SUMMA / Notations (2012) is a work that operates at the intersection of sound, notation, and historical compression. Rather than composing music, the project proposes a system for processing musical heritage as residue: a form of sonic compost generated from the debris of canonical works of Western classical music.

At the core of the piece is a set of 210 notations or graphemes—symbols without fixed meaning, hierarchy, or syntax—designed to function as a typographic system activated through a laptop keyboard. These symbols are not representations of sound in the traditional sense, but operational units. Each grapheme corresponds to a one-second sound event produced by radically compressing the total duration of a complete classical composition into a single second.

Through this extreme temporal contraction, extended works by composers such as Johann Sebastian Bach, Wolfgang Amadeus Mozart, or Richard Wagner are stripped of narrative, harmony, and development, leaving behind dense acoustic residues: noise, spectral clusters, and compressed information. Historical duration is not preserved but metabolized.

Typing on the keyboard activates this system. Instead of melody or structure, what emerges is a mass of noise produced by the collision between symbolic input and compressed musical memory. The act of writing becomes an act of sounding, and notation ceases to function as instruction or prescription. It becomes a trigger, a switch that releases accumulated time as acoustic material.

SUMMA / Notations reframes notation as a site of value transformation. Classical compositions—often treated as stable cultural monuments—are reduced, fragmented, and re-encoded into a new system where equivalence replaces hierarchy. One second stands in for hours. Value is no longer measured through duration, mastery, or historical authority, but through density, residue, and operational potential.

Rather than preserving the canon, the work processes it. Music is not archived but composted: decomposed in order to generate new forms of inscription and listening. In this sense, SUMMA / Notations proposes a post-musical system in which history survives not as continuity, but as material pressure embedded within noise, symbols, and time reduced to its limit.