One of the earliest graphic ways of recording musical works was the neume system used in medieval music. The altitude designation of sounds in the neumes system was practically absent, and the direction of the melody was indicated to the performers using specially established signs - neumes, which were dots, hooks and strokes. Gradually, musical notation became more complicated, and the signs became more accurate in transmitting not only the pitch, but also the duration of the sounds. Since the XVII century, a five-line clock notation has been used - a classic type of West European linear notation, the most common to this day.
With the invention of computer technology music has changed and digital symbol systems come in place of the musical notation type. In parallel with this, signs that did not imply a direct reading began to appear in the sheet music scores of modern academic music, and the result of interpreting these signs by the performer approached free improvisation. Many composers perform musical notation in the form of musical graphics, more similar to the drawings.
In this project the author refers to the space of everyday life as a place for the appearance of such graphics. Fragments of the surrounding reality turn into simulations of musical scores, phonorecords, into the likeness of a digital code. They become akin to photographic negativity, the image of which can be shown by the performer.
But in the case of graphic fragments of reality, this never happens - spontaneous notations are not intended for sound. They appear randomly and disappear, unheeded.