The-Complete-Neruda-Interviews-1-5

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The Second Interview of Dr. Jamisson Neruda WingmakersTM both CD and cassette standards. I also have complete files of the remaining thirteen compositions in their raw, deconstructed form.” Sarah: “How were they produced exactly” Dr. Neruda: “Do you mean that technically or artistically” Sarah: “I guess both.” Dr. Neruda: “On the technical end we needed to step their samples down to a resolution of 384 bit in order to use them in our computer systems. When we first heard the samples of instrumentation, we were somewhat relieved to hear familiar sounds. There were some that were different, but for the most part, the digital samples that were encoded on the optical disc were the same as contemporary musical instruments heard around the world. “Once we had captured their samples and organized them into octaves, we took their compositional notations and essentially let the computer select the digital instrumentation based on their samples. Eventually this all had to be stepped down to a twenty-four bit commercial CD mastering system, which was them pressed on a CD and recorded onto a cassette tape. “As for the artistic production, there really wasn’t much that we did. The computers did all the interpretative work and essentially performed the production for that matter. We had some of our staff perform overdubs on various versions to experiment with the compositions. The music was very popular, particularly when you listened to it at a sampling resolution of 384 bit.” Sarah: “Didn’t anyone wonder why the time capsule included a musical construction kit instead of just having a recording of the music I mean, why have us bring an artistic interpretation to their music” Dr. Neruda: “Everything was wondered about in the Ancient Arrow project. Everything. “We didn’t know why they did it the way they did it, but again our hypothesis was that the WingMakers didn’t have a way to bring their music into our world because we lacked the technology to listen to it. So they disassembled their music into—as you put it—a construction kit, which enabled us to reconstruct the music so it could be listened to on our technology. It’s the most logical reason. “There were several of us who were able to experience chambers one and two as a completely integrated form of expression and it was a very powerful experience… to say the least. When you hear the music in 384 bit resolution with the original paintings, Page | 54
The Second Interview of Dr. Jamisson Neruda WingmakersTM standing inside the actual chamber in which they were placed, it is a very moving and spiritual experience. Unlike any I’ve ever had.” Sarah: “In what way” Dr. Neruda: “Just that the sense of being pulled out of your body and into the portal of the painting is irresistible. There is a very strong sense of movement into and beyond these paintings, and the music and paintings are only two of the art forms, the third, the poetry is also part of the experience.” Sarah: “So tell me about the poetry.” Dr. Neruda: “The poems are expressive of a wide range of subjects. To most of us at the ACIO, they could have been written by any contemporary poet. There was really nothing that caused them to stand out as representing a culture billions of years older than our own. Many of the same themes about spirituality, love, relationships, and death were evident in their poems as well. There’re actually two poems for each chamber painting, so there’s a total of forty-six poems.” Sarah: “That’s interesting. Everything else—the paintings, music, artifacts, and philosophy—is placed one per chamber. Why do you suppose they’ve placed two poems in each chamber instead of one” Dr. Neruda: “In my opinion it was to provide a broader perspective into the particular theme represented by a specific chamber. The poetry appears to be designed in such a way to provide both a personal and universal perspective in each of the chambers… but again, it’s just a working hypothesis at this time.” Sarah: “I assume from the examples you left me, that the poetry is also a bit less abstract when compared to their philosophy and paintings. Have you considered how the poetry is related to the paintings” Dr. Neruda: “Yes. And I believe the poetry and the paintings have the strongest connection of all the objects in each of the chambers. I think the paintings illustrate— in some subtle way—the themes represented in the poetry. In some instances, when the painting represents an assemblage of abstract objects, the poetry is also more abstract. When the painting is more illustrative, the poetry seems more like prose.” Sarah: “Are you saying then that the poetry carries the central meaning of each chamber” Dr. Neruda: “I’m not sure, but it does seem that the poetry is somehow implied symbolically in the chamber painting that it’s associated with. The problem is that the poetry is so highly interpretive that it’s impossible to know precisely what its theme is intended to be. Also, and I should have mentioned this before, but the grammar and Page | 55
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The Fifth Interview of Dr. Jamisson
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Appendix WingmakersTM During the ou
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Appendix WingmakersTM Quantum Pause
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Appendix WingmakersTM Sovereign Int
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Appendix WingmakersTM Hologram of D
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