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I have thought about numerous ways for the opening. I do nothing but just standing and smoking. I wove the wire to make a toy or bed. I lie under the bed. I hide in the toilet. I lie in bed dressed or undressed, etc. When it was only one hour before the opening, I decided to sleep in bed as usual.
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This equipment hung from the ceiling records magnetism and the gravity of the earth. Movement a compass shakes and shows a direction, and movement of balance inclines by a liquid falls like intravenous drip. Equipment “magnetic field record» describes by applying these two movements. The dropper containing Chinese ink, and the weight supporting the spindle. The Chinese ink falls, and the dropper becomes light and inclines, then it moves to a center gradually, the horizontally extended magnet is pulled to the magnetism of the earth, and repeats inversion motion.
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¿Miras constantemente el reloj? ¿Hablas, caminas, comes más rápido que los demás? ¿Sufre usted de contar compulsivamente? ¿Estás cansado o aburrido en tu sueño?
Has llegado al lugar correcto: estas horas serán las más ineficientes de tu vida. Hay una cama disponible para cada visitante. Exploramos nuestro cansancio compartido y nuestros sueños colectivos. Estudiamos rostros dormidos y caminamos sonámbulos por Berlín por la noche. Nuestros hábitos de sueño están influenciados socialmente: cuándo y dónde dormimos, con qué frecuencia y durante cuánto tiempo dormimos. ¿Qué nos dicen nuestros sueños y nuestra forma de dormir sobre la sociedad en la que vivimos?
Turbo Pascal instala un laboratorio de sueño y fatiga en el salón de baile, un lugar donde todos pueden cansarse juntos. Un centenar de personas reunidas para dormir forman una célula resistente.
Una producción de Turbo Pascal. Con el apoyo del Fondo Cultural de la Capital y la Cancillería para Asuntos Culturales del Senado. En colaboración con TäF Charité y Kulturbüro SOPHIEN.
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I sat at a small square table, only as long as my arms, in the center of the Boston Cyclorama, lit by a bright white light. The space is so big, more than 12,000 square feet, that once daylight had faded I was surrounded by darkness.
I sat at the table from 4:00 pm until 11:00 pm. Throughout those seven hours, I very slowly pushed two clear glasses filled with water across the table. They sparkled in the light, and reflected the space and the people standing nearby. I started with the glasses at the edge of the table just in front of me, and began to push them, nearly imperceptibly, across the table. My hands, and my focus, rarely left the glasses. At 11:00 pm they teetered at the edge, tumbling one after another to the floor, crashing and breaking, the water slowly spreading. I stood up and left, walking into darkness.
The other performances took place throughout the seven hours. They were sited along the perimeter of the space, moving in a circle around me. Their sound was sometimes loud, but when there was a break between performances, you could hear again the ticking of a clock echo throughout the space, emanating from my site.
A five hour version of this work was performed in November of 2014 at the at 7th Zagrebi! Festival, in Zagreb, Croatia.
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For the last 7 years or so I’ve been recording my dreams and sleep talking on audio cassette. I call the transcriptions of this dialog, the «Stream of Unconsciousness (narrative mode)» as I don’t remember having said any of it once I awake. All of the dialog is from my unconscious. Some of my friends from around the world have made music with these dreams. These dreams have then been combined to form an epic poem aptly titled, «The Confessor». «The Confessor» is an eleven hour book on tape with 24 album/chapters on (12) audio cassettes. These dreams all took place during a 30 day period at my residence in the John Sevier Center in Johnson City, Tennessee. My actual apartment is circled on the vintage linen postcards included. The building is well known in itself as it used to be the famous John Sevier Hotel but has since been turned into low income housing.
Everything included with «The Confessor» implies physical bodily travel: the book on tape, mini suitcase, postcard, stationary, walkman etc. However, the book itself is pure mental travel. A unique journey into the unconscious mind. When one listens to the book in its entirety in one sitting, the listener experiences an entirely new state of consciousness, and what I have termed as an ‘out of mind’ experience. This eleven hour journey may seem daunting, but it is well worth the effort.
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Quelque part une image tremble, je suis dans cette image, je deviens le tremblement de l’image, je tremble par l’image.
Dans un creux de la nuit, une saturation de l’espace qui s’écrase.
Être devenu une sorte de frontière floue entre des mondes instables.
Une cartographie des enchevêtrements.
(fragment de choses perçues entre les épaisseurs du réel)
A chaque épisode d’insomnie, François Sardi nous livre une nouvelle chronique insomniaque.
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“Seven ghostly nights of expanded time and occult sonic space. Venturing into deep realms of audio subtlety and ambiguity. Open to the hearing creativity, sleeping patterns and dreams of the listener. A piece that blurs the limits between composition and sound environment.”
[Pedro Higueras, Sonom Studios]
Total duration: 56 hours
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WARNING: Virtually all the audio content in these recordings is completely inaudible through laptop or equivalent small speakers. Good quality speakers or headphones are highly recommended.
First released as seven 8-hour long mp3 44kHz/128kbps files on a SD-HC memory card (self-released) on January 2013.
Created at mobile messor (Den Haag), winter 2012-13.
(c) francisco lópez 2013 – www.franciscolopez.net
Immaterial reissue by nowhere [worldwide] 2018
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The Tonic Garden was the first programme in the ‘Bedside Radio’ series produced by Mark Vernon for hospital radio station, Radio Royal. It was created as part of a two-year digital arts residency at Forth Valley Royal Hospital, Larbert, Scotland.
This programme was designed as an ambient radio artwork, a peripheral listening experience created with patients suffering from insomnia or tinnitus in mind. Keenly aware of the difficulties of sleeping in the unfamiliar and often noisy environment of a busy hospital the focus was on providing patients with some form of escape. It was made for a situation in which a kind of unfocussed, undemanding form of listening is expected and the non-linear, non- narrative format is a reflection of this. Listeners can drop in and out at any point and pick up listening again at another time. The voice interviews were initially intended just as research in this survey of soothing sounds but the descriptions and reasoning behind the choices ended up becoming an intrinsic part of the work itself. Field recordings and bespoke music are combined with voices to create an illustrated aural survey polling the sounds that were found to be the most relaxing.
The Tonic Garden reflects the range of sounds suggested by staff at Forth Valley Royal Hospital, Radio Royal volunteers, the FDAMH media group and the public at large and features original music and field recordings created by Mark Vernon and Ian Middleton.
The programme was first broadcast on a continuous loop over the patient’s bedside monitor system at Forth Valley Royal for a two-week period in 2013. It has since been aired in full on Soundart Radio, Resonance FM and Basic FM and was featured as a two-part edition of Framework:afield.
This project was supported by Creative Scotland and NHS Forth Valley
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The third programme in the ‘Bedside Radio’ series originally produced for Radio Royal (NHS Forth Valley’s hospital radio network) as part of a two-year period as digital artist in residence at the hospital.
Interview recordings of recollected dreams by patients and staff were gathered with the intention of creating a database or ‘dream bank’ to provide sleep deprived hospital patients with the opportunity of sharing someone else’s dreams. In the end this collection of dreams was plundered to create a series of composed radio dreamscapes connecting the various themes identified within the interview material. Combined with atmospheric soundbeds created from processed electronic sounds and field recordings the effect is a sort of non-narrative radio play where dream logic rules. The piece is, in part, a homage to Barry Bermange and Delia Derbyshire’s 1964 radio work, ‘Inventions for Radio: Dreams’.
Also included are readings of extracts from the dream diaries of artist, shamen and dream interpreter, Kate Walters, interviews made by Radio Royal volunteers and interviews with members of the FDAMH arts and media group.
Following the initial broadcast on the hospital’s patient monitor system this piece has also aired on Resonance 104.4FM, Soundart Radio. A new version was created specially for Radio Cona in 2017.
This project was supported by Creative Scotland and NHS Forth Valley.
Image courtesy of ‘A Sense of Someplace’
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