We are close to each otheR.  42:27       
[multicolored sound-draft, radiophonic fairy-tale]
WACTEO was created in July 2000 in studios of DR Radio 1 - Lydmuren 
in Copenhagen in Denmark (with special thanks to Peter Kristiansen)        
  < Notes from_sleeve
Reflections leading to concept:
I have impression, human gestures (= interventions), especially "musical"          
(instrumental) and even more VOICES attracts more our attention. It is probably somehow closer to our 
sub-consciousness (= potential identification). Human presence seems having dominant character,          
these sounds has less capacity to interact with other sounds, it leaves less space for other coexistences.
I am convinced about compatibility of all sounds, depends on context (situation) of listening (observation), 
tuning conceived as combination of energetic balancement and psychical acceptance of another, 
until now inexperienced "new" situation (combination).
Basically, it is anyway character (morphology / "texture", inner energetic structure & "containing" etc.) 
of sound itself, what determinates all, no matter of origin. On first place, I am always observing potential of sounds 
(capability to interact or/and coexist with other sounds), each sequence and/or single sound are considered 
as independent entity - I am searching for balance through nature of each participant 
(> strategy of "controlled" coincidence), sounds are playing roles of "individuals" coexisting inside "societies of sounds" 
(= compositions). 
The harmony is very relative, it is consequent to the perception.
An attempt at employment of human voices as non-referential abstraction  - simply as "colors / textures" 
and creation of various sound-situations according to observed potential of collected sound-material generated          
from voice recordings (divers languages included). 
The purpose is research of perception in relation with changes in context.
Question is: is it possible percept specific sound-situation created exclusively from voices 
- even with very referential character (as it is, for example, with language which I understand) 
- as pure abstraction (sound itself)? What are conditions of such perception?
Organization of sound-scape in divers relations of (1) "individual" sounds and 
(2) "collective" organisms / situations together in multiplicity of variations 
(including "abstract" vs. "reference" and all other combinations 
[appearing in process of creation] with contrasted or/and fussed character). 
Sound material:
(1) during a few years I had collected from my friends voice-recordings of one phrase in different languages 
(recorded in natal language = interpretation of translation is free) and in variations according personal choice of approach.
 The basic phrase is:
         "We are close to each other , 
... we are  c  l  o  s  e  r   than   you   think   !    "
Contributions :
(with my thanksssss and love to all my frrrriendssssss)
Yasutoshi Yoshida, Koji Tano, Kanako Toya, Kayoko Hosoi, Kay Harada (Japan)
Ron Lessard, Michael Northam, Seth Nehil, Josh Russell (USA)
Ralf Wehowsky, Felix Knoth, Mariolla Brillowska, Ralf Schroeter, Rainer Winkler (Germany)
Christian Renou, Eric La Casa, Lucien Suel, Erik M (France)
Vlastislav Matousek (Czechie) + shakuhachi flute in background
Helen Blackhurst, Mary Grehan, Thomas Maher (Ireland)
Mathieu Delvaux, Tom Hannes, Tom Goris (Belgium)
Peter Kristiansen (Denmark)
Hanna Hartman (Sweden)
Susanna Marin Izquierdo, Lidia Benavides, Leticia Agudo (Spain)
Kostas Moschos (Greece)
Victor Gama, Mariana Do Rosario, Floriane Silvestri, Jorge Mantas (Portugal)
(2) field-recordings realized in Denmark, Mexico, Ireland, Spain, Belgium and Holland 
connected with subject from any irrational reasons.
(3) additional recordings provided by some participants (as ambient recordings from Louvre by Eric La Casa etc.). 
         WACTEO was broadcasted in August 2000, 
         DR Radio 1 | Lydmuren in Copenhagen _ Denmark.