Veuve Pauli, half of the duo Sixteens, had this to share with the wanderers on to the Hungry Eye website about the near-10 year history of Sixteens. As this does quite a nice job of summarizing the Sixteens' approach, it will soon find a more permanent spot on the Sixteens page on the mail Hungry Eye site as well.....
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16s began in 1997, 9 years prior to this inscription. It began as an experiment in 16 speed. A record player of the antiquated variety turning and playing a thick 78 speed plate disc at 16 speed and in effect becoming the slowest drudgiest thing one could possibly play on a phonograph. The first Sixteens songs were slow and monotonous. None of which were ever put out. It is questionable whether we still retain the vestige of a recording of this original material. From the get go 16s as an entity tended to naturally emit frequencies communicating questions of mortality; questions and theory of contemporary environment, transfusing fragmentation. What is viewed summarily as surrealist obscure lyrical strains are actually precise fragments, in a dissected world, transfused. An attempt at unification. Songs are species. They can't help being misunderstood. The human beings accredited with responsibility for the creation of Sixteens have a difficult time understanding what the song species are attempting to communicate and this, like all else, is always in movement, changing configuration (songs are also referred to as movements and movements have no beginning and no end. They merely preclude other movements.). Explanations happen from a view point. If one changes their vantage then one gets an entirely different story. So as a recorded song may superficially pretend to present the same frozen product over and over, the vantage point of the receiver is never the same (this says nothing of the immense differences in sound quality of spaces and devices of transmission). Sameness or the idea of "perfect copy" is a basic trick that keeps the standard of reception at a very shallow level.
From The Forgotten Language, By Erich Fromm : "What is, for example, the attitude of different people toward the forest? A painter who has gone there to paint, the owner of the forest who wishes to evaluate his business prospects, an officer who is interested in the tactical problem of defending the area, a hiker who wants to enjoy himself; each of them will have an entirely different concept of the forest because a different aspect is significant to each one...While they can all agree to the abstract statement that they stand at the edge of a forest, the different kinds of activity they are set to accomplish will determine their experience of "seeing a forest". "
This being said, taking the entire scope of contextual inter-relateness into consideration, calculation of response to expression becomes quite silly unless one wants to use the most commonly proscribed triggers, which 16s most certainly does not, and still the habitual patterns of viewership and culture will drag you into a regurgitation of past phrasing like perhaps it is impossible to creatively listen and interpret something. What I am getting at is that the listener is one of the most creative components of the process of a song, a process ad infinitum...............TO BE CONTINUED.............Veuve Pauli
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