserved for collective wide collaborative efforts, which focus on cultivating a meditative landscape.
