One of the most unique features of electroacoustic music is its capacity to project a virtual space which does not physically exist as such, but which is made to appear to do so. The spatial perception of acousmatic electroacoustic music is a result of the interaction between the acoustic and psycho-acoustic conditions composed on the tape and the listening situation. Since there are so many unpredictable factors involved, this perception of space is unstable and individual. Nevertheless, I believe that creating principles for spatial composition should give some sort of coherence not only to spatial perception, but also to the overall aesthetic value of the musical work.

The starting point for composing 'Ab ovo' was the motion of a pendulum. This means that I have to imagine a sort of sound, perhaps a tiny air vibration caused by the passage of a pendulum, and represent it musically in an electroacoustic sound space. 'Ab ovo' is the final abstraction of such a compositional process. Although the primal pendulum sound I made is no longer left in its original form, two aspects of the motion of the pendulum - periodicity and the stopping of motion caused by some interference - are reflected in various ways throughout the piece. (Akemi Ishijima)