Charlie, I appreciate the explanation but as you might imagine I'm rather at a loss for words. Half the things you mention are unfamiliar to me.

Maybe conceptually it comes down a "plenum" architecture which treats silence as time-occupying matter, rather than just the absence of sound, hence the Track of Silence? A synchronous carrier of sorts, the musical ether that is the shape of musical time.

Now I'm thinking again, as I often do, of John Cage's 4'33".

I have wondered how it would be possible to do it in BIAB, in a way that involved BIAB being involved in a BIAB-like way. The movements are all silent, but the performer is instructed to pause between them, and to somehow behaviorally indicate the juncture to the audience. A clarinetist can do this by lowering the instrument, a pianist by removing their hands from the keyboard. How can BIAB?