There are two core dialectics in this album. The vertical dialectic is audible in "Delimit", "Apophrades", "Dialectics", and "Fallow", where the pitched synth material and unpitched percussion material are unrelated in tempo, meter and form. In all four tracks, the pitched and rhythmic materials were written separately as autonomous pieces and then superimposed. I borrowed this idea from Varèse, who frequently treated the percussion section independently in his orchestral pieces. The horizontal dialectic is the gradient structure (more like a moment form in the title track) of gradual transformation of foundation materials, audible in the same four tracks plus "Rebind" (in which the pitched and unpitched elements share tempo, meter and form), "Frater" (which has limited pitched material) and "Astyanax" (ditto).
Late in the album's development, under the influence of Coil and the Quake soundtrack, I wrote the static pieces "Heautoscopy", "Reduviidae" and "Obepsm" which disregard both dialectics and thus either undermine or reinforce the album's title, depending on how charitable you're feeling. I was reading Thomas Metzinger and Laird Barron while writing this album and their influence is evident in the track titles and (I hope) the general tone.