| 52 real seconds time-stretched into 90 seconds. For real.
... it sounds pretty familiar, but is it what it sounds like?
And (how) would it sound different, if it wasn't 'really' real?
[BG]
In its simplicity and wit, this is an almost Fluxus-like exposition of what is for most a fairly uneventful — even banal —
yet desperately intimate everyday act. This particular human-scale event not only functions
as a limiting factor
in terms
of the sonic
and rhythmic character of the piece, not to mention
its duration, but also defines the contours and
(er…) “flow” of the dramaturgy. With a coda.
The source material is a recording of a male subject urinating in a toilet, shaking out the
last drops of
urine
and finally, after a short pause, flushing the toilet. The recording was
time-stretched
to fit
the duration
requirements of the CD project it appears on as well as to play
with the project’s concept and title: “90 seconds of reality”. While we could imagine
different
versions of the piece, with different “performers”
who drink varying mounts of liquids beforehand
and/or
control the “output” to various degrees,
ultimately
their form and dramaturgy would
still be strictly circumscribed by the same category of human-scale physicality.
[Jeff Chippewa, concert series 'À la recherche de la miniature']
This is for real
Electroacoustic Composition, 2004
Duration: 90 seconds
Commissioned by the German Society for Electroacoustic Music (DEGEM).
Published as part of the compilation CD 90 Sekunden Wirklichkeit, Cybele Records, Germany 2005
.
......
Further Presentations:
Featured as part of the concert series 'À la recherche de la miniature', curated by Jeff Chippewa:
Festival Punto de Encuentros, Medialab-Prado, Madrid, November 2015
Dias de Música Electroacústica (DME), Seia, Portugal. February 2015
SONUS / Canadian Electroacoustic Community, Toronto, December 2014
Centro Mexicano para la Música y las Artes Sonoras, Morelia, Mexico, June 2014
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