notime is a joint hunting effort - atmosphere caught in the form of images and sounds, a continuous work that should be evaluated in its entirety - from the inception of the idea, through the process to the final result. both "living planet" and "dying planet" were created over the course of several months, as jenny sturgis (dislocation photo) took photographs and scott sturgis (converter, d.b.s, xenonics k-30) conducted field recordings; later on both the sounds and the visuals were treated to arrive at two sets of 250 copies ("living planet" and "dying planet") respectively, each featuring its own cover art.
anyone that that has ever been involved in any kind of these field recordings (both visual and aural), would fully appreciate the treasure-hunting joy of the process. notime adds a second dimension, mixing/contrasting/suggesting/surprising with the combinations of visuals and sounds. it is a captured world that exists on its own, caught in fragmented pieces of altered reality (both unnamed tracks and abstracted nature of photographs contribute to the overall detached feel of this work that is distant and at the same time intently focused on details).
I often set out on these "hunting trips" with a camera, mp3 player and a carefully selected soundtrack (and often a flask), trying to create, react to, and capture the combination of visuals and sounds, enhanced by the scents and the tactile memories. in case of notime, I wonder if there is any way of communicating that feeling to the audience. although the concept of chance and exclusiveness is highly attractive, I think that a gallery installation that features (semi)randomly changing photos synced with the music, or a multimedia section (cd-rom or website) that works the same way would result in a completely immersive experience. even the concept of exclusivity can be retained through a semi-random unique ordering of images that change throughout the track.
short caustic textures range from dark crackling ambience to explosive rhythms, from delicate idm-like technoid soundscapes to hypnotic hollow drones; the production is impeccable, the diversity and richness are most impressive; the emotional range is surprising - short music pieces work as carefully constructed miniatures, each with a story to tell. through various manipulations raw organic and machinery elements enter cold monochromatic macro world. it must have been such a rewarding experience, treating and altering those sounds/images, with memories of time and place attached to each.
it is impossible to enjoy (and evaluate) notime musically without taking into consideration all other aspects of the project. there is such a wealth of ideas and concepts that can spring from this initial effort. these short sound pieces could be recombined and reassembled in other projects, mixed with visuals that in turn could be rearranged, acquiring countless meanings through changes of context.
I have always been fascinated with the concept of series - only through them the artist can fully communicate the underlying idea, accentuate certain elements, place the works in context, form a unifying ideology as opposed to self-contained isolated pieces.
in this genre that transcends the simple means of music just for the sake of music, the concept behind the work as well as the presentation, the process, and the ideas become as important as the music itself. it is most obvious in case of labels like ant-zen; notime finds a way to express the duality of visual and aural experiences that has always been important to me. i think i know what my soundtrack would be next time i get to visit seattle.