The graphic scores of o-f-m-o-n-o-f-o-r-m-o-n-o are built from the texts in this volume. The characters commonly associated with the notation of pitches keep their relative positions in the plane but are isolated from their original contexts. The outcome of this process are structures of scattered letters/notes that are used in the development of rhythms, dynamics and/or textures with the inclusion of lines, deletions and/or other blots executed in an axiomatic and malleable way. These signs are applied using painting and drawing materials, sowing lines and other techniques that are fixed upon scanning. If on one hand these result in traits that imply a procedural dynamic, on the other, the series adjusts to the rhythm of the pauses of this issue and to the reading sequences imposed on it. Four reading principles can be linked to the incentives chosen in this process:

First: start from a pre-text;

Next: define order, aggregation or isolation;

Consecutively: incorporate and adapt appropriated data;

Definitively: adopt free execution.

Published by Research Group in Art and Intermedia (NAi) Research Institute in Art, Design and Society (i2ADS) Faculty of Fine Arts, University of Porto, Portugal