Sound-Essay 2

Boris Previsic

The three sound files per row are of similar duration and represent layers of a filtering process: the original source (left) is Boris Previsic’s complete reading of the German version of his article Acoustic Micro- and Macroephemeralities in Literature. Robert Walser’s Microscript 364 (1925) and Peter Weber’s Silber und Salbader (1999), home-recorded in five takes on his mobile phone. These takes have been filtered with a reciprocal mp3-filter by Hannes Seidl (middle) and the five resulting sound files inspired Lucas Niggli to five Sound Essays with the same duration (right). The readers are invited to mix their own version out of the different layers.

Sound-Essay 2

Boris Previšić, Hannes Seidl and Lucas Niggli

Introduction

The three sound files per row are of similar duration and represent layers of a filtering process: the original source (left) is Boris Previšić’s complete reading of the German version of his article Acoustic Micro- and Macroephemeralities in Literature. Robert Walser’s Microscript 364 (1925) and Peter Weber’s Silber und Salbader (1999), home-recorded in five takes on his mobile phone. These takes have been filtered with a reciprocal mp3-filter by Hannes Seidl (middle) and the five resulting sound files inspired Lucas Niggli to five Sound-Essays with the same duration (right). The readers are invited to mix their own version out of the different layers.

Boris Previšić reads his article (home-recording, m4a-files)

T1: beginning

T2: continuation

T3: continuation

T4: continuation

T5: conclusion

Hannes Seidl filters Previšić’s reading (wave-files)

T1: reciprocal AAC-filter (CBR480)

T2: reciprocal AAC-filter (CBR256)

T3: reciprocal AAC-filter (CBR192)

T4: reciprocal AAC-filter (CBR128)

T5: reciprocal AAC-filter (CBR96)

Sound-Essays by Lucas Niggli on the base of the filtered sound files (mp3-files)

T1: geflüster, medium speed, sound...continuum, Take 69 (Bellrattle und durch tube reverse geredet. Chetteli randomtouch), Uster/CH: Dec. 21, 2016

T2: krächzender, schärfere S. Akustisches Objekt speichern, Akustische Mikroephemerität, Take 75 (tubes on Rims, leichtes bending und Polyrhythmen), Uster/CH: Dec. 21, 2016

T3: english, kompakt...mehr Ausschläge, Take 76 (Puls No Puls, Only 4 Cymbals, Tubes. Phrases, playing along reading), Uster/CH: Dec. 21, 2016

T4: langer Take, mit vielen Nebengeräuschen, geboostete S sch sch (wie Papier das zerrissenwird... flüstern...) Take 73 (Big Brush, Sticks, drums und woodblocks, Playing along the reading. 6/4, ¾, 6/8... phrasing), Uster/CH: Dec. 21, 2016

T5: Silber und Salbader // Toggenburg, ein Langgezogener Mollakkord. Sehr viele S und Zischlaute geboostet. Take 71 (playing along the reading, mit alter Schreibmaschine Typ Torpedo. Speichern des Textes, KlangSprachKlang), Uster/CH: Dec. 21, 2016

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