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On April 27 at 3 o'clock in the afternoon


On April 27 at 3 o’clock in the afternoon I instantaneously mastered to perfection all languages Such is the poet of the current era I am here reporting my verses in Japanese Spanish and Hebrew:

iké mina ni
sinu ksi
iamakh alik
&ensp &ensp &ensp &ensp &ensp zel
&ensp &ensp &ensp &ensp &ensp GIZ
&ensp &ensp &ensp &ensp &ensp SHISH

Russian Futurist Aleksei Kruchenykh in Explodity (1913).
Quoted in Douglas Kahn: Noise Water Meat pp. 370-371.

The quote reminded me of a mail sent by Lisbeth to the internal mailing list for members of Verdensteatret as we were about to start development of what would gradually become “Konsert for Grønland”:

The 18 th of November 2003 the wind change over night and it become winter

Last November we tried to make decisions on several technical solutions for the production so that we should run into less problems in the middle of the production. This involved the decision of moving to Max for OSX and testing out Jade as a way to make it easier to capture settings for audio and video processing when improvising. The development is a rather non-linear process even if we end up with the production being a quasi-linear and dramaturgically predefined sequence of events.

The mailing list for some weeks were mainly used for discussions of technical matters. Lisbeths mail sort of marked the transition into the production itself and the shift of focus from tools to the artistic process.

Also futurist and dadaist litterature seems relevant to our attempts in the last two production at processing voices in real time often to the point of completely destroying the capability of semantic communication.


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