"Die Farbe der Nähe", Konzept und Stücke auf CD
"Krimmler Wasserfälle" (Version 1993 und 1999), 4'30"
"für Inge Dick" (1998), 3'30"
(Das Konzept besteht darin, diesselbe Rauschquelle aus verschieden entfernten Stationen zunehmender Nähe aufzunehmen, aber in ausgeglichener Lautstärke wiederzugeben.)
"The colour of nearness"
The Waterfalls of Krimml are one of the largest waterfalls in the alps. 1993 I recorded them in different proximities with a tape recorder with built-in mics. 1999 I repeated the sequence of recordings with a DAT and a better microphone.
concept, and pieces on CD
"Waterfalls of Krimml" 4'30"
"For Inge Dick" 3'30"
(the concept consists of recording the same source of static noise from various distances in increasing proximity, but reproducing it at equal loudness)
I wanted to examine what happens with "white" (noise) when heard from different distances. "White" is not "white" (not everything) any more when heard from far, where the high portions of sounds are attenuated.
In 1998 I met the Austrian painter Inge Dick who explores the consistency of the colour white in different day light. In one of the long baroque hallways of the monastery St. Lambrecht, Austria, I made another sequence, recording white noise from a small radio which was set at one end of the hallway while I made recordings in logarhythmicly increasing distances. The resulting version is "For Inge Dick".
> listen: waterfall, recording date: 12/1990
> listen: Weiss/Weisslich 33, detail from the first version, 1/1993
related or not:
> slide show: a square in 10 steps, from: Hans Richter, Rhythmus 21 (1921)
related pieces and documentations:
> Weiss/weisslich 7
, Wasserfall / waterfall
> Weiss/weisslich 27
, complementary noise
> Weiss/Weisslich 18
, the noise of trees
, Instruments and Electro-Acoustic Site-specific Verticalisation
> Umgekehrte Perspektive / Inverted Perspective