Artificial Memory Trace
Presents a composition designed especially for headphones:
Nonsense_On_SENSE 16:40


Created by AMT/Slavek Kwi in Ivy Cottage Studio, Ireland - June 2007.

Manual:
Press PLAY and listen with closed eyes. Listen from the beginning only.

Concept:
PERCEPTION. NO COGNITION !

WARNING: Do not read!
The further you read, the more difficult it will be for you to listen without PRE_concepts (=pre_JUDGEMENTS). Comprehension is an obstacle, beware!

Again:
The more information you absorb, the more influenced you'll be in the way you listen _ you'll attempt to comprehend and you'll inevitably create a time_delay in between the perception and reception (=analysis).

PERCEPTION_NO COGNITION.
If you RE_cognize anything, your thoughts will adhere to the series of associations*. Combinations of sounds provoke imagery coherent exclusively to our own EX_perience, even so called "objective" (=agreed) RE_ality is still composed from sub_realities, which are ultimately subjective. What is true and what isn't true? (The reality is of such bizarre nature, that's hard to believe it actually exists!)

LISTEN, just listen. There is nothing to be understood. No comprehension required accessing this work. Don't get distracted by any meaning that these sounds might provoke in your mind. Sounds are simultaneously both concrete and abstract; there is no energetic difference barring their polarity. All sounds are UNSPEAKABLE, … absolutely impossible to describe …
(Note: FEELING).

STORY (insert):
Once upon a time I met a man, a composer. We drank coffee and discussed music. He had just come from a concert of electracoustic tape music. "It's always the same" he said. "Doors slamming, bird is singing and then some water gurgling". He then showed me his new CD. I read on the cover: violin, flute, guitar …, and thought to myself, always the same instruments. Interestingly, when we hear the sound of the violin, we hear music. When we hear the sound of water, we don't hear the music but just the sound of water. Why?

[* ASSOCIATIONS are misleading.
Slipping from the subject/object of observation (percept itself) and chaining together, further and further from the initial IN_formation.

The process of chaining associations creates distance within time_dimension: interpretation, such as collecting and examining thoughts (memories on EX_periences) and forming them in chains (with some system: rational/irrational) is much slower than the unfolding of reality, and consequently such chaining of associations creates a time_delay. Differently said: If the meaning starts to form within our geometry of thoughts, the perception is distorted immediately by interpretation, causing a delay in reception. This delay phenomenon usually multiplies, and results in theories and philosophies.]

List of Sounds (= samples of Reality):
Basically, any sound is abstract and without any reference to its origin and experience. there is not any association with origin of sounds employed!
Composition as re_organization of Reality_particles:
Basic skeletonal_structure was created from various transformations of sounds of squeaky trains in freezing air recorded originally in Prague 1994 and sounds of pontoons floating and creaking beside Sydney Opera House, Australia 2006.

Sounds generated by or/and from:
(All recorded 2006-2007 in Ireland, except if noted otherwise.)
Prepared drum doumbek and finger-rattles. Large tam-tam, Chinese ringing balls, Ping-Pong balls. Mouth harmonica, child's xylophone and ukulele. Slide-flute. Popping plastic bubbles of wrapper, percolator, whistling teapot. Little air-fan. Making fire. Grandfather's pendulum clock (1994, Prague), music-mechanic-machine. Cutting wood with hand saw and circular saw, cutting metal with angler, hammering, motorcycle. Drawing and painting. Water tap, vortex down bath plughole, and water stream recorded with hydrophone. Rain. Inside of bee hive (1994, Czechie). Goose and ducklings. Ambience in garden of Ivy Cottage, and truck passing by …

The most challenging is to perceive voices (especially in a language we understand) as pure abstraction - for its energetic and textural contains.
Voices employed:
Cries of newborn Manuel and Eithna, with her parents in background. Fragments from messages left by our friends on answering machine recently. From sessions with autistic child, voice of teacher. Fragment of guitar song with adult in psychiatric hospital. Cleaning nose … Happy Birthday toooo yooou!
-

AFTER READING:
Forget all in-FORMATION formation within your mind.
The thinking is gone. Cognition fades, only perception persists. Resist.
You can imagine whatever you want! However, forming an IDEA limits the potential of the observed subject. Without thought, the potential of the object/reality remains intact, released from interpretation:
absolutely free to exist.
LISTEN as it is.
Piece: "Nonsense_On_SENSE", inevitably variation II - as your perception is altered by absorbing all the written information anyway.
(However, … if you would intend to interpret IT in any particular manner, whatsoever you might consider as real, feel real_ly free …)

____
Paradox of Paradox: The truth isn't true unless in balance with non_true.
Complementary Contradiction:
Within sound-realm of this work are no intentions to express any ideas or concepts.
However, the reality of experiencing the process of creation is leading me inevitably to my own personal interpretations associated with specific state of mind during the time of creation and afterwards. Though sounds are left to own destiny, tittles and comments documents fragments from other levels of possible relationships, parallel outcomes of creative process, therefore subjective.
Multi-dimensional character of creation is obvious. Interpretation is interface of unique relationship with sound-reality as object creating paradox. To balance paradox, inter-relation (=tension) is in harmony of extreme principles: on one side, the object as outside reality is left (with no judgment) "as it is" and other side, the subjective, the reality is percept as unique - personal - interpretation serves to define individual understanding of reality. Therefore the encounter between I, as the unique, creates automatically balanced tension with the universal, as reality.