'Sometimes I like to think that time passes at 4.9 cm/sec.' R. van Alebeek
Artem Spar 'KW 13-15' 2017
C-20 / Lo-Fi Ferro Cassette / NR Off / Falt 5
Eine Kante im Herbstlaub / Jazzkonzert im West Germany / Warum nicht gleich serielle Unterstützung
Some thoughts: While attending a freejazz gig in a well known venue in Berlin a tape recorder rolls and collects sounds. The trio playing probably doesn't mind. Later these field-recordings are layered, pitched-down, speeded-up, combined with each other and embedded in an all-channel stereo piece using another archaic tape technique. The recorder itself adds a curtain of tapehiss.
So in 'Kassettenwerke' by Artem Spar the time most probably passes at 4,9 cm/sec or 2,8 cm/sec or 7,9 cm/sec or 9,5 cm/sec: It all depends on how you set the pitch and which tape machine you use. Whether the recorder collects material at home or in the city, he archives samples which later will form a composition. And the speed of time changes throughout the process. The sound artist accelerates the time in the recordings, one could say, to get more of it into them. A fact that separates acoustic music from electroacoustic music.
So we might listen to one hour of freejazz here but listener-focused shrinked to a sonorous painkiller lasting for not much longer than four minutes. For me this all still is future science. But haven't recording artists and sound sculptors in the last decades just began to prove that a recording is the first step into an augmented reality? Not through the use of effects and studio equipment but through observation, sampling and deconstruction.