20/02/2014 42' 39''

English

Curated by Dave Phillips

Time affects existences in ways that make the one-dimensionality of manmade chronometrical systems feeble to the point of rendering them obsolete. Time as it is commonly displayed nowadays has more to do with economical mind-sets and conditioned value projections than with (our) nature – minutes, hours, days, months, years are merely a convention that enables us to function within other human-made boundaries.

When aspects such as energy levels, intensity, density, body chemistry, humidity, temperature, strength or weakness, attention, complexity, experience, space, matter or moods (to name but a few) are included in a perception, the frailty of chronometry becomes even more apparent; by simply factoring in for example the rate of your heartbeat to the moment/s of your respective experience the metrical time-count in regard to perception becomes arbitrary. Hindsight and/or reflection make the matter on hand no less complex. except, of course, when time is money; we all know where that goes: 'single-ticket to shitsville, please'. Touching tips of melting icecaps.

Chronometry might be comparable to the reduction that is verbal language, like clutters of gibberish that clot the receptacles yet feign comprehension. Though both seem to offer quite the contrary at first and can, in their own self, suggest interesting insights, a distinctive lack of totality and emotional depth is quickly discerned when respective laws or patterns are scrutinized.

Rational or logical approaches describe similar attempts but in fact merely display a fraction (the tip) of understanding, which happens on different levels simultaneously. If life had but one dimension then logic might even suffice. Are we losing our sentience or have we already lost it? Sound in regard to duration and intensity taps into some of the essences of life that might shake us back awake. Reevaluate and reconsider; remove those nappies – à poil! Some orifices shall remain forever silent.

Understanding has seven levels (at least) of which only one can be reduced to words. A time count including silence and noise might exhibit a broadening towards more realistic dimensions but would still be a reduction. Duration is the time during which something continues, but what if that continuation is an error? How long will an error that spans centuries, like fear of god (the fear), take to finally be deinstalled, if fear of god (the band) lasted a mere 18 months but are still talked about 25 years later?

Maybe the silences in between the noise contain more tension and meaning, but when non-pitched, systemized sequences of acutely pronounced silences add to the texture, do they address the content, let alone offer any useful answers? Ah, this remarkable ability of humans to attribute a meaning to everything... Short-term and long-term perception within the same time-frame with strongly differing results regarding effects affected.

Part one and part four of the podcast last the same chronometrical time, though part one contains half the amount of pieces. Part four proposes a culmination of sonic and textural experimentation within the constraints of time which it simultaneously challenges. Which part conveys what sense of time and why, and how do the above-mentioned additional aspects come into play?

Most dimensions are yet to be explored.

Dave Phillips

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