Listen "Ümlaut - These Days Of Transition"
Episode Synopsis
Taken from MUSIQUE DE FILM II
55 soundtracks to 55 one minute films
I approached the creation of 55 films and soundtracks as a condensed spiritual exercise or meditation. A mind cleared of all distraction opens the floodgates to sounds and visuals and flashes of insight. Placing time limitations (at one minute per piece) leaves no room for preconceived notions or second-guessing. The intent was to work fast. Each soundtrack and film was crafted within a 24-hour period. Instrumentals seamlessly merge into an infinite realm of incidental electronics, mechanicals, voice, drones and intonations from the natural world. Corresponding films liquidize and flow with the music, one into the next, enveloping the listener/viewer in a protective world of otherworldly calm. I chose to make a total of 55 pieces because the number 55 is the tenth number (the number of “completeness”) in the Fibonacci sequence (F10). The mathematical pattern of the Fibonacci numbers also presents itself in Art and in Nature, and, now, in MUSIQUE DE FILM II.
55 soundtracks to 55 one minute films
I approached the creation of 55 films and soundtracks as a condensed spiritual exercise or meditation. A mind cleared of all distraction opens the floodgates to sounds and visuals and flashes of insight. Placing time limitations (at one minute per piece) leaves no room for preconceived notions or second-guessing. The intent was to work fast. Each soundtrack and film was crafted within a 24-hour period. Instrumentals seamlessly merge into an infinite realm of incidental electronics, mechanicals, voice, drones and intonations from the natural world. Corresponding films liquidize and flow with the music, one into the next, enveloping the listener/viewer in a protective world of otherworldly calm. I chose to make a total of 55 pieces because the number 55 is the tenth number (the number of “completeness”) in the Fibonacci sequence (F10). The mathematical pattern of the Fibonacci numbers also presents itself in Art and in Nature, and, now, in MUSIQUE DE FILM II.
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