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Besides using my compositions of the 1970s, as in the previous Hörspiel, the subject here is the overlapping of places at a present moment, a moment which itself becomes uncertain through the artifice of composition.
The sounds were collected in Frankfurt: the market, the river port, the Frankfurter Allgemeine printing presses, the corridors and the canteen of the radio station, etc. They were brought back to my home in Paris, where I did the editing, and they were commented upon as they came out of the loudspeakers, in my studio. Another shift then occurred between the particular sound of the speakers and the “real sound” being replayed by the tape recorders and taking the listener back to Frankfurt.
The play on time and place follows the same pattern as in The Golden Ass by Apuleius: one story is linked to another story which contains a story that is itself linked to yet another story and so on and so forth, so that in the end you lose track of who’s who and who’s doing what.
This is a different way of using autobiography as a medium, i.e. a labyrinthine way of conveying information.
[Luc Ferrari]

1929 – 2005

Never ceasing to investigate, Luc Ferrari leaves behind a body of work by turns exalting, noble, funny, intimate, and nocturnal. Like a mirror turned toward the Other, it reflects the world and its fantasies.

He had a weakness for women with accents.

Find the near-complete catalogue of his mixed music and sonic pieces at Maison ONA — about 150 works released over time.