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| rd22t [2022/05/31 11:36] – givanbela | rd22t [2022/08/04 10:19] – givanbela |
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| ===== Thinking of transmitting the 22h piece [Title of Work] ===== | ===== Thinking of transmitting the 22h piece [Title of Work] ===== |
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| One of the techniques to "stay on the job" is a training in bi- to polyphased or segmented sleep, like done before by politicians, soldiers, cosmo- and astronauts, solo sailors, artists and scientists. Buckminster Fuller, Napoleon and Churchill, Leonardo da Vinci or Tesla, they all did it. And when we were babies we were all doing it as well. Monophased sleep seems to have taken over recently, probably due to the industrial and office timeschedules. Each can find a comfortable polyphased sleep schedule while the idea is not to limit the hours of sleep. Salvador Dali, but also Thomas Edison and Alexander the Great were doing a different thing, by trying to wake up in the N1 stages of sleep, creating dreamlike movements which combine the last awake experiences with related memories and wandering thoughts. But that is a different idea. | One of the techniques to "stay on the job" is a training in bi- to polyphased or segmented sleep, like done before by politicians, soldiers, cosmo- and astronauts, solo sailors, artists and scientists. Buckminster Fuller, Napoleon and Churchill, Leonardo da Vinci or Tesla, they all did it. And when we were babies we were all doing it as well. Monophased sleep seems to have taken over recently, probably due to the industrial and office timeschedules. Each can find a comfortable polyphased sleep schedule while the idea is not to limit the hours of sleep. Salvador Dali, but also Thomas Edison and Alexander the Great were doing a different thing, by trying to wake up in the N1 stages of sleep, creating dreamlike movements which combine the last awake experiences with related memories and wandering thoughts. But that is a different idea. |
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| In our case, to create a 22 hour performance, if each of us would be phased differently, we could guarantee that minimum trios, quartets, or even sextets to happen without additional fatigue symptoms while playing. Over the last years, the following schedule seemed comfortable and allowed an efficient working/creating schedule: first an early 3-hour sleep till 1 am followed by being awake for 2 hours, then another 4-hour sleep often interrupted by a maximal 1 hour awake period, provided a minimal half an hour siesta is enjoyed after lunch. But let each and all find their own relaxed phased timings.. sure a sleep based time fragmented composition can be made out of this. Various Artists, the artist has been experimenting with this for years, and is living in a triphased sleep existence, and promised to enlighten, train us a little in the coming months. | In our case, to create a 22 hour performance, if each of us would be phased differently, we could guarantee that minimum trios, quartets, or even sextets to happen without additional fatigue symptoms while playing. Over the last years, the following schedule seemed comfortable and allowed an efficient working/creating schedule: first an early 3-hour sleep till 1 am followed by being awake for 2 hours, then another 4-hour sleep often interrupted by a maximal 1 hour awake period, provided a minimal half an hour siesta is enjoyed after lunch. But let each and all find their own relaxed phased timings.. sure a sleep based time fragmented composition can be made out of this. Various Artists, the artist has been experimenting with this for years, and is living in a tri-phased sleep existence, and promised to enlighten, train us a little in the coming months. |
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| Let's start to think about phased/segmented sleep as a compositional structure for the work... | Let's start to think about phased/segmented sleep as an experiential compositional structure within the work, parallel to the sounds of nature, varying over day and night continuously, which would be a compositional structure for the work, finally superimposed with interpretations of sounds from several geolocations with (non)human instruments, which could be the augmented result of both structures... |
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| {{ :ruraldevelopment:digitalartsofa.png? |}} | {{ :ruraldevelopment:digitalartsofa.png? |}} |
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| | ==== 7/25/22, 10:55 AM - golo foellmer: Kaleidophonics ==== |
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| | **Stringed options / sound layers that we build kaleidoscopic patterns from:** |
| | * Guy: Sleep Rhythms (4 hours awake, 1/2 hour asleep), adapting to alternate patterns |
| | * Kirsten: ›open mike‹ to thought and communication processes (talking and making sound/music in parallel) |
| | * Golo: Reveal radio’s extremely strict patterns and highly disciplined archive sounds and play them |
| | * Kirsten/Golo: At start of the show we split up into 3 groups or 6 persons and stream from mobile units |
| | * Guy: Meet at Guy’s and Dom’s and elsewhere long before Esch and record sessions that we remake live later but have for backup |
| | * Guy/Golo: Play songs from all times — Documenta-Radio Songs from 2017 etc. |
| | * Guy: Take up very basic concepts of playing pipes, strings, plates, membranes, bodies etc. |
| | * Golo: Find the basic concepts of pipes etc. in radio history and discuss or play with them |
| | * Golo: material from AM & Shortwave archives, online archives and own radio recordings |
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| | **Talk with Marco on 23.6.** |
| | * Using and modifying live radio from Weltempfänger and radio.garden live |
| | * already before/soon recordings of remote stations in radio.garden and do experiments with them on the modular (record original and at the same time live transformed version) |
| | * use my superimposed recording of 24 radio shows or superimpose new ones |
| | * create fragments from radio recordings that introduce the characteristic program blocks of radio ('And now the weather', 'The news', ...) , then continue transformed |
| | * Underlaying the hour structure of different times of the day to our actions, emphasizing them by modification (stretching/compressing in time, weakening/intensifying, ...) |
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| | **ways of playing out:** |
| | * TikTok |
| | * Twitch |
