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?
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
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
and finally, after a short pause, flushing the toilet. The recording was
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
versions of the piece, with different “performers”
who drink varying mounts of liquids beforehand
control the “output” to various degrees,
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
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