morning," said we, "may we have two return tickets, please?"
"To where?" Enquired the man in the ticket office, disinterestedly glancing
up from his pocket watch.
"Why, back here, of course." Said we.
"I see," he paused, lifting his finger and tapping the side of his nose with
it, "then to Damnor it shall be. However, for a ticket to there, you must
first create 273 five-hundred millisecond sound clips."
"We shall, sir," stated we solemnly, then by way of afterthought, added,
"and how shall we return to where we started?"
"Well," he smiled wryly, "I should have thought that was obvious..."
The train now standing at Platform 4.33 is for Damnor, calling arbitrarily
at indiscriminate stations. There is no buffet car on this service, we
apologise for any inconvenience caused.
The Brief: "Jump cuts," Shaun
Robert had said, "jumping abruptly from one thing to another, flowing and
not flowing... no fade outs, one track straight into another. The idea is to
link one thing to another with little or no repetition. I guess it is like
an audio abstract sound collage. It's kinda like making tiny tracks and
editing them together. Does that make any sense?"
It does when you have Dr.
Magic's Audio Lab at your disposal! The two of us sat down at the
computers, coffee after coffee followed as we carefully crafted half second
samples from all the varied clips we have accrued over the years. A biscuit
would have been nice, but too dedicated to the task at hand were we. Sample
after sample, 273 of them was the target, giving us an outward journey, when
randomly assembled into one long piece, of 2 minutes, 16½ seconds. Which, as
the man in the ticket office thought was obvious, when copied, reversed and
joined together, would provide us with the return journey, thus bringing us
back to our point of origin, complete with the required 4 minutes and 33