THEN AND NOW
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The sound files of Luc Ferrari published on the website of the PRIX PRESQUE RIEN inspired me to wirte this sound piece where I looked for the quality of different ways of listening to field recordings from different times, Luc Ferraris recordings and my own ones from the last three years.
Therfore I chose 10 different sounds from Luc Ferraris sound archive according to my own sound archive. I had in mind the person then (Luc Ferrari) recording sounds and his enviroment in his times and me, doing it in a completly different enviroment of the world that changed within the last decades. Sounds that even coming from different contexts (in space and time) and being different in their materiality could be combined in great friction or, in opposite, melt together into one impssible space and musical composition.
What happens to a similar practice when the „sounding object“ has been changed as well by an enviroment that has a different context as well as a different listening practice?
Used sound files of Luc Ferarris archive:
004 – Bistro-voix pontuelle avec effets
009 – DAT Impro Micro acoustique- prise de son originale grave ondulant
015 – DAT Portugal aout 1993 – Extrait d´une procession Ponte de Lima
016 – Les Anecdotiques Le Rove effects accidents rythmiques avec reverb
017 – Les Anecdotiques nappe modulante
020 – Voix mêlées au Benin
029 – Histoire d´un livre Pierre Pean bruits bouche dan le reverb
030 – Labyrinthe portrait – les grenoullies
035 – Le petite train de la Mure – Prise de son Juillet 1988 – Ambience voix lontaines dans echo
036 – Le petit train de la Mure – Prise de son Juillet 1988 – Barrage de Montaynard – la bande tourne
Used sound files of my own archive:
can rolling
Johannesbourg
Mocambique
Sao Paulo
Ventilator
Milena Kipfmüller
September 2015
Symplified scematic overview of the combined files
No description of the modified effects that I used but of the starting original audio material.
| Luc Ferrari (LF) Archive | Milenas Archive |
| Finding out the possible sound of one sample that will be the base for part one of the piece
Long introduction (important) |
|
| Introduction: LF refering to his recording practice – mic that wasn´t working | |
| Labyrinth portrait- Le grenoullie: here I looked for the stange mix between a very natural sound that in nowadays of digital sound processing (that I use) could sound as a tecnically produced audio material | A can – a naturals sound that digitally processed had similar qualities of technical sound production |
| Les Anecdotiques – Le Rove – effects accidents rythmiques | Johannesbourg – recording I did of a group of young boys dancing a traditional dance of the miners where they combine a mix between singing, stapping loud with big boots and clapping
Long period of the piece is composed by transformed parts of this recording combined with „les grenoullie“ and the „effects accidenteles“ |
| The language in the South african song is taken over by African Voices from Benin, very rythmic but opposing the recording from Johannesbourg, very soft | |
| Mocambique – recordings I did on an island in Mocambique where there is an original mix of cicades, a language I can´t understand, birds and a motorcicle. | |
| Intrelude of digital processed sound (granulator). Clearly from nowadays. | |
| DAT Portugal – Extrait d´un procession / rythmic element that explodes almost in an abstract way but is not modified.
LF speaks about what he can (not) see but hear reference to the point of view/listen of the one who records |
Recording of the city center in Sao Paulo, where I grew up. One can listen to the recording of LF in Portugal where he comments on his recording overlaying these the places of the person who is observing and recording on two places – Portugal and Sao Paulo. |
| Coda | |
| Histoire d´un livre – takes over the rxthmic element of the portuguese procession | Ventilator in nothr Brazil on a very hot night |
Milena Kipfmüller
September 2015