2024

I have designed the electronic modification of three works by Erik Satie, selected in terms of the expected acoustic result to be obtained by an extreme stretching of the score, thereby achieving, in a terse way, a tempo never seen or heard before in these compositions; I am working from a point of view that is more artistic than musical, choosing to ignore the unavoidable technical imperfections in the construction – destruction of the works of Satie, that tranquil rebel.

The result, as I see it, constructs different possible ways to listen, that may vary from those listeners who have never heard music by Satie, to fans of his music who know it well, or those who are familiar with artistic pieces involving temporal and/or conceptual delay; among them I must mention pieces by Duchamp such as his “glasses”, already very humourously delayed in the day; the magnificent piece by Douglas Gordon, 24 Hour Psycho; Bruce Nauman’s temporal sentence Please Pay Attention Please; and several artists and minimalist composers who have worked under this concept of revision and time delay.

Something must be working wrong in human reasoning, for George Steiner to tell us that the cerebral squandering carried out in the construction of asumptions and ideas has no equivalent in other species. Species that seemingly might survive us.

The idea of a lag in time, the possibility of modifying its pulse in order to have more time, to spend more time within a thing that doesn’t actually have it, thereby changing, perhaps deceitfully, that which had already been discarded earlier because of its reiteration, in the repeated acts of listening that led to its memorization.

To halt the kinetic machinery and boost the act of listening, the observation, in all its variables, to obtain an extra bonus of time and reflection free of charge, dodging the daily tide and the rubble of TDAH dragged along with it.