The work was composed in 1986 following theories the composer was developing for a new music for the mind. The work falls into two parts:

'Prime'; which employs sequences which are either broken or unbroken. These function to stimulate the mind to anticipate what is about to come and to feel the energies that exist before the music is physically realised.

Extremely soft staccatissimo sounds are a characteristic feature of the texture.

The second section:

'Materialisation' attempts to support the energies felt in the first section.

The composer uses 'suitably irrelevant' notes and passages intended to cast the mind of the listener back to the first section.

Throughout both sections incongruous material is intended to surprise the mind into greater awareness.

The whole piece is an attempt to write music that goes beyond silence.