K U

In Zen Buddhism KU means "empty" or "emptiness" which can not be known. The great 17th century's Japanese master of arms Miyamoto Musashi describes its essence indirectly, subordinating the experience of it to the direct journey on the Way to the understanding of one's duty growing no ambitions in the heart, to the refinement of wisdom and will power, to the development of intuition and the power of attention.
KU can not be understood rationally: to become aware of it a kind of enlightenment - or Satori – is needed and can happen suddenly, even listening to what lays between two sounds. The KU project is meant to guide the listener through harmonical and rhythmical paradoxes to grasp just that very instant when a sound takes shape, escaping to pre-established rules, when intention and action are just one.

Repetition, discipline and rigor anticipate a quite unsettling yet almost mystic musical experience: instant composition is a creative and unplanned act and springs from knowledge. We think the music with our own musical instrument as we are inseparable from it as a Samurai is from his katana.

RHIZOME

In botany a rhizome is a modified subterranean stem of a plant that is usually found underground, often sending out roots andshoots from its nodes. If a rhizome is separated into pieces, each piece may be able to give rise to a new plant.
The plant uses the rhizome to store starches, proteins and other nutrients which become useful for the plant when new shoots must be formed or when the plant dies back for the winter. Rhizome has also been used to describe theory and research that allows for multiple, non-hierarchical entry and exit points in data representation and interpretation as opposed to an arborescent (hierarchic, tree-like) conception of knowledge, which works with dualist categories and binary choices. A rhizome works with planar and trans-species connections, while an arborescent model works with vertical and linear connections. As a model for music, the rhizome resists the organizational structure of the root-tree system which charts causality along chronological lines and looks for the original source of sounds and looks towards the pinnacle or conclusion of those sounds. Rather than narrativize music, the rhizome presents sounds as a map or wide array of attractions and influences with no specific origin or genesis, for a rhizome has no beginning or end: it is always in the middle, between things, interbeing, intermezzo. The planar movement of the rhizome resists chronology and organization, instead favoring a nomadic system of growth and propagation.