TIME OF ALIQUOT PARTS In the film Time of Aliquot Parts, an associative flow of diverse scenes shares its aesthetics with a special visual anthropology. A complex of cinematographic codes and sub-codes, as if the whole is divided with no remainders and there is a whirlwind of past and present time, between nature and civilisation, between tradition and urban culture, between the community and the individual, combined in a single pass. In its paradigmatic category of choice it appropriates and edits footage from the archive of the Slovene Ethnographic Museum to create a new visual and phonological trace of the poetic space of memory. In doing this, the director of the film has no wish to desecrate originals – on the contrary. The cuts made to film and sound documents, through playful shifts, leaps and strokes, are intended to breath into them completely new life – of which the events on the originals cannot even dream. Just as an ethnologist and curator would approach exhibiting in the museum space, the creators of the film and the sound composition take on the mass of archive and memory. They provide clippings of material, social and spiritual culture with an anchorage of images in an electroacoustic ambience and abstract musical composition. Immersed in seen and heard images from different geographical environments, the creators weave a direct relationship with the film and sound archive, so that they, too, become part of the film. (Miha Vipotnik) THE COMPOSER'S THOUGHTS ON THE MUSIC OF THE FILM The creating of the music for the film Time of Aliquot Parts by Miha Vipotnik coinci-ded with my previous compositional and developmental path, where there is a strongly expressed new feeling of the sounds of the old world. Combining electroacoustic and concrete sound creates a kind of base conglomerate which, through the descendants of until recently natural peoples, is revealed in the present and influences the sound image of our world. Recognising the sound auras of museum exhibits from “apparently” different geographical ambiences and their archetypal alluvia was a particular challenge, whilst they needed to be translated into an abstract musical language. My expressive focus was on man the individual in all his material and spiritual presence in the external and, above all, internal world. The life of the individual, the nation, the civilisation; the life of I, we and they are the world. (Marjan Šijanec) REFLECTIONS OF LIFE At the Slovene Ethnographic Museum, for both us and our predecessors over the past ninety years, it has been our task to juxtapose changing scientific paradigms with the realities experienced by our ancestors and by us today in our many different everyday lives – in the forms that have always been created and materialised by individuals and the communities of the world. The material appears in the non-material and vice versa; on the wings of the everyday we pass from one sphere to the other and simultaneously cross all three. Meanwhile we are constantly faced with existential questions and try to find answers to them, thus achieving realisation and meaning. Day after day we open the doors of our museum, this treasure house of the everyday and the festive, to visitors. We invite them to come face to face with the reflections of life and images that we offer, interpreted through the museum medium. And the film by Miha Vipotnik Time of Aliquot Parts, inspired with sound by composer Marjan Šijanec, is an original reflection of these images. It is a special gift to us, ninety years young, and to all who follow what we do, visit us and share the experience with us. (Dr. Bojana Rogelj Škafar, director of SEM)