The composition of the work was inspired by the I Ching hexagrams No. 49, "Revolution/Molting" with changing lines to No. 5, "Waiting / Nourishment". In the first hexagram, "the influences are in actual conflict, and the forces combat each other like fire and water (lake), each trying to destroy the other." This reading fairly describes certain aspects of the work, such as the irreconcilable differences between the timbral, harmonic and tuning structures of the organ and tape parts. The energy suggested by this reading is also in keeping with the character of the work which involves a series of four exponentially decreasing patterns of density, eventually leading to the equilibrium of the ending whose sustained and isolated tones in both parts suggests a maritime soundscape with boathorns.
The work was written for and is dedicated to Ewen McCuaig of St. John's Church, Ottawa, who commissioned it with the assistance of the Canada Council.
Both the tape and live part were realized with the composer's POD6 and POD7 programs for computer sound synthesis and composition at Simon Fraser University and the Institute of Sonology, Utrecht. The tape was mixed in the Sonic Research Studio of the Department of Communication at S.F.U.