DailyResearch - Modules - MusicalProjects - Reconstruction


  USA 2005 - 2008

DAILY RESEARCH –––––––––––––––––––––––––––––––––––––––

Daily Research

Humans & Objects in the 3th Millennium

Daily is a video research project, focusing and documenting humans, their solitary behaviors, their behaviors in conjunction with other humans, animals, objects, sites & thoughts. The project arises out of the former and successfully finished internet project "The 4 Years In The 3rd Millennium Project."

"The 4 Years In The 3rd Millennium Project" (T4YIT3MP) is a multimedia project that will be presented through the internet in the form of a daily dispatch over the fixed period of four years, starting from the 30th of march 2005 until the 30th of march of 2009. The main focus of the dispatches will be sonic and musical events as well as visual and text based components. (...)

Through daily investigations, structured by rules, T4YIT3MP assisted me to discover constant elements of personal interests, thoughts, also manifested yet hidden in various works. As a result, the project will continue as a open ended personal research. The results will be presented at various contexts and in various forms, yet not on the internet as it was presented before. After four years accessibility without interruption through the internet, the first 611 documents/days will be removed. The rest 851 (starting with the video "greetings") will be accessible for a uncertain time. For more information please scroll down and/or visit T4YIT3MP (Link removed).

Phillip Schulze, Singapore 31.05.2009




Notes on The 4 Years In The 3rd Millennium Project.

The 4 Years In The 3rd Millennium Project examines the general idea of singular objects as well as a larger framework in which they are placed. An object in T4YIT3MP does not have to be aural but rather can be anything of interest as long as it can be stored as video, sound or still image.

Every day reveals a new window of opportunities that must be filled with material. The material within these openings can be diverse in content, nature and length; each acts and is understood as an autonomous object by itself as well more metaphorical relationships, a cross-referential network between objects and objects, and objects and observers.

The natural and regular interval of the day indicates the general rhythm in which all autonomous objects are organized. ‘Four years’ describes the overall length of the whole piece.

The one thousand four hundred fifty nine days form a long linear succession set in advance. The task of creatively identifying an object every day results in a structure, a body of regulations and rules in the form of an active framework. This structure forms a linearity that is distorted by each single event inside. These events symbolize and materialize individual microstructures that exist in their own time and sub-space, and can be accessed irregularly and at all times. A person who observes the material on the internet can experience the pieces actively in a non-linear, selective fashion and at his own distinctive speed. Consequently, time is not understood as one overall and linear arc only but as many different time-streams colliding with or rejecting each other.

The project’s structure is transparent and straightforward – nothing is hidden. Each day provides a slot for the unknown.

Most realizations of T4YIT3MP are recorded in a continuous process; the scenery of interest is recorded usually in a steady frame and without interruption. Everything that is visible and audible is represented in the same way it was recorded. With exceptions, no post-production methods (editing etc.) are used.

Most (video) pieces consist of simple still and moving object combinations. Objects in this case can be anything, physical beings or objects, sounds, the environment. These objects can somehow and in different ways relate or interact with each other. Depending on the nature of the object, their behavior might be in some ways random, fixed, etc. The framing of the camera sets the field of play, context and the site for object relations. The canvas can be entered into and left by objects or people, or they may exist as static components within. Objects situated outside the actual frame may have a certain influence on the occurrences that are visible.

It is most interesting to myself and, by extension, to observers when predictable happenings collide with presences or happenings that are unforeseeable to observer or to the participants themselves. This conflagration of obvious elements and unexpected elements is an example of the unintended but hoped-for “art coefficient.”

The overall serial structure of T4YIT3MP, in view of the fact that each single object shares a minimal and abstract nature, allows interactions on different levels between all other objects. These interactions are inescapable, prepared-for and welcome.

The thoughts of the observer are part of the “sculpture” as well. For example, reappearing places, objects and titles in different days create cross-references by the observer. These interactions put forth a nonlinear space or networks of connotations through which the singular state of each object is overcome metaphorically. With this in mind, not every piece has to be important as its solitary entity.

The resonance between a framework that restricts and a scheduled freedom of objects within or outside (participants, outside observer) is a major concern in all of my work.

Recapitulating, my projects’ fundaments are pre-established frameworks that are filled with matter (elements) subsequently. All elements are autonomous but in some ways regulated by the framework, e.g. a process. The essence of these elements is mostly minimal. However, the larger framework sets up play, a field in which all elements interact and conflict in various ways. The elements are minimal but their combination might not be.

Furthermore, the overall meta-structure of the project defines a distinct context in which each object and each realization is placed and brought to a more vivid state of being. The framework makes everything inside a part of the larger form.

The method of (dis-)placing an object (anything) into a new (in the case of T4YIT3MP serial) structure and a different context typifies a simplified ready-made procedure.










































































DailyResearch - Modules - MusicalProjects - Reconstruction


MODULES COMBINATION –––––––––––––––––––––––––––––––––––––––

Performed by the FLUX Quartet NYC at Wesleyan University, CT, USA, Crowell Hal

Modules is a developing series of works (starting in mid 2007) that attempts to combine aural, visual and performance-art practices using a modular notation framework. The Modular concept simplifies the process of building a complex intermedia work by providing a constructivist foundation that also creates new problems and opportunities. This specific set of performance practices, combined with compositional and site-specific issues, could not be achieved otherwise.

The object-oriented system consists of autonomous intermedia elements (modules) that can be combined with other like modules. Every performance is comprised of various module combinations. At its most effective, each module functions equally as a sub-piece acting as an independent entity despite its combinatorial potential. Through disparateness in nature and material, modules are made explicitly evident in the work. Consequently, the audience can acknowledge them in those terms.


Module Combination 01: American Lights - October 2007

Module ¹ American Lights

Module: The development and definition of a modular notation system that combines aural, visual and performing arts.
Modules, in contrary to autonomous scores, can be regulated / triggered / altered in various forms by external events defined by other modules.

1. module: phasing loop for visionless deaf string quartet affected by outside disturbances. 2. module: triple cheer motor. 3. module: 30 second cycles of slow moving marching bands / creation of an imaginary space


Module Combination 01:

American Lights

Crowell Hall, Wesleyan University,

CT, USA, 11. October 2007
Phasing Loop for Visionless Deaf String Quartet
affected by Outside Disturbances:

The Flux Quartet:
Tom Chiu, Conrad Harris, Max Mandel, Mike Block

Disturbance Transmitters:
William Carbone, Max Heath, Friedrich H. Kern, Ivan Naranjo
Triple Cheer Motor:
Janet Parks, Sabrina Schroeder, Maria Stankova


Module 01

AV Marching Band Pulse Generator - 30 seconds of slow moving marching bands / creation of an imaginary space (two channel video projection projected on raw wall)

A two-channel video loop, projected on a raw wall (as opposed to a projection-screen), displays a marching band procession on each screen, moving slowly towards each other. The inward movement creates an optical illusion, a feeling of being drawn in between the two projections.

The video projections are accompanied by their original sound recordings, which are digitally manipulated: slowed-down brass drones derived from actual marching band musics, scattered percussion hits and unified physical strides of the marching bands.
A white screen flash embedded in the video establishes a slow pulse, marking the beginning of the loops, as well as interrupting the video image and the sound for a fraction of a second.


Module 02

Triple Cheer Motor - Including input decoder, combustion engine, terrain inspection (airhorns), cheer routine + output trigger

Three cheerleaders, each equipped with an air-horn and cheer-pompoms, move cyclically at a slow pace, articulating two different routines within defined target points. The sounding horns and the returning echoes carry information about the shape, size, and substance of the specific environment.


Module 03

Affected String Quartet: phasing loop for visionless deaf string quartet affected by outside disturbances - disturbance transmitters: four performers - external ignition, input decoder, disturbance trigger.

Module 3 is comprised of two distinct parts. A traditional string quartet makes up the first part. The players wear ear protection while continuously playing a simple harmonic phrase at different speeds. The string quartet’s playing is occasionally interrupted by the second part, which consists of four performers placed individually at each musician’s side, blocking the sight-lines of the musicians.



American Lights was developed for Wesleyan University’s Crowell Hall, a huge rectangular concert space formed out of massive limestones breached by three enormous windows on the two longer sides. The audience looks downward to a spacious stage in the front. The stage itself is a room within a room. A wooden shell covers the limestone at the stage (a partition added after the hall’s construction for acoustical reasons). A part of this wooden ceiling is lifted upwards to reveal a chorus stage and the raw limestone wall behind it. The chorus stage is located approximately 13 feet above the main stage. The main stage itself is a terraced structure, ascending via two levels of steps from the first-row level. Because of the large windows, the nature of the space is slightly open and exposed. This causes an interesting impression that is rarely experience in other concert halls – that is a feeling of being outside.

The three modules are distributed autonomously in the space as follows:

Module 1 (AV Marching Band Pulse Generator) is projected on the raw wall behind the chorus stage above all the other modules. The images are projected at tilted angles creating a distance illusion by reducing the size of projected objects towards the center of the frame and drawing focus “into” the center between the images.

Module 2 (The Triple Cheer Motor) uses the entire stage proper, the cheerleaders moving in a curved path back and forth across the stage.

Module 3 (Phasing loop for visionless deaf String Quartet…) is distributed side-by-side on the steps between the audience’s seats and the main stage.





Module Combination 02: El Dorado RoundUp - March 2008

Performed by Phillip Schulze and the MHS Band at Wesleyan University, CT, USA, Beckham Hall


Module 2 El Dorado RoundUp

4. module: Actual Sensory Appreciation & Amplification Link Module (with outward direction) 5. module: Roundup Interjection 6. module: Rah-Rah Eyewitness Manipulator

4. module: Actual Sensory Appreciation & Amplification Link Module (with outward direction) 5. module: Roundup Interjection 6. module: Rah-Rah Eyewitness Manipulator



Module Combination 02:

El Dorado RoundUp

Bechkam Hall , Wesleyan University, CT, USA, 27. March 2008
The Middletown High School Band (MHS Band) & Gaylord, Phillip Schulze

Video / Photo / Audio Documentation:
Brian Parks, Max Heath, Rod O'Connor / Andrew Raffo Dewar



Module 4:

Actual Sensory Appreciation & Amplification Link Module (with outward direction)

A construction of light and sound generators, controlled and manipulated internally or by external events – directed outwards.



Module 5:

Roundup Interjection

Two separate groups of uniformed musicians marching in slow pace around other modules, objects or participants. The groups can be invisible and enter the scenery at different intervals. The music (the group’s standard repertoire) can be manipulated gradually with each entrance.



Module 6:

Rah-Rah Eyewitness Manipulator

A one-channel approximately one hour-long video loop; the video shows a crowd of spectators observing a spectacle that is not visible in the video itself.


Module 6 (Rah-Rah Eyewitness Manipulator), the large video projection located at the west end of the hall, was active for the greater part of the performance and was responsible for the fundamental atmosphere within the environment.

The video work reveals and reflects different layers of active observation and being observed in a sometimes unpleasant but also humorous way. The video shows a group of spectators watching an event never shown in the video itself. The group, which by and large consists of a woman wearing a bright red hat, is watching, screaming, jumping, and taking photos, interspersed with more inactive states. Noticeable are the abrupt changes of different mood states, e.g. thrilled screaming and jumping gestures that suddenly give way to more austere expressions. […]









DailyResearch - Modules - MusicalProjects - Reconstruction


MUSICAL PROJECTS –––––––––––––––––––––––––––––––––––––––

in Progress:

Dewar Schulze Duo

Andrew Raffo Dewar & Phillip Schulze

Last Performance:

Kunstverein Malkasten Düsseldorf


Prof. Phillip Schulze & Prof. Andrew Raffo Dewar

"Playing the Rococo"

08.09.2011, ab 20:00 Uhr

Jacobistr. 6a, 40211 Düsseldorf


The World-Premiere of the American Space Quartet

Doug Van Nort (electronics), Phillip Schulze (electronics), Andrew Raffo Dewar (saxophone), and Jonathan Chen (violin)


Composition (C.01B) for Long Sustained Sound, Percussion and Computerplayback

Share NYC by 06.03.2005


As a improviser Phillip Schulze has performed with (among others): Tetuzi Akiyama, Rees Archibald, Tatsu Aoki, Matt Bauder, Anthony Braxton, Taylor Ho Bynum, Jonathan Chen, Hong Chulki, Louis-Philippe Demers, Andrew Raffo Dewar, Bill Dixon, Bryan Eubanks, Elmar Faschmin, Angela Fette, Chingo Inao, Institut für Feinmotorik, Choi Joonyong, Guillermo Gregorio, Christian Jendreiko, Andrew Lafkas, Paul Modler, Virgil Moorfield, Toshimaru Nakamura, Marina Peterson, Brian Parks, Jessica Pavone, Michael Pestel, Michael Saup, Aaron Siegel, Keiko Uenishi, Rie Watanabe, Stefan Werni, Jack Wright, Katherine Young.

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American Space Quartet Schulze Dewar Chen Nortplaying the rococo andrew dewar phillip schulzeHaven GalleryAnthony Braxton Phillip SchulzeAmerican Space Quartet Schulze Dewar Chen NortJonathan Chen Phillip Schulze DuoAmerican Space Quartet Schulze Dewar Chen NortHavenly Gallerie Chicago QuartetEMS Wesleyan University

Andrew Dewar Phillip Schulze TrioMoers Festival 2007 Anthony BraxtonAmerican Space Quartet Schulze Dewar Chen NortKunstverein MalkastenLow and Away Akademie Düsseldorf

DailyResearch - Modules - MusicalProjects - Reconstruction


RECONSTRUCTION SERIES –––––––––––––––––––––––––––––––––––––––

An ongoing tape-pieces series based on songs that have been deconstructed by different composers, which I try to bring back to their original state.

Reconstruction #1 - “Blue Suede Shoes” (march 2007)

This piece was made for the "Tribute to James Tenney Festival" at Wesleyan University under conduction of Alvin Lucier.

The piece "Reconstruction #1," consists of the original Elvis Presley recording "Blue Suede Shoes" from 1955, and reconstructed parts of the deconstructed material of the same piece that James Tenney was utilizing in his "Collage #1" in 1961. Because I was not interested in creating a more contemporary tape piece similar to Tenney's idea, I decided to turn his procedure of deconstruction around by:

I. Extracting, re-filtering and re-editing the deconstructed material of "Collage #1" back to its original state.
II. Transplanting the gained parts back into their original places in the original recording of "Blue Suede Shoes."

Orginal Tenney Piece Via Yahoo Audio Search

The techniques I used included cutting, editing, rewinding and pitch- bending.

The piece is successful if neither no fragments, or only small fragments of the deconstructed material of Tenney's "Collage #1" are recognizable, and if it sounds as untouched and beautiful as it sounded before its brutal deformation.

Elvis Reconstruction


Reconstruction #2 - “The Great Pretender ” (april 2007)

The piece "Reconstruction #2," consists of the original Dolly Parton recording "The Great Pretender " from 1984, and reconstructed parts of the deconstructed material of the same piece that John Oswald was utilizing in his album Plunderphincs in 1988.

Orginal Oswald Piece Via Yahoo Audio Search

The techniques I used included mostly pitch- bending but also cutting and editing.

Dolly Reconstruction


Reconstruction #3 - “Ooh ... ” (september 2007)

The piece "Reconstruction #3," consists of the original ...* recording "Ooh ..."* from 1994, and reconstructed parts of the deconstructed material of the same piece that Terre Thaemlitz was utilizing in his album Interstices in 2000.

Orginal Thaemlitz Piece Via Yahoo Audio Search

Techniques: just cutting and re-editing

* note: name kept secret

Ohh Reconstruction

Cool Edit Reconstruction