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May 19, 2014: Andrew Sharpley - Black Ships
This broadcast is a based on a series of translations and re-translations of a text in a not-very-good telephone translation app, going backwards and forwards between Japanese and Portuguese and at each stage rendering the result into English - kind of like Chinese Whispers, except not Chinese. What starts out as a tongue twister over the course of 30 re-translations (25 of which are used in the broadcast) ends up as something that sounds like a deranged terrorist manifesto, talking of bomb blasts and prophets and visas and pain and country.
These short texts, read by my daughter Lia, are set against a backdrop of shifting electronic patterns and acoustic piano that mutates gradually over time as the texts themselves do.
The title, Black Ships (in Japanese, 黒船, kurofune, Edo Period term) was the name given to Western ships arriving in Japan in the 16th and 19th centuries.
In 1543 Portuguese initiated the first contacts, establishing a trade route linking Goa to Nagasaki. The large ships engaged in this trade had the hull painted black with pitch, and the term came to represent all western vessels. A modern day equivalent for the surprise and confusion the presence of these ships caused, would perhaps be someone in a modern city apartment trying to go to sleep with 4 big black flying saucers hovering outside their window...
With a nod of recognition to the WFMU presenter and exponent of 'uncreative writing' - of which this is an example - I am dedicating it to Mr Kenneth Goldsmith.
- Andrew Sharpley, 16 May, 2014.
Listen to this show:
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Artist | Track | Comments | Approx. start time |
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Yann Tomita and The Doopees | Love | 0:00:00 (Pop-up) | |
The GTOs | Do Me In Once And I'll Be Sad, Do Me In Twice And I'll Know Better (Circular Circulation) | 0:04:08 (Pop-up) | |
Flanger | Music To Begin With | 0:06:24 (Pop-up) | |
Blanketship and Qulfus | The Warm Up | 0:07:36 (Pop-up) | |
Noah Creshevsky | Great Performances | 0:07:45 (Pop-up) | |
Negativland | Yellow Black and Rectangular | 0:09:36 (Pop-up) | |
Throbbing Gristle | Weapons Training | 0:11:41 (Pop-up) | |
Delibes | Coppelia Waltz | 0:14:04 (Pop-up) | |
Stanley Unwin | Hi De Fido | 0:14:58 (Pop-up) | |
Klaus Wunderlich | Coppelia Waltz (aus Coppelia-Suite) -- Kleine Melodie, dich vergeß ich nie -- Sag' beim Abschied leise Servus | 0:16:12 (Pop-up) | |
Music behind DJ: Klaus Wunderlich |
0:16:30 (Pop-up) |
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Andrew Sharpley - Lia Sharpley | Black Ships | The original tongue twister is as follows. Mr. See owned a saw. And Mr. Soar owned a seesaw. Now, See's saw sawed Soar's seesaw Before Soar saw See, Which made Soar sore. Had Soar seen See's saw Before See sawed Soar's seesaw, See's saw would not have sawed Soar's seesaw. So See's saw sawed Soar's seesaw. But it was sad to see Soar so sore just because See's saw sawed Soar's seesaw. | 0:19:49 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | This was then subject to 30 re-translations, of which 25 are used in the broadcast. Spoken word recordings of these - read by my daughter Lia - are set against a musical backdrop - whilst as a written text any extra material would be an unnecessary ornamentation, as a piece of audio, 25 minutes of unaccompanied voice reading what is frequently repetitive nonsense would risk seeming not so much uncompromisingly austere, as a test of patience. And anyway, it didn't happen like that. | 0:22:12 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | One evening when we were sitting at home in front of the TV, Lia was getting frustrated with this translation app. she uses on web chat - she's part of an online group where Iranian and Indonesian and Portuguese and Japanese kids are all trying to talk to each other - but the translation engine was quite crude and kept on mangling what people said to the point where it was sometimes quite hard to follow the conversation. We started to play a game, feeding a tongue-twister into the translator to try and confuse it even further and see what happened. . Lia was feeding the texts into the translation app. and reading the results back to me, then translating the result again, backwards and forwards between Japanese and Portuguese - kind of like Chinese Whispers, except not Chinese. Once we started, she found it hard to stop. Over the course of about two hours ( and a lot of falling about laughing) we ended up with the series of texts used for this broadcast - the translation app. had default saved all of them in its log, as it would an online conversation. A week later we recorded another - much flatter - version of all this, Lia re-reading all the same things in the same order. So the recording is, rather than being a reading of a dry text, more of a performed record of an event that happened a week earlier. | 0:23:37 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | About the music At the moment I am in the middle of a set of songs that are all in B flat and all based roughly around the same chords. I have been making these shifting backdrops of electronic patterns and loops which I can use in different permutations to improvise live with - play over with piano or voice or whatever. It seemed appropriate to use elements of these for a gradually mutating series of audio variations that morph over time as the spoken word text does. Both music and text are really an exercise in getting from A to B - starting one place, and ending up somewhere else. The audio backdrop starts off purely acoustic ( piano) and ends up purely electronic ( digital synth drone) - having gone round the houses inbetween. There are 25 iterations of the text, each lasting about a minute, so I made a different variation for each one - and since all the audio is derived from the same set of songs, and is all in the same key and more or less the same tempo, this ended up creating a consistent and coherent soundworld as backdrop for the spoken word material. Having said that, I could equally well have used a completely different sort of audio material as a backdrop - 25 minutes of John Fahey would have done just as well, for example - but, as it is, I used the nearest thing available - what I happened to be working on at the time. After all - that's what it's there for. And this seemed to fit with the notion of documenting an evening at home a week earlier for a radio broadcast. The same DIY business of using the nearest thing to hand informs the use of the dripping tap ( faucet) in the spoken introduction recorded for this broadcast. Whilst recording this, I was reading John Huston's autobiography " An Open Book' - at one point he remarks ( of film-making) 'Truth is a theme on which to practice variations'. This seemed relevant. And I liked the idea of presenting it as if the whole broadcast had come about because of a dripping tap. Consequences - or the way one thing leads to another - as a certain Ms Vicki Bennett might put it. . | 0:25:57 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | About the title Black Ships (in Japanese, 黒船, kurofune, Edo Period term) was the name given to Western ships arriving in Japan in the 16th and 19th centuries. In 1543 Portuguese initiated the first contacts, establishing a trade route linking Goa to Nagasaki. The large ships engaged in this trade had the hull painted black with pitch, and the term came to represent all western vessels.The surprise and confusion these ships inspired are described in this famous kyoka (a humorous poem similar to the 5-line waka): 泰平の Taihei no 眠りを覚ます Nemuri o samasu 上喜撰 Jōkisen たった四杯で Tatta shihai de 夜も眠れず Yoru mo nemurezu | 0:28:46 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | This poem is a complex set of puns (in Japanese, kakekotoba or "pivot words"). Taihei (泰平) means "tranquil"; Jōkisen (上喜撰) is the name of a costly brand of green tea containing large amounts of caffeine; and shihai (四杯) means "four cups", so a literal translation of the poem is: Awoken from sleep of a peaceful quiet world by Jokisen tea; with only four cups of it one can't sleep even at night. | 0:29:42 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | There is an alternate translation, based on the pivot words. Taihei can refer to the "Pacific Ocean" (太平); jōkisen also means "steam-powered ships" (蒸気船); and shihai also means "four vessels". The poem, therefore, has a hidden meaning: The steam-powered ships break the peaceful slumber of the Pacific; a mere four boats are enough to make us lose sleep at night. | 0:30:21 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | ...Roughly the same emotional reaction, perhaps, to that of someone in 2014 in a modern city trying to go to sleep with 4 big black flying saucers hovering outside their window... | 0:30:44 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | Dedication With a nod of recognition to the WMFU presenter and exponent of ' uncreative writing' - of which this is an example - I am dedicating it to Mr Kenneth Goldsmith. - Andrew Sharpley, 16 May, 2014. | 0:31:59 (Pop-up) |
Andrew Sharpley - Lia Sharpley | Black Ships | 0:46:34 (Pop-up) | |
John Oswald | Field | 0:46:42 (Pop-up) | |
BBC Radiophonic Workshop | Air | 0:49:43 (Pop-up) | |
Wing | Time To Say Goodbye in Italian | 0:50:02 (Pop-up) | |
Radiophonic Workshop | 0:50:44 (Pop-up) | ||
Buttress O'Kneel | Dreamers Dreaming | 0:50:53 (Pop-up) | |
Gwilly Edmondez | Did You Like Kate Bush Back In The Day | 0:51:31 (Pop-up) | |
BBC Radiophonic Workshop | Time To Go | 0:52:37 (Pop-up) | |
Go Home Productions | Girl Wants To Say Goodbye To Rock and Roll | 0:52:42 (Pop-up) | |
Music behind DJ: Paddy Kingsland |
Killing Me Softly With His Song |
0:56:56 (Pop-up) |
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Truly great performances...
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I listen to your shows to get my dose of (positive) confusion...
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