This work explores anticipation as something shaped by time and sound within performance. Instead of moving from preparation to performance, the piece stays entirely in the moment of getting ready, making preparation itself the full duration of the work.

The sound environment is formed by incidental noises of readiness—bodies, objects, and technologies coming into alignment before a performance begins. These sounds, usually hidden or ignored, are treated as essential parts of the work rather than as something that comes before it. By remaining in this in-between state, the piece suggests that preparation has its own substance and sense of time. The work ends through an arbitrary interruption, pointing to the external forces that decide when artistic labor is recognized as “performance.”