Evil Quartet 

“Evil Quartet,” a term coined by American geographer Jared Diamond in 1984, refers to the four primary causes of species extinction, leading to the loss of biological diversity. These factors collectively serve as the most significant markers of the “limits of nature,” both individually and when considered collectively. 

The curse of commons and the prisoner's dilemma 

The utilization of global natural resources is not universally regulated, allowing individuals to determine the extent of their own enterprises. Consequently, most natural resources are considered common resources.

While these common resources may appear appealing, they face a significant challenge: the imminent limit. Our world is witnessing an exponential increase in consumer demand, coupled with the ease of harvesting natural resources. However, these resources are finite and can only be manipulated to a certain extent, leading us toward a definite collision with several critical boundaries.


No one involved desires a tragedy, yet it seems that no one is willing to back down. This situation resembles a prisoner’s dilemma, where each party independently chooses a high resource utilization strategy. This approach is the most profitable, and if one opts for a different option, others (possibly competitors) could benefit. Consequently, all parties choose a high utilization strategy, resulting in a worse outcome for everyone compared to if they had all chosen moderate utilization. Sustainability is a complex issue that intersects both social science and economics.

If we are getting closer to the limit and retracting is not an option, why not manipulate or postpone the critical moment?  

Recent rapid advancements in science have left us with a sense of excessive confidence. Despite these advancements, we remain unable to predict natural boundaries with absolute certainty and precision. Regardless of our growing ability to manipulate and control human-made limitations, we must acknowledge our profound powerlessness when it comes to natural boundaries. Amidst all this uncertainty, one thing is certain: we have already exceeded our tolerance limits, and this serves as our final warning.

How does all this relate to my work of theory fiction? 

The project takes the described concept and presents it on a metaphorical level. Imagine experiencing the subject matter through an acoustic encounter. The Evil Quartet now transforms into a string quartet, and we follow the listener’s train of thought. This listener could represent any involved party, such as a corporation, a restriction-forming government, or even an individual powerlessly observing. All these ideas manifest in his thoughts and decisions: he recognizes the harmful consequences but cannot reverse them, as doing so would give others an advantage. He has invested financial resources and expects a return. It is too late for silence, and a complete halt in development is an impossibility. All he is left to do is stand still and observe the unfolding events.

Sonic fiction:

The Evil Quartet: Concert for a String Quartet





Although I designed the audible component as an addition to previous research in theory fiction, this project has always been a work of sonic fiction. The text describes a sonic experience, and if I didn’t provide my own sonic interpretation, the reader would still have to subconsciously synthesize the sound. The Evil Quartet is corrupt. Its music is discordant and becomes increasingly intolerable and overwhelming the more you listen to it. You might have cared to understand it in the past, but everyone eventually loses their focus.

There are endless possibilities for sonic interpretations and conceptions of the Evil Quartet. Everyone hears their own. To some, the sound is distant and well below their sensory processing sensitivity. They might be turning a deaf ear to it or are simply unsusceptible to its sound. To synthesize my interpretation, I repeated the theory-fictional text using computer software. I extracted MIDI notes from a studio recording of my voice reading the text and assigned a software instrument (violin 1, violin 2, viola, and violoncello) to each note. The tonal range of the male human voice is represented by the limited frequencies of an 88-note software piano roll. It’s eerie, complex, and by layering the intensity, it also becomes progressively unpleasant. Furthermore, I implemented an experimental AI sound transformation tool called Tone Transfer, which originated from my original recording. The difference between the two components is striking. The first is exceedingly complex and layered, making it virtually impossible to execute in reality. The second is a clean violin solo with all the qualities of a live recording. Combined, they form a dynamic composition.