"When Mattin proposed to me to produce a sound piece for his CDR label, I started thinking of the specificity of the CDR medium and wanted to hijack his proposition. The question was : how to render in sound the nature of the CDR, i.e., how to make a transitory sound form and at the same time propose a reflection on this form ? How can the sound content act on the CDR itself as a material structure ? This reflection was linked to work I started some time ago, of hand-engraving or pouring acid on the material support of the CD and see how it would act on the recorded sound. But these attempts mainly focused on the material aspect of the CDR and neglected the sound. So I began thinking about the sound content again and I realised that when you engrave a CDR on your computer and keep it for a while, the first things to disappear, soundwise, when it deteriorates, are the very high and very low frequencies. This is why this sound piece is only composed of extreme frequencies, at the limit of what man can hear and of what the machine can reproduce. The result is that the sound piece acts not only on the material structure of the CDR but also on the material environnement of the listener's body. The sound piece on this CDR is at the limits of the audible." (J.Ottavi) First time in stock.
soon in stock - please pre-order | UK| 2004| W.M.O/R | 13.90

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