The desire is, not to see the intention while flowing through the interfaces, but to embrace a paradox, that will have to wait for its solution if a solution is possible for another occasion. An unforeseen experience(s) in a mystic closed-circuit of behaviour, isolated from consummation and purpose. The experience, not actually cut off from life and the person but it yearns for it, and refrains from the equation.For this paradoxical premise, to create a continuum of sound with an instrument which can perform discrete, percussive attacks is notable. Continuum, if strips from the regularity of consciousness and reception, follows a general path of alternation between periods of relative stability and periods of flux. These can be described as periods of mistiness contrasted with periods of clearing up.The cycle of continuity with time creator Cio D’Or’s pattern-transformation technique allows her to move freely and smoothly from any given point of stability to another, even when they have no obvious relationship. Cio D’Or utilizes a mixture of scientific and intuitive methods to create a dizzyingly complex, multi-layered tapestry of profound perceptual links between musical elements. She oscillates by added volatile touches in the basic, temporal or close relationships of the sequential, or transfers with the sounds’ own variations, and sometimes progressively deform or glitch in the changing circular pattern. Then reaches the loops’ transfusion and materializes in the insurmountable abyss. Reaches unfathomable depths at points and encourages us to ignore the intentions of the composer and experience the work for what it is, not what it is supposed to be... In this context, takes the spotlight off the composition that is being heard, and allows the sound to be visual, by focusing us on the form, pattern, fabric and texture of it.As the catalysts of time flowing in different dimensions, vvxxii, Alex Ortiga(SY/IN), Pınar Marul and Alperen Kartal create a permanent, visual map across the data/signals that is emitted in waves and reaching with invisible stimuli. At this point, the involuntary conversion of optical and tactile into acoustic sensations is becoming a reflex in the face of music. In inscriptions, the words are the projection of the continuum. Their relationships, connections and processes that appear each of them, support maximum accessibility in the sensation.Discreteness as an intermittent representation of continuously experience (such as time) (rhythm; a sequence of generalized discrete events, sensed as continuously in time, or in other words, digital data; within it’s jointed, integrated and homogenous appearance, consists of detached signals or abstract codes) - based all this representations of discreteness within in the continuity, through the levels of abstraction in their loops, feeds on fantasies while enlarging a parallel reality.After the perceptions that are insufficient with their evolution, the “thing”s and every piece that manifests itself in the mind is a self-constructed universe as the laws of time here are redefined.