The content begins to change with the addition of new instruments. The keys dominate the composition, but new elements evoke a new situation. What was previously isolated is now a cohesive compositional container in dialogue with the subordinate instruments. The contrast of presentation strategies ascribes an uneven distribution of hierarchy - the instruments are divorced from a grounding element. The story I'm receiving is that this keyboard is conjuring associations as a part within a group.
Chris' formal approach indicates to me that he has affirmed my intentions to express levity, urgency, and the restless spirit of creative expression. It would appear that he has tempered his treatment to keep consistent with the mode of dialogue established in phase I. Perhaps he has considered the attitude of the receiver, encoding his message with the assumptions that I would appreciate in keeping with the human qualities of the first round.
Social and cultural factors are not evident in this artifact. There is a low degree of specificity about context in this message. We can determine by the inclusion of the electronic microphones
indicates a limiting of historical scope, but a specific time period does not appear to have been communicated.
The read of the image is rather immediate - it requires little superfluous knowledge or motivated thinking to arrive at the conclusion that the keyboard belongs to a greater array of instruments.
Channel - does not seem applicable considering that the output medium is standardized.
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