After reading Milton's Paradise Lost, I imagined several different ways of structuring a soundtrack: having all the music written from Satan's point of view, having different tracks speak for different characters, or having one piece of music for each of the twelve books. I eventually settled on the latter, choosing to explore the following phrases from Paradise Lost:

Book I: darkness visible
Book II: long is the way and hard
Book III: celestial light shine inward
Book IV: hell shall unfold her widest gates
Book V: I have dreamed of offence and trouble
Book VI: remember, and fear to transgress
Book VII: light ethereal, first of things
Book VIII: soft on the flowery herb I found me laid
Book IX: their eyes how opened
Book X: that dust I am
Book XI: among these pines his voice I heard
Book XII: the world was all before them

Milton's God speak through repetition. Milton's Satan speaks through suggestion. To enable both voices to resonate, I built up twelve repetitive fragments that slowly evolve and bleed into each other.

The end result - for me at least - means that I am often unsure who, or what, is speaking.

If there is a centre, it is turning. (Or, certain forces - symbolised as God or Satan - are turning us.)

The accompanying video is Maya Deren's "Meshes of the Afternoon" [https://archive.org/details/meshesoftheafternoon] played back at 33% speed.

youtu.be/vrpl2RtoCr0

(This speed made the video almost exactly the same length as my soundtrack.) If the video and music ever seem to cohere or contradict each other... it is purely coincidental.

Which sounds like another way of saying: if there is a centre, it is turning.