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| rd22t [2022/07/29 10:15] – givanbela | rd22t [2022/08/16 13:05] (current) – [7/25/22, 10:55 AM - golo foellmer: Kaleidophonics] golo |
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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 tri-phased 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 an experiential compositional structure for the work, parallel to the sounds of nature, varying over day and night continuously, finally interpreted with (non)human instruments... | 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 and highly disciplined archive sounds and play them |
| | * Guy/Golo: Play songs from all times — Songs by Los Dos 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: Play with radio’s extremely strict time patterns and material from AM & Shortwave archives, online archives and own radio recordings, questioning their relation to naturality |
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