Moon ‘Venus. Mercury dviars dupiter Saturn Dranus Neptune Pluto TIMERS @Cen a CMA @ CM a Agi A bee etme ‘B Gem « Boo a FsAle Aur @ Gem 6 cen 8: cet ¢: Oph T Dea a Gru @ Ari G:And a CrB ce Lyr § Vol 1 Cen ¢ Teo Z UMa & Aur a And @: ya 8 UML t Gem & Pex 'r Leo w TrA @ UMa f CMa @ Tau @ Eri o cet A Car ao: Cas: Ho UMa-€ Sox-8 Tau a Car 4 eracr: And @ Cru @ Vir a Soe 8 Grieg Paver Ord: Lsco € Carn Sco 7 Vel B Cry I Car a Per @ Sco: OFE B Cen é CMa a UMA B Ord Boek of Udo Kasemets Oya Ori € Ori @ Cyg k ‘Ori # oma 2 pup M45 444 MOS HT NGA: M48 M&7M6 M25 M20 M67 M41 Me NS? M35 M21°M76 M36 MAT M38 M23 M37 M46 Mi M18 Mie MS2 M29 MiO3 MIL: Ma oMa2 M107 M28 Mio M19 M55 Mi4¢ MI3.M69 M5°M3 M80 M15. M30 M56 M68 M2 M54 M79 M53 72° M70 Ma MAL M33 M81 M82 M83 M64 M63 M94 -NIO2 MS2 374 Ml0@ M95 M106 M77 M93 M8B M100 M49. M56 NG¢ 205 NGC 221 NGC 6822 NGC 185 NGC 147 NGC 5128 3c 405 30.244 3C 273 3c 48 aC 447 40.196 OW: 47a SITYSUCASp STIYO YATMpic BANG Xho Back The function of art is to imitate nature in its manner of operation. - John Cage TIMETRIP is divided into three parts, the first and last with five interlocking subdivisions each: PART ONE:ASTROSONOMICS ba LUN (H) ARMONICS a 2 HARMONICES MUNDI OF JOHANNES KEPLER. 73 COMETALLICS .4 STELL (H) ARMONICS. 2.00.60. 6 00 essences 5 MESSIERMUSICS with GALACTIQUASARICS............. 6 PART TWO: BIG BANG or TURNING THE TIMEGLOVE INSIDE OUT...... q PART THREE: CHAOSMOSIS. . eevee ee z .8 QUARKANON sj eci:tielherenjae ways wed oem aie stele ee 9 HADRONDO. eee to NUCLEARIA. s 11 NUCLEOTIDINGS.. 12 HELIXONG with PROTEONATIONS,....seeeeseee eS(: ATRRSRE ics) ...is based on the premise that when we look at the night sky, we see TIME - lights of heavenly bodies emitted seconds (moon), minutes (sun, inner planets), hours (outer planets), days (comets), lightyears, thousands and millions of lightyears (stars, clusters, galaxies) ago; with state-of-the-art telescopes we can reach the outer limit of the universe, i.e. the beginning of TIME. In PART ONE we travel from EARTH and NOW through the above phases at ever-accelerating speed until we arrive at the limit of the universe where there is NOTHING ON THE OTHER SIDE: NO SPACE, NO TIME. xe RRRCOURSE OF THE JOURNEY PLANETS MUSICS OF THE JOURNEY EARTH LOOP from HARMONICES MUNDI OF JOHANNES KEPLER) WUN(H)ARMONTCS (= Lunar harmon- ics): music for six sinewave oscillators representing the six lines of the I CHING hexagrams pertaining to the Second Moon of the lunar calendar RMONICES MUNDI JO) IES KEPLEI speed-manipulated tape-loops of violin glissandi representing the orbits of the six planets of Kepler's Music of the Spheres COMETALLICS (= metallic comets): improvisation on metal percussion instruments standing in for comets of various sizesTHE BRIG! GALAXIES SUPERCLUSTERS RADIO GALAXIES QUASARS * kee STEL: ICS (= stellar harmonics): music made of sine- tone aggregates, their timings, frequencies, densities, durations, envelopes determined by the lightyear distances, spectral types and magnitudes of the stars MESSIERMUSICS: glass percussion improvisations based on photo- imagery of star clusters, nebulae and galaxies, catalogued by Charles Messier, a French 18th- century astronomer with GALACTIOUASARICS (= galactics and quasarics): percussion music for four sets of instruments of distinctive characteristics representing four categories of phenomena +e eeTURN THEE LOVE So far we have travelled from NOW backwards in time and thus arrived at the beginnings of our known universe. In order to return to NOW we take our imaginary glove of time - the five fingers of which pointed one by one to the five phases of our trip (via the moon, the planets, the comets, the stars and the galaxies) - and turn it inside out so that we can follow time's forward flow through five phases of cosmological evolution - the five fingers of the now inverted glove pointing again to their corresponding phases. eke ee(= chaos ARS h smosis) ...Charts the course of the ermergence of cosmic life from the beginnings of nuclear evolution through the pivotal fusions of the chemical evolution the DNA double-helix and the chain. COURSE OF THE JOURNEY QUARKS...up...... down. ......5 strange. ..charmed beauty. truth green. .blue..red SUBATOMIC PARTICLES.......... hadrons. ..leptons baryons. ,.mesons photons. ..protons neutrons to the structuring of formation of the protein COURSE OF THE MUSIC QUARKANON (= quark canon): multi-layered montage of vocal sounds representing the six flavours and three colours of quarks HADRONDO (= hadron rondo): skin and wood percussion sounds representing the baryon and meson octets of the hadron family of particles and antiparticlesNUCLEAR EVOLUTION. ........5 hydrogen, .helium ICLE «carbon nitrogen. .oxygen BASES. . adenine.. guanine.. TIC CODE. . uuu ucc UGG UAA ccu ccc CAG uUuc UUG uUCG UCA UGA UAU cuu cuc ccc ccG CGG CGA CAA GUU GcU GCC GGC GGG GAG GAA AUA ACU AGU AGC AAC AAG tee snickel .zine thymine .cytosine UGU UGC UAC UAG CcUG CUA CCA CGU CAU CAC Guc GUG GCG GCA GGA GAU AUU AUC ACC ACG AGG AGA AAA * NUCLEARIA (= nuclear aria): multi-layered montage of vocal patternings depicting the gradual nuclear fusion process from hydrogen and helium up to the production of metals such as iron, cobalt, nickel, copper and zine NUCLEOTIDINGS: multi-layered montage of vibraphone pattern- ings representing the molecular structures of the four nucleotide bases HELIXONG (= helix song): multi-layered montage of vocal tones representing the 64 codons in combination with the 20 amino acids as they combine to form the DNA double helix with PROTEINATIONS (= protein rota- tions): multi-layered sequences of marimba patternings depicting the formation of protein chains kok keeTHE MAKING(S) OF TIMETRIP This CD is the third incarnation of TIMETRIP. The first TIMETRIP emerged in 1990 as a script for an elaborate multi-media production involving sculptural displays, computerized projections, field-recordings of natives’ voices, choreographed movements, and pre-recorded and live musics, but remained only on paper. The second TIMETRIP was a greatly reduced version of the original idea tailored to feasible budgetary resources, discarding digital technology (save for sound-recordings) and reducing considerably the number of participants/contributors. The realized performances of the revised script - featuring dance (choreographed by Holly Small), slide projections (by Reinhard Reitzenstein), pre-recorded sounds (edited by Chris Devonshire), percussion music (played by Richard Sacks and Gayle Young), and words about creation of ancient and indigenous cultures (spoken by Paul Dutton and chanted by Susan Layard) - took place in Toronto October 5, 6, 7, 1992. These initial renditions of TIMETRIP pear a subtitle ‘multimedia theatre to illuminate creation myths, past and present', and were originally inspired by the reading of A Brief History of Time by Stephen Hawking Since the recorded realization of TIMETRIP transports it from a theatrical environment into a purely acoustical space, there was a need to make appropriate adjustments. In the live presentation of the piece much of the musicand choreography of the return journey consisted of reshuffled materials of the initial travels. Now the music of the BIG BANG and what follows it is almost entirely newly conceived and composed. Speeches and chants have been entirely omitted, and the contemplation of ‘creation myths’ has given way to a musical interpretation of scientifi- cally obtained factual data pertaining to the evolution of the universe. Information gained from reading Hubert Reeves' Atoms of Silence provided much added stimulus for the musical reworking of the return leg of the TIMETRIP. Indeed, all musical structures of the entire score have been derived from charts, tables and graphs describ- ing the events in the universe which form the stepping stones on our sonic timetravel. The method is straight- forward and simple: sets of data depicting certain funda- mental quantities in observed natural phenomena are matched with corresponding sets of data referring to quantities or qualities of sounds, or to their distribution in time and space. Obviously these relationships are arbitrary, but what is attempted here is a translation of the poetry of nature and science into the poetry of sounds and music. What follows is a step by step description of this process.PART 1 — ASTROSONOMICS ..in its early phases (LUN(H)ARMONICS, HARMONICES MUNDI) reflects concepts from an ancient culture (the Chinese lunar calendar) and speculations of a scientist from an earlier era (Johannes Kepler). But once the Solar System has been left behind, modern astronomical observations determine the character and timings of the musical events. The distances from Earth of the stars, clusters, nebulae, galaxies, quasars, etc. are in one-to-one corre- spondence with the timings of the sounds which represent them. In order to compress some ten billion lightyears into a time bracket of fifteen minutes, it was necessary to first equate each lightyear with a ten second span, and then after each minute and a half raise logarithmi- cally the count of lightyears within each ten second segment to the next power of ten, i.e. 1'30" = 10 lightyears, 3' = 100 ly, 4'30" = 1,000 ly, etc., to 13'30" = 1,000,000,000 ly, 15" = 10,000,000,000 ly. LUN(HJARMONICS traces the passage of the moon as it is notated in the lunar calendar, which in turn has its correspondences with the I CHING oracle system. The thirty or twenty nine days of each of the twelve moons of the lunar year are divided into five six-day (or five-day) "weeks", each of the sixty "weeks" being represented by one of the 64 I CHING hexagrams (the remaining four hexa- grams standing in for the four seasons). The soundmateri- al for the musical representation of the I CHING-relatedlunar calendar consists of six-tone sets of sine tones tuned to the harmonic series of the foundation tone of 60 Hz (odd harmonics - YANG, even harmonics - YIN). At the start of each moon six oscillators are set to the six frequencies representing the six lines of the first hexa- gram of the moon. Over a period of two minutes a gradual (slowly sliding) retuning of the oscillators will lead to the tuning of the second hexagram of the moon, and so forth. It would take close to two hours to cover the com- plete lunar year. This recording features the Second Moon of the Lunar Year, chosen because it coincides with the Vernal Equinox, the beginning of the astronomical year. HARMONICES MUNDI OF JOHANNES KEPLER follows Kepler's speculation that the orbits of the planets create sliding musical tones within certain scopes of intervals, and together they form a ‘Harmony of the Spheres’. In 1979 Yale professors Willie Ruff and John Rodgers, using computer technology, produced an LP reproducing a sped-up version of Kepler's ‘Harmony’ from the scientist's birth year 1571 up to 1835. The present recording uses a similar method to that of Ruff's and Rodgers' for projecting Kepler's concept into audible range, but does it with live sound material and elementary technology. Minute-long tape loops representing Kepler's orbits at their calculated frequencies and timings were first recorded in the basic violin range, and then, by simply altering tape speed, were transposed up or down until they appeared at the proper relationships established by Kepler. (The Earth loop is heard from the beginning of this track, is theneventually joined by those of the other planets which, in turn, one by one take off to their proper orbits.) COMETALLICS is an improvisation (because comets" appearances are irregular) of single, separate, basically gentle and quiet sounds, to be played on a variety of metal instru- ments with extended decay (the comet's tail!), and avoiding any regular patternings or repetitions. STELL(HJARMONICS is an acoustic atlas of the seventy brightest stars in the sky. Aggregates of two to six sine tones between frequencies of 33 Hz and 3264 Hz represent the individual stars. The distances of the stars are indicated through the placement of the sounds in time in accordance with the principles described above (Rigel Kentaurus, the closest at 4 lightyears appears at 30" from time count, the next, Sirius, 9 ly at 1'20", ete.; the farthest bright star, Naos, 2,300 ly, is sounded at 4'46"). The spectral types of the stars show in the numbers of tones and densities of the intervals representing them, and their apparent and absolute magnitudes are reflected through the durations and envelopes of the aggregates. MESSIERMUSICS is a score for a percussionist using glass instruments. The score is made up of photographs of clus- ters, nebulae and galaxies (taken by American astropho- tographers John H. Mallas and Evered Kreimer and published as ‘Messier Album' by Sky Publishing Co., Cambridge, Massachusets) depicting the 110 entries of the catalogue compiled in the second half of the 18th century by theFrench astronomer Charles Messier. The timings of sounds relate again to the distances of the celestial events. Although the photo-images serve as stimulants for impro- vised gestures, the performer has to follow certain rules, such as establishing, either through the choice of instruments and/or playing modes, distinctivnesses of the categories of events (clusters, nebulae, galaxies) as well as of their subeategories (open and globular clus- ters, planetary and diffuse nebulae, elliptical, spiral, barred spiral and irregular galaxies). GALACTIQUASARICS move out from the Milky Way to the far- ther realms of galaxy groups, superclusters of galaxies, radiogalaxies and quasars. Similarly to the previous score, the performer is requested to produce definitive timbral and playing mode distinctions between and within the listed categories, their subcategories, and also sounds which would stand apart from those of the Messier catalogue. While in the latter the performer was respond- ing to visual images, here he is reaching out to a realm beyond human vision, to the acoustic edge of the universe.TURNING THE TIMEEL OYE INSIDE OUT ..was produced by compressing the last two minutes of GALACTIQUASARICS (featuring the music of radiogalaxies and quasars) first into 60 seconds, then into 30 seconds, 15 seconds, 7.5 seconds, 3.75 seconds, and so on toward infinity, i.e. the end of time; and then reversing the process by having corresponding compressions, in inverted order, of the first two minutes of QUARKANON emerge from what the ancients described as the ‘anteriority of nonex- istence'.PART 3 — CHAOSMOSIS ...is a musical-poetic mapping of some phases of the evo- lutionary process set into motion by the Big Bang, trac- ing the course from the ‘quark soup' of the first one billionth of a second of the universe to the life-forming ‘primordial soup! and the emergence of genetic processes some eleven billion years later. Tables listing the vari- ous interactions of subatomic particles, nuclei, atoms, molecules, bases and acids which contribute to this everongoing evolutionary process form the backbone of the musical scores depicting it. Complementary non-Western concepts, presenting fascinating parallels to scientists’ observations, have been most useful for structuring the musics, The sound sources for the musical travels in the first part of the TIMETRIP were sine tone oscillators, violin, and a great array of percussion instruments of many varieties. In contrast, the nuclear/chemical/biolog- ical half of the journey is portrayed through most eco- nomical means: a single human voice and a graded selec- tion of percussion instruments of limited timbre and range, starting with wood and skin, moving then to metal and finally to a full compass marimba. The treatment of the sound input - samples of single tones or elementary patterns or rhythms - is, in keeping with the early stages of evolution, most "primitive". Cumulative dub- bings and programmed organization of time - all based on data culled from various scientific tables - are the methods used throughout the final section of TIMETRIP.QUARKANON is a canonic mix of utterings (on odd harmonics of the note 'a' compressed into the range of two octaves) of words representing the six 'flavours' (down, up, strange, charmed, beauty, truth) and the three ‘colours' (red, green, blue) of the still unexplainable quarks (cf. James Joyce, ‘Finnegans Wake':"Three quarks for Muster Mark!"). HADRONDO brings into play the families of particles which evolve from various combinations of quarks and antiquarks: the group of hadrons, and its subdivisions mesons and baryons. Physicists recognize patternings of both mesons and baryons as octets with very definitive built-in symmetries, Fritjof Capra in his 'Tao of Physics' draws many parallels between a number of Eastern and Western concepts. It does not take much imagination to relate the meson and baryon octets with their unique symmetries to the two trigram octets (the Pre-Heaven and Later Heaven) of the I CHING, with their respective symmetries. Moreover, the analysis of I CHING hexagrams contains also the observation of their ‘nuclear hexagrams'. Since the baryons proton and neutron together with the lepton elec- tron play a key role in the nuclear/chemical process, it was (poetically) logical to equate the two classes of instruments - wood and skin percussion of indefinite pitch - with the meson and baryon octets, and thus also with the two I CHING octets, and then make use of these corre- spondences to structure the music according to principles which govern the special system of ‘nuclear hexagrams'.NUCLEARIA portrays the path of the nuclear/chemical process from the early emergence of hydrogen and helium through the fusion of first carbon and oxygen, then mag- nesium and silicon, and so on, up to the formation of such metals as iron, cobalt, nickel, copper and zinc. The musical score is derived from a graph depicting the neutron num- pers of atoms of the chemical elements on the horizontal axis, and proton/electron numbers on the vertical. Two sets of simple patterns from one to eight notes on five pitches represent the neutron and proton numbers from one to eight. Simply by adding layers of patterns standing for certain numbers, every five second period introduces a new proton/neutron interaction and thus contributes to the gradual “thickening of the evolutionary plot". NUCLEOTIDINGS features the four nucleotide bases adenine, cytosine, guanine and thymine which form the links in the genetic molecular chain DNA. The same sound patterns which represented the carbon, oxygen, nitrogen and hydrogen atoms in NUCLEARIA, are again used here, but now in sequential and superimposed arrangements derived from the molecular structures of the four bases. After first being exposed one by one, they make a repeated appearance imitating the A and C G base-pairing scheme of the DNA helix. HELIXONG is based on the structural parallels between the genetic code, the binary numerical system and the sixty four I CHING hexagrams (as first pointed out by the German thinker Martin Schénberger in ‘The Hidden Key toLife'). The eight first odd harmonics of the series based on the tone ‘a' (compressed into a two octave range), and their mirrored correspondents of the inverted "sub-harmonic" series stand for the eight lower and upper trigrams respectively of the I CHING system, and are paired to produce the sixty-four hexagrams-cum-links of the DNA chain. The interlocked weaving in and out of the pairs of sounds, and their stereophonic movement and distribution between the speakers corresponds with the structure of the helix. PROTEINATIONS complete the protein-producing program of the DNA RNA process. Since the formation of proteins is a transfer of information from DNA into another evolving state, the same sound material as in HELIXONG serves to illuminate this process. The tones of the ‘'a'-based har- monic and "sub-harmonic" series (only here in groupings from one to eight rhythmically distributed sounds, rather than single sustained tones of HELIXONG; and spread over four octaves) are again used to build the sixty-four hexagrams which all make their initial appearances in syne with their corresponding hexagrams in HELIXONG. Once each hexagram has been entered, it undergoes a mutation process (described by Diana ffarington Hook in her book 'I CHING and Mankind') by which it stepwise changes into its yin/yang opposite, and then continues the transforma- tion process until it reaches the original. As in HELIXONG, there is an incessant interplay between the emerging strands of never-repeating life-forming events. se RHpig BAWe Xho Back a sonic celestial voyage from here and now to the end of the universe and from the beginning of time a sonic cosmological journey to here and now Conceived and composed* by UDO KASEMETS with technical collaboration by CHRIS DEVONSHIRE sound input by ADELE ARMIN (RAAD violin) CHRIS DEVONSHIRE (electro-acoustics) SUSAN LAYARD (voice) MARC SABAT (ZETA violin) RICHARD SACKS (percussion) Producer, liner notes digitally recorded and mixed at and cover design: Udo Kasemets Charles Street Video in Toronto, Canada €D design: Rossignol + Associates Digital mastering: Scott Murley Laquer Channel SUN (ARTIFACT MUS; 0 ug * 1990 - 1993Moon ‘Venus. Mercury dviars dupiter Saturn Dranus Neptune Pluto TIMERS @Cen a CMA @ CM a Agi A bee etme ‘B Gem « Boo a FsAle Aur @ Gem 6 cen 8: cet ¢: Oph T Dea a Gru @ Ari G:And a CrB ce Lyr § Vol 1 Cen ¢ Teo Z UMa & Aur a And @: ya 8 UML t Gem & Pex 'r Leo w TrA @ UMa f CMa @ Tau @ Eri o cet A Car ao: Cas: Ho UMa-€ Sox-8 Tau a Car 4 eracr: And @ Cru @ Vir a Soe 8 Grieg Paver Ord: Lsco € Carn Sco 7 Vel B Cry I Car a Per @ Sco: OFE B Cen é CMa a UMA B Ord Boek of Udo Kasemets Oya Ori € Ori @ Cyg k ‘Ori # oma 2 pup M45 444 MOS HT NGA: M48 M&7M6 M25 M20 M67 M41 Me NS? M35 M21°M76 M36 MAT M38 M23 M37 M46 Mi M18 Mie MS2 M29 MiO3 MIL: Ma oMa2 M107 M28 Mio M19 M55 Mi4¢ MI3.M69 M5°M3 M80 M15. M30 M56 M68 M2 M54 M79 M53 72° M70 Ma MAL M33 M81 M82 M83 M64 M63 M94 -NIO2 MS2 374 Ml0@ M95 M106 M77 M93 M8B M100 M49. M56 NG¢ 205 NGC 221 NGC 6822 NGC 185 NGC 147 NGC 5128 3c 405 30.244 3C 273 3c 48 aC 447 40.196 OW: 47a SITYSUCASp STIYO YATMhi duane up quark strange Be BC down quark quark charmed quark beauty quark truth quark photon lepton neutrino electron muon hadron meson pion kaon eta baryon omega cascade sigma lambda neutron proton r ve vu -ve -vu e HQ -0=L.-L aen- ze E- -E+ -=° -Z- n -n p -p atom H He Li m+ 1° m- K+ K® -K° =K- N O F Ne Na Mg Al Si PS Cl Ar K -e+ Ca Sc Ti V CroMn Fe Co Ni Cu Zn Ga Ge As Se Br Kr Rb Sr ¥ Zr Nb Mo Te Ru Rh Pd Ag thymine Gln Gly Tyr val UGC UGG CUA ccU CAU CAC Gcu ccc GGA GAU AUC AUG ACG ACA AGG AGA AAC AAG AAA Sjeuesey opn jo guanine His Ile uuu uuc UGA UAU ccc CcG CAG CAA GCG GCA GAC GAG AUA ACU AGU AGC AAU mL ca In sn sb Ti I XeCs Ba La Ce Pr Nd Pm Sm Eu Gd Tm yb Lu Hf Ta W Re OsIr Pt Au Hg Tl Pb Bi Po At Ac Th Pa U Np Pu Am Cm Bk Cf Es Fm Mv No Lw adenine cytosine Asp Glu Ala Arg Asn Cys Leu Lys Met Phe Pro Ser Thr Trp UUG UUA UCU Ucc UCG UCA UGU UAC UAG UAA CUU CUC CcUG CCA CGU CGC CGG CGA GUU GUC GUG GUA GGU GGC GGG GAA AUU Acc n Ae Tbh Dy Ho Er Rn Fr Ra | 925 longfelow Ave Mississauga Ontorie, Canada LSH 2x9 wit 76994 00010 0 tol with chris devonshire