saeculorum presents recorded materials collected over a period of several years, comprising instrumental performance, electro-acoustic sound production, fixed media and environmental miscellany in a compositional form which exhibits high mesostructural discontinuity. Diverse timbre and texture events are arranged in a discrete, piecewise fashion, eschewing linear development and ‘narrative’ in favour of formal stasis. This sense of stasis is established by a consistent, high frequency of change throughout the composition; a continuous, structurally orthogonal flux which, rather than the shock of disjuncture, proposes a ‘softer, ambient avant-garde’ (see Lin, Tan. Heath Course Pak. Denver: Counterpath, 2012. p. 133). Each individual segment was recorded in the same room and is thus conditioned by a fixed set of acoustical parameters, producing an acoustical sameness or similarity which serves to counteract local timbral and textural heterogeneity. Additionally, the presentation of instrumental, electronic, and non-musical, environmental textures as discrete, contiguous events might suggest a skepticism towards the common approach in much contemporary sound art and experimental music of articulating form via an additive process of multi-timbral, multi-textural superimposition.

Recorded in the same room in Yanaka, Tokyo. Cover art by Dahong Hongxuan Wang

《saeculorum》是多年来的录音素材的呈现，其中包括器乐演奏、电子原声制作、固定媒体与环境杂项，其构成形式展现出高度的介观结构的不连续性。

众多的音色和织体事件以离散、片段式的方式排列，摒弃了线性发展与“叙事”，转而追求形式上的静止。这种静止感源于贯穿整部作品的快速变化；一种连续的、结构正交的流动，它并非带来断裂的冲击，而是呈现出一种“更为柔和、氛围化的前卫”（引自Lin Tan的诗集《Heath Course Pak》，丹佛Counterpath出版社，2012年，第133页）。

所有的声音碎片都在同一房间中录制，这些声音也受到固定的声学参数的制约，从而产生一种声学上的相似性，以此来抵消局部的音色和织体的异质。此外，将器乐、电子和非音乐的环境纹理呈现为离散的、连续的事件，或许也暗示着对当代许多声音艺术和实验音乐中常见的通过多音色、多织体叠加的加法过程作为表达方式的一种怀疑。