Mira‑S explained in a 2025 interview: “I wanted to create a piece that feels like a —each tick is a grain of sound, each tock a flash of colour. 372 is the moment the clock stops, and the listener is left to hear the echo of what might have been.” 3. Musical Construction 3.1 Sound Sources | Source | Description | |--------|-------------| | Granular synth patches | Built with the Granulizer X VST, using field recordings of Antarctic wind, processed into 10‑ms grains. | | Algorithmic drones | Generated by a custom Max/MSP patch that evolves a set of resonant sine‑waves via a L‑system rule set (axiom: A → AB , B → A ). | | Glitch percussion | Sourced from a bit‑crushed PCM sample of a 1970s analog drum machine, re‑sequenced with probabilistic Euclidean rhythms. | | Vocal fragments | Recorded from a choir of 12 volunteers, sung in an invented “Mira‑tongue,” then stretched and pitch‑shifted using Zplane Elastique . | | Environmental ambiances | Subtle layers of underwater hydrophone recordings from the Great Barrier Reef, filtered through a resonant band‑pass. | 3.2 Structure The composition can be broken into four loosely defined phases :
For the deepest experience, we recommend using headphones (or a good pair of studio monitors) and opening the web app in a modern browser (Chrome ≥ 110, Firefox ≥ 108, Safari ≥ 16). 372 — Missax is more than a track; it is a multimedia capsule that blends algorithmic composition, visual art, and participatory technology into a single, contemplative experience. It exemplifies the Missax project’s ambition to treat sound, sight, and code as interchangeable materials for storytelling , and it has already left a measurable imprint on both the ambient music scene and the broader world of interactive art.
itself is a coined term derived from “Missa” (Latin for “mass” or “assembly”) and “axion” (a fundamental particle in speculative physics). The portmanteau therefore hints at the work’s dual ambition: to assemble a collective of sonic particles into a cohesive mass, and to probe the smallest building blocks of perception.
Mira‑S explained in a 2025 interview: “I wanted to create a piece that feels like a —each tick is a grain of sound, each tock a flash of colour. 372 is the moment the clock stops, and the listener is left to hear the echo of what might have been.” 3. Musical Construction 3.1 Sound Sources | Source | Description | |--------|-------------| | Granular synth patches | Built with the Granulizer X VST, using field recordings of Antarctic wind, processed into 10‑ms grains. | | Algorithmic drones | Generated by a custom Max/MSP patch that evolves a set of resonant sine‑waves via a L‑system rule set (axiom: A → AB , B → A ). | | Glitch percussion | Sourced from a bit‑crushed PCM sample of a 1970s analog drum machine, re‑sequenced with probabilistic Euclidean rhythms. | | Vocal fragments | Recorded from a choir of 12 volunteers, sung in an invented “Mira‑tongue,” then stretched and pitch‑shifted using Zplane Elastique . | | Environmental ambiances | Subtle layers of underwater hydrophone recordings from the Great Barrier Reef, filtered through a resonant band‑pass. | 3.2 Structure The composition can be broken into four loosely defined phases :
For the deepest experience, we recommend using headphones (or a good pair of studio monitors) and opening the web app in a modern browser (Chrome ≥ 110, Firefox ≥ 108, Safari ≥ 16). 372 — Missax is more than a track; it is a multimedia capsule that blends algorithmic composition, visual art, and participatory technology into a single, contemplative experience. It exemplifies the Missax project’s ambition to treat sound, sight, and code as interchangeable materials for storytelling , and it has already left a measurable imprint on both the ambient music scene and the broader world of interactive art. 372. Missax
itself is a coined term derived from “Missa” (Latin for “mass” or “assembly”) and “axion” (a fundamental particle in speculative physics). The portmanteau therefore hints at the work’s dual ambition: to assemble a collective of sonic particles into a cohesive mass, and to probe the smallest building blocks of perception. Mira‑S explained in a 2025 interview: “I wanted