Name: Next Month Last Year Will Seem A Lot Longer Ago by Samuel L. Jetson in 2015 in reverse
Duration: 3 min 48 s
Description: A collage made from leftovers and stray bits I pieced together last year, forgot about, and recently found.

2015 in reverse

Ofrenda De Velas A La Virgen Negra (Monasterio de Montserrat)

Sound piece created from collective writing exercises.
Can Serrat art residency/ Narrativa Colectiva
January, 2022

Created with field recordings of the environment and collaborative poetry written in the diversity of languages of the writers.

Renga is a genre of Japanese collaborative poetry in which alternating paragraphs with extension patterns per line  are linked in succession by multiple poets.

Renga

Instalación sonora para cuatro altavoces.

«El oráculo, como modo de decir, ante todo consiste en no dar explicaciones. Explicar es desplegar, y el oráculo es algo plegado»
Jacques-Alain Miller

Instalación sonora inspirada en las practicas oraculares de la Antigua Grecia, en tanto que crean a partir de su propia acción/enunciación; algo que también sucede en un acto performático.
Esta autocreación sempiterna de lo oracular se manifiesta siempre en tiempo presente, dado que tiempo y espacio en el universo oracular son la mismísima cosa.
El presente es la totalidad de todo lo que existe. Y todo lo que existe, existe ahora, existe en este espacio, existe en esta sala donde el sonido se proyecta…

«El pasado no puede recordar el pasado. El futuro no puede generar el futuro. El lado afilado de este instante, de este aquí y ahora, es siempre, ni más ni menos, que la totalidad de todo lo que existe.»


released February 11, 2021
Voices:
Vidente anónima hindú (recorded in New York)
Escritora pakistaní (recorded in Barcelona)
Maia Koenig (recorded by herself in Málaga)

Covert Art: Mariana Gallay

Teatro Oracular, instalación sonora para cuatro altavoces

Grabación de campo dentro de una cámara anecoica.

Grabación y superposición de siete veces del registro para amplificar la textura del silencio de la sala.
Cámara anecoica del Departamento de Acústica de la Universidad Ramón Llull, Barcelona.
Febrero, 2022.

Investigaciones del silencio / Cámara anecoica de la Universidad Ramón Llull, Barcelona.

Sonido del cencerro de las vacas pastando en Los Pirineos

examine-plain-028-2022-04-20(braun.aarsound150_160bpm).wav

GLUCK 150*160 BPM

@braunaar
istanbul, TR

028-2022-04-21

examine-plain-029-2022-04-22(touriszm x truthspeaker).wav

becoming symptoms again
@truthspeaker1
-

029-2022-04-22

examine-plain-030-2022-04-22(januball_sullafia-навалил).wav

@januball-sullafia
st petersburg, RU

030-2022-04-22

A Brian Eno cover, recorded by Kleg in 1995 for a compilation cd entitled 'Beats & Bedrocks versus Art. 8.10'. This cd was meant as a protest against restrictive sound level regulations issued by the city of Groningen. 

http://www.poparchiefgroningen.nl/discografieen/beats-bedrocks-versus-art.-8.10/view

Brian Eno, interviewed by Andy Gill in Mojo, June 1998:
 "The title Warm Jets came from the guitar sound on the track of that name, which I described on the track sheet as 'warm jet guitar', because it sounded like a tuned jet. Then I had the pack of playing cards with the picture of the woman in there, and they sort of connected. That was one of the things that was going on at the time: this idea that music was still tied to some idea of revolution, and that one of the revolutions was a sexual revolution. I wasn't making a big political point, I just liked having fun with those things. Most people didn't realise for a long time -- it was rather deeply concealed!"



Here Come The Warm Jets

A collage made from leftovers and stray bits I pieced together last year, forgot about, and recently found.

Next Month Last Year Will Seem A Lot Longer Ago

Samuel L. Jetson

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