Full Stops
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Full Stops is a sound piece made from the last notes of hundreds of classical oeuvres drastically cut out. Blending all eras, from baroque to classic and romantic to contemporary, passing by modern, the work produces improbable encounters between composers, including for example Tchaikovsky († 1893) and Mozart († 1791), Handel († 1759) and Rachmaninoff († 1943). The result is a new harmonious symphony, sometimes grandiloquent, sometimes thoughtful, which begins and ends indefinitely, again and again.
The work Full Stops is concerned with the notions of play between bricolage and engineering. It makes us focus on intensities, rhythm and repetition in contrast to melody and linear progression, emphasising on personal boundaries, non-verbal communication and the (im)possible measurability of emotions raised by classical music.
This anthology also echoes back to a practice of accumulation, which logically developed since the media expansion on the Internet. We could potentially possess all music ever recorded by simply downloading it. A new approach to creativity remixing “culturally charged material” has been an on-going practice online which reveals the endless cultural loop of contemporary societies and prolong more than 100 years of ready-made history.
Symphony, from the greek: sún and phōne, literally meaning agreeing in sound, carries the idea of harmony, and completeness. However Full Stops is a fragmented symphony, it halts constantly. How an apparent euphony could emerge from discontinuity? How long the silence, the gap between two ruptures, needs to extend for us to adapt and accept changes?
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