Lucier Erases Speech Into Room Resonance via Recursive Playback

A channel

Recursive tape playback through physical space filters out speech frequencies and smooths vocal stuttering until only the room's natural harmonic resonances and original rhythm remain.

AI-assisted summary of Alvin Lucier - I Am Sitting in a Room — original source. Check the original for full context.

Source published: 2017-06-24

Key ideas

Alvin Lucier's landmark composition uses a recursive re-recording cycle to demonstrate how the physical geometry and resonant frequencies of an enclosed room gradually obliterate speech intelligibility while preserving underlying cadence. (0:00)
Beyond acoustic experimentation, Lucier frames the process as a therapeutic transformation designed to smooth out the personal irregularities and hesitations of his lifelong stutter. (2:41)
Across 45 minutes of tape generation passes, speech consonants and formants decay into standing waves and pure harmonic chords, turning the physical room itself into the primary musical instrument. (13:45)
In the final generations, generational changes reach an asymptote where the room's modal nodes vibrate at full saturation, completing the total sublimation of language into architectural vibration. (33:31)

Detailed notes

## Background Published on YouTube by the channel 'A channel' on June 24, 2017, this 45-minute video presents Alvin Lucier's classic sound composition 'I Am Sitting in a Room.' The uploader provided no accompanying show notes or description.

## TL;DR The composition begins with Alvin Lucier reciting a short text explaining an electromechanical process: he records his speaking voice on tape, plays it back into the room, and re-records the sound recursively. Through dozens of iterations, the room's dimensional resonances amplify specific frequencies while absorbing non-resonant sounds, progressively destroying speech intelligibility while preserving Lucier's original rhythm and pauses. Lucier uses this acoustic transformation not only as a demonstration of room physics, but as a personal means to smooth out his own vocal stutter. Ultimately, the spoken monologue dissolves completely into an ethereal, organ-like cluster of standing waves and shimmering architectural drones.

## Atmosphere & style The piece begins with a quiet, vulnerable intimacy, defined by the dry acoustics of an ordinary room and the measured, hesitant cadence of Lucier's speaking voice. As the re-recording cycles build, the experience evolves into an austere, deeply hypnotic trance as familiar human language slips away into cavernous, metallic echoes. The final stretch feels crystalline, sacred, and serene, replacing the presence of the human body with luminous, pulsing chords sung by the physical architecture itself.

## Bulletin - [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) Alvin Lucier's landmark composition uses a recursive re-recording cycle to demonstrate how the physical geometry and resonant frequencies of an enclosed room gradually obliterate speech intelligibility while preserving underlying cadence. - [02:41](https://www.youtube.com/watch?v=bhtO4DsSazc&t=161s) Beyond acoustic experimentation, Lucier frames the process as a therapeutic transformation designed to smooth out the personal irregularities and hesitations of his lifelong stutter. - [13:45](https://www.youtube.com/watch?v=bhtO4DsSazc&t=825s) Across 45 minutes of tape generation passes, speech consonants and formants decay into standing waves and pure harmonic chords, turning the physical room itself into the primary musical instrument. - [33:31](https://www.youtube.com/watch?v=bhtO4DsSazc&t=2011s) In the final generations, generational changes reach an asymptote where the room's modal nodes vibrate at full saturation, completing the total sublimation of language into architectural vibration.

## Key takeaways - [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) Lucier establishes the composition's operational procedure directly within the spoken text, addressing the spatial dislocation between the performance space and the listener's environment. - [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) The recursive process amplifies acoustic wavelengths corresponding to the room's specific dimensions while attenuating non-resonant frequencies. - [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) The conceptual premise explicitly anticipates the destruction of lexical content while retaining the temporal rhythm of the spoken delivery. - [02:41](https://www.youtube.com/watch?v=bhtO4DsSazc&t=161s) Lucier personalizes the acoustic feedback loop as a method to smooth out his natural speech irregularities and stutter rather than merely demonstrating a physical fact. - [04:04](https://www.youtube.com/watch?v=bhtO4DsSazc&t=244s) Early passes strip high-frequency transients, plosives, and sibilants, allowing room boundary reflections and resonant tails to envelop the voice. - [05:23](https://www.youtube.com/watch?v=bhtO4DsSazc&t=323s) By iterations five and six, speech transitions from unpitched spoken syllables into distinct melodic drones based on the space's sympathetic modal nodes. - [08:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=487s) Semantic intelligibility dissolves around passes seven and eight, leaving behind bell-like, tubular tones structured entirely by the original speech pauses and stresses. - [10:53](https://www.youtube.com/watch?v=bhtO4DsSazc&t=653s) The physical stutter and hesitations in Lucier's delivery transform into melodic suspensions and rhythmic negative space within emerging harmonic chords. - [13:45](https://www.youtube.com/watch?v=bhtO4DsSazc&t=825s) The room assumes the role of an acoustic instrument, with the original vocal pulses functioning as the physical excitation mechanism or mallet. - [16:38](https://www.youtube.com/watch?v=bhtO4DsSazc&t=998s) Narrow acoustic feedback modes create steady, high-Q resonant peaks, producing an organ-like, synthesized sonic texture through purely acoustic and electro-mechanical means. - [20:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1207s) By minute twenty, non-resonant frequencies are fully eliminated, causing all vowel differences to collapse into the exact same fundamental resonant chord. - [24:09](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1449s) Micro-variations across tape passes create phase cancellations, beating patterns, and shimmering chorusing among adjacent modal frequencies. - [33:31](https://www.youtube.com/watch?v=bhtO4DsSazc&t=2011s) The piece reaches harmonic saturation between thirty-three and thirty-eight minutes, achieving architectural stasis where subsequent re-recordings yield imperceptible acoustic changes. - [38:26](https://www.youtube.com/watch?v=bhtO4DsSazc&t=2306s) The work concludes with a complete unity of process and medium, demonstrating the total transfiguration of human voice into spatial architecture.

## Detailed walkthrough ### [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) Initial Statement and the Recursive Premise

Alvin Lucier begins by delivering the spoken text that serves as the conceptual, technical, and structural foundation for the entire composition. Speaking in a calm, deliberately measured, and slightly hesitant cadence—marked by the natural pauses and stutters of his own voice—Lucier explicitly details the operational procedure of the piece as it happens. He establishes the acoustic dislocation between the original performance space and the space of reception, pointing out that the listener is occupying an entirely different acoustic environment. He outlines his plan to capture his voice on tape, project the recording back into the physical space, and re-record it recursively.

Through this recursive re-recording cycle, the physical dimensions and acoustic properties of the room will inevitably color the playback. Specific wavelengths corresponding to the room's geometry will be amplified, while non-resonant frequencies will attenuate. Lucier notes the eventual sonic destination of this process, stating: “I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed.” By the second pass, the immediate intimacy of the first dry reading is replaced by a subtle, ambient wash, softening the edges of his syllables as the room adds its first layer of acoustic color.

```mermaid flowchart TD accTitle: Acoustic Feedback Loop Process accDescr: Diagram showing the recursive generation of sound waves through the room and tape recorder.

subgraph Space["Acoustic Space"] LS["Loudspeaker"] -->|"Projects Audio"| RM["Room Geometry & Resonances"] RM -->|"Filters Frequencies"| MIC["Microphone"] end

subgraph Loop["Electromechanical Iteration"] MIC -->|"Records Audio"| TR["Tape Recorder"] TR -->|"Plays Back Tape"| LS end ```

- The spoken text consists of four core structural sentences explaining the physical dislocation, the looping mechanism, the acoustic outcome, and the personal motivation. - Lucier addresses the listener across space and time: “I am sitting in a room different from the one you are in now.” - The primary physical consequence intended by the process is the destruction of lexical content while retaining the underlying temporal rhythm.

[02:41](https://www.youtube.com/watch?v=bhtO4DsSazc&t=161s) Early Re-recordings: Resonance Accumulation and Acoustic Coloring

By the third and fourth iterations, the cumulative filtering of the room begins to introduce noticeable changes to the voice. As the recorded signal passes through the air and bounces against the walls, floor, and ceiling, the voice sheds its crisp transient detail. Consonant attacks—especially plosives and sibilants—lose their sharpness, while vowels begin to ring out with extended decay. The audio carries a slightly hollow, cavernous ambiance that makes the listener intensely aware of the room's boundary surfaces.

Even as the timbre shifts toward a more reverberant character, Lucier's philosophical and aesthetic intention remains completely intelligible. Lucier emphasizes that the exercise transcends a simple scientific experiment, explaining: “I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.” This remark directly touches on his own lifelong stutter, framing the recursive sonic feedback not merely as an exploration of architectural acoustics, but as an intimate, therapeutic transformation of personal vocal perceived imperfections into smooth acoustic resonance.

- The room functions actively as an acoustic filter and resonator rather than a passive container. - Certain vowel formants begin to sustain longer, creating subtle ambient tails after each phrase. - The hesitation on words such as "rhythm" and "smooth" begins to blend into the room's natural reverberation decay.

[04:04](https://www.youtube.com/watch?v=bhtO4DsSazc&t=244s) Emerging Room Tones and the Blurring of Consonants

Entering the fourth iteration, the room's natural acoustic modes begin to assert dominance over the direct vocal sound. The higher-frequency hiss and crisp dental consonants are significantly muted, while the lower and middle harmonic frequencies of the room start to form stationary standing waves. The spoken text is still recognizable to anyone listening attentively, but individual words begin to bleed into the subsequent pauses.

The sense of space broadens as the microphone captures the sound reflecting multiple times across the room's architectural volume. Lucier's vocal pacing creates a rhythmic breathing effect in the audio, where bursts of spoken energy excite specific cavity resonances that continue humming softly during his natural hesitations. His voice is no longer sitting dryly in front of the listener; it sounds increasingly distanced, enveloped in a warm, resonant chamber of its own echoes.

- High frequencies decay rapidly due to absorption by room boundaries and air transmission. - Room standing waves begin to hum sympathetically with the fundamental pitches of Lucier's vocal tract. - The temporal spacing of Lucier's delivery establishes a recurring rhythmic cadence that governs the rising and falling of resonant frequencies.

[05:23](https://www.youtube.com/watch?v=bhtO4DsSazc&t=323s) Melodic Filtering and Consonant Breakdown

By the fifth and sixth generations, the recorded speech undergoes a fundamental qualitative shift. Pitch centers emerge distinctly from what were originally spoken, unpitched words. Sibilant sounds like the "s" in "sitting" and the "sp" in "speaking" are stripped of their noisy friction, leaving behind hollow, breath-like impulses that excite the room's sympathetic modes.

As the voice blurs, the underlying architectural acoustics take center stage, fulfilling the composer's explicit forecast: “What you will hear then are the natural resonant frequencies of the room articulated by speech.” Musicality begins to emerge organically from speech that was never sung, as the inherent formant bands of the room reinforce specific pitches. The cadence of the phrases begins to resemble an incantation or chant, driven by the steady meter of Lucier's original recitation.

- Melodic pitched drones start to form around the dominant resonant nodes of the space. - Syllabic boundaries soften into continuous, undulating sound waves. - The spoken message transitions from conveying semantic language toward presenting pure physical sound.

[08:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=487s) Dissolution of Speech Intelligibility into Standing Waves

During iterations seven and eight, semantic intelligibility slips away almost entirely. Words like "different," "recording," and "reinforce" lose their recognizable lexical identity, turning instead into sustained, bell-like rings and mid-range acoustic drones. A listener unfamiliar with the introductory iterations would now struggle to decipher the English sentences, hearing instead a haunting, ghost-like voice echoing inside a cavern.

The phrase "with perhaps the exception of rhythm is destroyed" becomes an audible reality. While the literal phonetic information is dismantled by recursive filtering, the temporal skeleton of the text remains perfectly intact. The pauses, stresses, and pacing that Lucier initially introduced continue to dictate exactly when each burst of resonance is triggered and allowed to ring out into the room.

- The voice takes on a metallic, hollow, tubular quality characteristic of multiple acoustic passes through enclosed spaces. - Consonants are almost completely subsumed by the resonant reinforcement of adjacent vowel sounds. - The temporal envelope and rhythmic articulation remain the only clear structural links to the original speech.

[10:53](https://www.youtube.com/watch?v=bhtO4DsSazc&t=653s) Transition from Linguistic Form to Harmonic Resonances

As the process crosses into the ninth and tenth passes, linguistic form breaks down into purely harmonic behavior. The vocal identity of Lucier is now largely submerged beneath the architectural fingerprint of the room. The speech sounds like an organ-like cluster of tuned pipes, with distinct modal frequencies vibrating sympathetically whenever vocal energy activates them.

What remains of the spoken text is a series of modulated acoustic pulses. The phrase where Lucier describes smoothing out his speech irregularities reaches its literal realization: the physical stutter and hesitations in his vocal delivery are no longer audible as speech impediments. Instead, they manifest as rhythmic gaps and melodic suspensions in a shimmering sound field of self-reinforcing room tones.

- Frequencies matching the room's dimensional modes amplify with exponential intensity relative to other frequencies. - Vocal formants merge into unified acoustic chords composed of fundamental room resonances and their overtones. - The work completes its metamorphosis from an autobiographical spoken-word monologue into an abstract musical drone.

[13:45](https://www.youtube.com/watch?v=bhtO4DsSazc&t=825s) Pure Resonant Articulation and Cadence Retention

Moving into iterations eleven and twelve, all semblance of ordinary human pronunciation has dissolved. The recording now features an ethereal, singing resonance that ebbs and flows in direct correspondence with the original vocal meter. Phrases that were once discrete sentences are now long, ringing melodic gestures that overlap and ring through the space.

The room has essentially become the musical instrument, while Lucier's voice functions solely as the physical mallet or bow that strikes the room into vibration. The ringing tones do not decay into silence between syllables; instead, they ring continuously, overlapping into complex, shifting chords that sustain across the entire duration of each phrase cycle.

- The room's modal response now fully dictates the pitch structure of the output. - The natural damping of the space determines the decay time of each acoustic burst. - Words have been replaced by multi-tonal, shimmering chords pulsating at the tempo of human speech.

[16:38](https://www.youtube.com/watch?v=bhtO4DsSazc&t=998s) Structural Transformation into Resonant Chords and Pulses

Through the thirteenth to fifteenth cycles, the audio assumes an almost electronic, synthesized texture, despite being generated purely through acoustic and electro-mechanical means. The repeated loop excites narrow bands of room harmonics, producing pure, whistle-like overtones and dense low-mid hums. The texture resembles a choir of sustained organ reeds vibrating in unison.

The rhythm of Lucier's reading remains strikingly vivid even as the text vanishes. The distinct pauses—such as the deliberate break between "exception" and "of rhythm," and the long suspension before "destroyed"—now serve as moments of harmonic suspension where standing waves shimmer alone before the next cluster of frequencies is activated.

- Narrow acoustic feedback modes produce steady, high-Q resonant peaks. - Structural pauses in the original speech create rhythmic negative space, allowing pure room resonance decay to be heard. - The composition exhibits a hypnotic, circular momentum as identical harmonic phrases repeat with slight incremental accumulation.

[20:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1207s) Sustained Drone Frequencies and Harmonic Reinforcement

Between twenty and twenty-four minutes into the piece, the piece reaches a hypnotic steady-state. The sound consists of glowing, organ-like sonorities that ring out in sweeping waves. The resonant modes have compounded to such a degree that only a handful of specific pitches are permitted to pass through the acoustic filter of the room.

These privileged frequencies ring loudly, dominating the frequency spectrum. The contrast between vowels has disappeared; every sound event now triggers the exact same fundamental resonant chords of the physical enclosure, varying only in amplitude and duration according to the volume and length of the original utterance.

- A select group of primary room frequencies dominates the overall frequency profile. - Non-resonant frequencies have been filtered out completely through successive generational re-recordings. - The dynamics of the sound rise and fall in a breathing rhythm, mapping exactly to Lucier's original spoken sentences.

[24:09](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1449s) The Spectral Room Voice: Ghost Harmonics and Ringing Modes

Approaching the half-hour mark, the piece presents a spectral, crystalline atmosphere. The audio rings with pure, bell-like clarity, where the high-pitched harmonic nodes shimmer against a warm, grounding low-mid drone. The acoustic imprint of Lucier's body has been erased; what sings now is the physical room itself, voiced through tape, speaker, and microphone.

Every repetition sounds simultaneously static and dynamically evolving. While the tonal palette is locked into the resonant dimensions of the room, minute phase cancellations and micro-variations across the tape passes produce subtle chorusing and beating patterns among adjacent frequencies, creating an intricate, ever-shifting sonic tapestry.

- The audio produces acoustic beating and phase interference patterns between closely spaced room modes. - The timbre takes on a glass-like, shimmering quality as higher harmonic modes reinforce one another. - The human voice has been completely absorbed into architectural acoustics.

[28:34](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1714s) Consolidation of Pure Modal Tones and Shimmering Formants

Past the twenty-eight-minute threshold and extending through the thirty-third minute, the accumulation of resonant passes produces an austere, luminous purity. There are no longer any jagged edges, harsh transients, or noisy vocal elements left in the sound. Everything has been polished down into smooth, glowing sinusoidal-like waves of acoustic energy.

The four-sentence structure of the original text remains recognizable only as four distinct waves of sound energy that crest, sustain, and recede. Each wave activates the room's resonant chord with varying intensity, reflecting the emphasis and emotion that Lucier originally placed on his words when he first sat down to speak into the microphone.

- The acoustic profile approximates a collection of pure sine and harmonic tones. - The composition displays extreme micro-tonal and harmonic cohesion, determined by the room's length, width, and height. - Dynamic swells preserve the expressive contour and rhetorical weight of the original spoken monologue.

[33:31](https://www.youtube.com/watch?v=bhtO4DsSazc&t=2011s) Melodic Stasis: The Room Singing Its Fundamental Nodes

Between thirty-three and thirty-eight minutes, the transformation achieves complete architectural stasis. The music consists entirely of the room's natural acoustic signature vibrating in continuous, cyclical oscillations. The sound possesses a deeply meditative, hypnotic quality, hovering in the acoustic space like a perpetual resonant bell.

The subtle differences between successive generations have now slowed to nearly imperceptible acoustic shifts. The reinforcement loop has saturated its available bandwidth: the resonant frequencies can become no purer, and the non-resonant sounds are entirely eliminated. The work exemplifies an absolute unity of process, medium, and message, where the description of the process is fully realized by the sonic result.

- Generational changes reach an asymptote, where successive passes reinforce an already fully saturated harmonic field. - The listening experience shifts completely from linguistic decoding to pure spatial and acoustic perception. - The piece functions as a self-generating sonic portrait of an enclosed physical environment.

[38:26](https://www.youtube.com/watch?v=bhtO4DsSazc&t=2306s) The Culmination: Pure Acoustic Architecture and Harmonic Decay

In the final movements, spanning from thirty-eight minutes through the conclusion at forty-five minutes and twenty-four seconds, the recursive loop reaches its ultimate expressive resolution. The rich, ringing chords pulse with steady, ceremonial dignity. The rhythmic pattern laid down by Lucier's vocal delivery more than forty minutes prior continues to govern the rise, bloom, and soft dissipation of sound waves with mechanical precision.

In these closing cycles, the work stands as an acoustic monument to its opening thesis. The human voice has not merely been erased; it has been transfigured into pure spatial architecture. The lingering resonances ring softly into the tape noise and room air before gently receding, concluding an exhaustive exploration of acoustic space, memory, and the physical nature of sound.

- The piece concludes with the room's resonant frequencies vibrating at full saturation before the final tape loop fades. - Lucier's speech irregularities have been thoroughly smoothed out, fulfilling his personal artistic intention through acoustic transformation. - The recording ends having demonstrated the complete sublimation of language into architectural vibration.

## Mentioned Alvin Lucier, I Am Sitting in a Room

[Source](https://www.youtube.com/watch?v=bhtO4DsSazc)

中文简报

Lucier通过递归重放将语音消解为房间共鸣通过物理空间的递归磁带重放过滤掉语音频率并抚平口吃，直到只剩下房间的自然谐波共鸣与原始节奏。这部作品始于Alvin Lucier朗诵一段简短文字，解释一项机电处理过程：他将自己的说话声录制在磁带上，在房间内播放，并递归地重新录制该声音。经过数十次迭代，房间维度的共鸣放大了特定频率，同时吸收了非共振声音，在保留Lucier原始节奏与停顿的同时，逐渐破坏了语音的可懂度。Lucier利用这种声学转变，不仅展示了房间的物理特性，还将其作为抚平自身口吃的个人手段。最终，口述独白完全溶解为一簇飘渺如风琴般的驻波与流动的建筑无人声。 Alvin Lucier的这部里程碑式作品采用递归重新录制循环，展示了封闭房间的物理几何结构和共振频率如何在保留潜在抑扬节奏的同时，逐渐抹去语音的可懂度。 (0:00) 除声学实验之外，Lucier还将该过程构想为一种疗愈性转变，旨在抚平他终生口吃所带来的个人语音不规则与迟疑。 (2:41) 在45分钟的磁带世代翻录过程中，语音辅音和共振峰衰变沉淀为驻波和纯谐波和弦，将物理房间本身变成了核心乐器。 (13:45) 在最后几代录音中，世代翻录的变化达到渐近线，房间的模态节点以完全饱和的状态振动，完成了语言向建筑振动的彻底升华。 (33:31)

Reading summary

In Alvin Lucier's composition *I Am Sitting in a Room*, a recursive electro-mechanical recording process systematically dismantles spoken language, transfiguring human speech into pure architectural resonance dictated by room geometry. The Recursive Acoustic Filtering Mechanism (0:00) The piece operates on a technical loop involving a microphone, a tape recorder, a loudspeaker, and the physical listening environment. Lucier speaks a four-sentence descriptive text, plays the recording back into the room through the speaker, and re-records the ambient playback with the microphone. As this electromechanical cycle repeats, the room ceases to be a neutral container and functions as an active acoustic filter. Wavelengths that correspond directly to the room's dimensional modes are amplified with each generational pass, while non-resonant frequencies attenuate. As early as the second and third passes, the dry clarity of the vocal recording is replaced by an ambient wash, highlighting the physical boundaries of the floor, walls, and ceiling. Over successive cycles, the accumulative feedback narrows the audio spectrum toward distinct standing waves determined by the room's length, width, and height. Dissolution of Language into Harmonic Resonances (8:07) As iterations progress past the fourth pass, acoustic resonance steadily erodes semantic intelligibility. High-frequency friction and crisp consonant attacks—such as plosives, dentals, and sibilants—lose their transient sharpness, leaving behind hollow, breath-like impulses. Meanwhile, sustained vowel formants ring out with lengthened decay, blending into the room's standing waves. Between the fifth and eighth iterations, the spoken message transitions from lexical communication into abstract pitch. Words like 'different,' 'recording,' and 'reinforce' dissolve into bell-like ringing tones and mid-range drones. By the ninth and tenth passes, the speech mimics an organ-like cluster of tuned pipes, fulfilling Lucier's explicit forecast that the audience would hear 'the natural resonant frequencies of the room articulated by speech.' The room effectively becomes the instrument, while the voice acts merely as the excitation source. Survival of Speech Rhythm and Temporal Meter (16:38) Even as phonetic information is entirely erased, the underlying temporal architecture of Lucier's original monologue remains fully intact. Lucier identifies this durability in his opening text, stating that recursive playback will continue until any semblance of his speech is destroyed, 'with perhaps the exception of rhythm.' Because the room resonates only when activated by sound energy, Lucier's original phrasing, pauses, and rhetorical stress dictate the dynamic envelope of the work. Structural gaps—such as the hesitation before the word 'destroyed'—function as rhythmic negative space where pure room reverberation decays before the next harmonic burst. The final movements consist of four distinct, cresting waves of sound energy that rise, sustain, and dissipate in exact alignment with the cadence of the opening sentences. Therapeutic Smoothing of Vocal Irregularities (2:41) Lucier emphasizes that the recursive procedure is not simply an objective demonstration of physical acoustics, but an intimate artistic effort to 'smooth out any irregularities my speech might have.' This framing directly addresses his lifelong stutter, shifting the work's focus from scientific experimentation to personal vocal transformation. Through recursive acoustic layering, vocal hesitations, stutters, and uneven pauses lose their character as speech impediments. Instead of manifesting as vocal errors, they are absorbed by the room's natural reverberation tails and translated into melodic suspensions. By transmuting personal vocal vulnerability into smooth, sinusoidal standing waves, the work realizes Lucier's aesthetic goal of harmonizing his voice through architectural space. By thirty-three minutes and through to its conclusion, the piece reaches an acoustic asymptote where generational changes achieve harmonic saturation. With all non-resonant frequencies eliminated and speech fully subsumed into architectural vibration, the composition leaves only the pure, cyclical singing of the room's fundamental nodes pulsing to the cadence of the human voice.

精炼阅读摘要

作曲家 Alvin Lucier 在作品《I Am Sitting in a Room》中提出并通过实践证明，通过在特定物理空间中对一段人声录音进行递归式重录播放，房间固有的几何共振频率将逐步放大并滤除非共振频率，从而在彻底瓦解语言词汇语义的同时完整保留言语的节奏轮廓。Lucier 明确表示，这一过程不仅是对声学物理规律的演示，更旨在通过空间共振抚平其个人天生的口吃与发音不规则性。电机递归循环与物理空间的声学滤波 (0:00) Lucier 通过四句核心结构文本开启了整部作品，并在朗读的同时详尽说明了其操作程序：他首先将自己的朗读声录制在磁带上，随后通过扬声器将音频播放至所处的物理空间中，再由麦克风在此空间内重新拾音并进行递归式再录制。这一电声循环机制将播放空间转变为主动的声学滤波器与共振腔体，而非被动容纳声音的容器。房间的长度、宽度和高度等几何尺寸决定了特定波长会被反复叠加增强，而偏离这些共振模式的非共振频率则在多次反射和空气阻尼中逐步衰减。随着重录迭代的推进，最初干燥、亲切的近距离人声迅速被一层微弱的环境泛音所包裹。高频嘶声、清脆的齿音与塞音爆破等瞬态细节因空气吸收和墙面反射迅速消退，而中低频谐波则开始激发出稳定的空间驻波。整个物理空间在连续的电声回环中被激活为一件乐器，Lucier 的原始发音则退化为敲击这一建筑乐器的物理动力源。口吃瑕疵的抚平与声学升华 (2:41) Lucier 明确强调这项声音实践超越了单纯的物理演示，他将其阐述为“抚平我发音中可能存在的任何不规则性的一种方式”。这一表述直接指向了他终生承受的口吃困扰。在最初的干燥录音中，他在朗读“rhythm”和“smooth”等词汇时带有自然的迟疑、停顿与语音重复，作品并未掩饰这些生理特征，而是将其直接注入递归回环系统之中。当录音迭代进入第九至第十代时，Lucier 预设的艺术意图得到了彻底的物理实现。原本作为言语缺陷的口吃和犹豫，不再表现为听觉上的障碍，而是被多重反射的声学延时自然拉长，转化为共振声场中的节奏空隙与旋律悬停。个人的发音生理印记被建筑声学完全重构与吸收，身体的局限性通过声学物理规律完成了向平滑乐音的升华。语义信息的瓦解与节奏轮廓的永存 (8:07) 随着录音进入第五至第八代，原本非歌唱性的日常言语经历了质的转变，音高中心从无固定音高的朗读声中显现，使语调带上了类似咒语或诵经般的旋律感。在第七至第八次循环中，诸如“different”、“recording”与“reinforce”等具体词汇彻底丧失了词法辨识度，蜕变为持续的钟鸣声和中频声学嗡鸣，听众若不了解初始文本，只能听到洞穴般深邃的幽灵回响。这印证了 Lucier 在开篇文本中的预言：“除了节奏之外，言语的一切表象都将被摧毁”。多重空间滤波虽然粉碎了所有音素与字面意义，但语言原本的时间骨架却始终完好无损。Lucier 在初次朗读时留下的句子断句、重音分布以及自然呼吸节奏，始终精确支配着每一组共振频率的激发、膨胀与消退，使初始的四句式结构在抽象声音能量波中依旧历历可辨。共振饱和、纯净模态与空间绝响 (20:07) 在第二十至二十四分钟之间，声响进入高度稳定的催眠状态，狭窄的声学反馈频段形成了高 Q 值的共振峰，呈现出类似管风琴或电子合成器般的纯净谐波。此时不同元音之间的音色对比已彻底消失，每一次声能激发都会唤醒完全相同的固有频率和弦，相邻的共振模式之间甚至伴有微细的相位干涉与声学拍频现象。从第三十三分钟直至作品在四十五分二十四秒结束，递归循环逼近理论渐近线并达到带宽饱和，共振频率无法变得更加纯净，而非共振频段已被完全滤除。极度纯粹的正弦波式谐波在空间中庄严振荡，展示了创作过程、媒介载体与艺术表达的绝对统一。伴随着最后磁带噪声与空气震颤的消退，人声彻底完成了向纯粹空间建筑声学的形变。《I Am Sitting in a Room》确立了封闭物理空间在声音艺术中作为主动重构介质的地位，通过严谨的递归重录程序实现了对具体语义的解构与对人声缺陷的声学重塑。但该作品的声学呈现完全受制于特定房间的几何长宽高与录放设备的物理响应，构成了一种既遵循严格物理定律、又无法在不同声学环境中绝对克隆的现场声学经验。

Detailed notes — zh

## Background 该内容由频道“A channel”于 2017 年 6 月 24 日发布在 YouTube 平台上，视频全长 45 分 24 秒。原视频页面未提供任何简介或说明文本，内容为作曲家阿尔文·卢希尔（Alvin Lucier）的经典声音艺术作品《I Am Sitting in a Room》的完整录音。 ## TL;DR 作品记录了一场严谨而诗意的空间声学物理实验：作曲家阿尔文·卢希尔朗读了一段阐述实验原理与美学意图的简短文本，并将其通过扬声器在房间内反复播放与重新录制。随着迭代次数的增加，房间固有的共振频率与驻波不断自我强化，人类语音的语义与清晰度逐渐瓦解。最终，最初的人声朗读完全演化为由房间几何结构决定的极简主义持续和声与空灵脉冲，仅保留了卢希尔原始说话与口吃停顿所构成的独特节奏骨架。 ## Atmosphere & style 整部作品带有一种极简、克制且近乎仪式般的声学催眠感。卢希尔最初略带口吃与迟疑的平静朗白，在周而复始的物理反射中逐渐剥离了肉身温度，转变为冰冷、宏大而神秘的管风琴式共振簇音。听者置身其中，能深切体会到语言被客观物理法则步步吞噬的奇妙张力，感受日常言语最终升华为空灵泛音交响的震撼与释然。 ## Bulletin - [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) 阿尔文·卢希尔通过46个英文单词的极简文本与磁带反复重放录制循环，将人声彻底转化为房间物理共振频率驱动的声音艺术。 - [08:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=487s) 在经历多次迭代后，日常语言的语义与辅音冲击力在第8至10代录音中逐渐解体，转化为纯粹的固定音高与金属感泛音。 - [13:45](https://www.youtube.com/watch?v=bhtO4DsSazc&t=825s) 随着声音完全音调化，作品从单人人声演化为由房间几何结构决定的加法合成器与多声部管风琴式持续和弦。 - [37:35](https://www.youtube.com/watch?v=bhtO4DsSazc&t=2255s) 卢希尔原始朗读中的口吃与呼吸停顿不仅未被消除，反而在谐波叠加中升华为整部作品的核心律动与节奏切分点。 ## Key takeaways - [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) 作品以一段46个英文单词的克制朗读作为初始输入，完整定义了实验的处理算法、声学预期与艺术哲学。 - [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) 卢希尔明确将实验视作平复自身口吃与语言不规则性的声学仪式，而非单纯的物理现象展示。 - [02:41](https://www.youtube.com/watch?v=bhtO4DsSazc&t=161s) 早期循环迭代中，房间声学容积显现，边界反射与驻波开始在中低频段对人声进行选择性滤波放大。 - [05:23](https://www.youtube.com/watch?v=bhtO4DsSazc&t=323s) 第5至6代重录标志着听觉质感的跃迁，原本的摩擦与爆破辅音被共鸣长尾淹没，元音被拉长为带有明确固定音高的乐音。 - [08:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=487s) 第7至8代重录导致语言语义结构塌陷，房间特有的梳状滤波效应占据主导，人声彻底化为激发空间自发振荡的声学音块。 - [10:53](https://www.youtube.com/watch?v=bhtO4DsSazc&t=653s) 第9至10代再录制中，语音辨识度降至临界点，声音转化为具有冷冽金属质感的共振钟鸣与复杂泛音。 - [13:45](https://www.youtube.com/watch?v=bhtO4DsSazc&t=825s) 从约第13分钟起，物理房间完全演变为自主运转的声学加法合成器，生成多条旋律线交织的极简主义复调音乐。 - [20:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1207s) 长周期循环中，磁带机与扬声器的谐波失真累加引发差频与拍频现象，使静止的持续和弦中充满内部动态张力。 - [28:35](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1715s) 声音能量在中后段高度固化在少数驻波模态上，呈现出如宏伟管风琴在封闭空间内演奏的持续簇音。 - [28:35](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1715s) 即便言语的表象被彻底摧毁，卢希尔说话的原始语速、呼吸起伏与节奏骨架始终完整贯穿并支配着整部作品。 - [37:35](https://www.youtube.com/watch?v=bhtO4DsSazc&t=2255s) 终章高频谐波展现出如合唱般微颤的纯粹泛音，完成了由具象日常对话向封闭声学系统物理共鸣自组织的史诗蜕变。 ## Detailed walkthrough ### [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) 初始陈述与首次录音：宣读概念宣言作曲家阿尔文·卢希尔（Alvin Lucier）以一段平静而克制的朗读开启了整部作品。他的声音清晰且贴近麦克风，直接向不在场的听众发出对话，阐述了整场实验的物理机制与艺术意图。在朗读中，卢希尔带有轻微的口吃与迟疑，尤其是在念到节奏与平复等词汇时，这种略带阻滞的语流构成了声音材料最原始的肌理。他明确说明，这不仅是一个严谨的声音物理学实验，更是一种独特的个人声学仪式。阿尔文·卢希尔在开篇第一句话中便点明了听众与创作者所处的声学时空差异：“I am sitting in a room different from the one you are in now.” 他向听众清晰地揭示了后续将要发生的技术循环：“I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed.” 在解释自己进行这一行为的心理与美学动机时，他强调说：“I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.” 随着第一次重放与再录制的展开，房间环境的微弱混响悄然潜入人声的背景之中。朗读文本完全一致，但声音在经过扬声器播放并由麦克风拾取后，房间的边界反射已开始为语音镶上一层薄薄的空气感轮廓。 ```mermaid flowchart TD accTitle: 音频迭代重录流程图 accDescr: 展示阿尔文·卢希尔将语音通过房间反复重放与录制的声音循环机制 subgraph Input ["声音源与输入"] A["阿尔文·卢希尔的人声音频"] --> B["扬声器播放至物理空间"] end subgraph RoomAcous ["空间声学物理过滤"] B --> C["房间固有共振频率吸收与反射"] C --> D["麦克风重新采集混响声音"] end subgraph LoopProcess ["磁带循环重录系统"] D --> E["生成新一代磁带音频录音"] E -->|"逐次累加共振频率"| B end ``` - 核心朗读文本由46个英文单词构成，完整定义了实验的输入源、处理算法、预期声学结果与美学目的。 - 朗读者特有的言语卡顿（如对“rhythm”和“smooth”的停顿与轻微重复）被忠实记录，成为后续声学变换的基础节拍。 - 空间声学响应在第二代录音中初现端倪，背景噪声与室内混响轻微提升。 --- ### [02:41](https://www.youtube.com/watch?v=bhtO4DsSazc&t=161s) 早期循环迭代：空间共振的初步介入进入第三与第四次播放循环后，声音的可感知质感开始出现微妙的分层。原本紧凑干爽的近场人声被推向虚化的中景，房间本身的声学容积在录音中逐渐显形。语言的语义依然高度清晰可辨，听众仍能准确听懂每一个音节，但在辅音之间，某些特定的元音开始引发房间空气的细微嗡鸣。卢希尔的声音在第四次循环时逐渐呈现出空洞的箱体感，扬声器与房间墙壁之间的驻波开始选择性地增强某些特定频段。他在朗读中承诺的声音蜕变开始真实上演：“What you will hear then are the natural resonant frequencies of the room articulated by speech.” 这种强化并非凭空产生的电子合成，而是房间对人声频谱中特定频率的选择性吸收与反弹放大，人声的个性开始慢慢让位于空间的个性。 - 扬声器回放带来的声染色逐渐在低中频段聚集，元音音色从自然的人声向空腔共鸣演变。 - 朗读的停顿间隙不再是一片寂静，而是充斥着上一轮发音在房间内消散的细微余响。 - 词句内部的节奏和抑扬顿挫保持完好，依然遵循卢希尔原始说话的语速与停顿。 --- ### [05:23](https://www.youtube.com/watch?v=bhtO4DsSazc&t=323s) 声学色彩变异：语词向音调的过渡在第五代与第六代声音回放中，听觉经验发生了质的跃迁。房间的共振模式开始强力重塑发音的物理形态，语音不再仅仅是意义的载体，而是被转化为一种具备明确固定音高的持续声响。自动语音识别在此处开始将连续的共振长音识别为音乐片段，人声与乐音的界限在物理反馈中被彻底模糊。卢希尔继续宣读着那段未曾改变的文本：“What you will hear then are the natural resonant frequencies of the room articulated by speech.” 然而此时的声音听起来仿佛是在一个巨大的金属回廊或深井中回荡，元音的声音被拉长，形成了类似管乐或单簧管吹奏出的和声基础。语音中的摩擦音和爆破辅音逐渐被共振的长尾淹没，言语的清晰度开始不可逆转地下跌。 - 房间固有的驻波频率获得数倍放大，形成数个稳固的共振音峰。 - 辅音（如“s”、“t”、“p”）的瞬态冲击力被弱化，元音（如“oo”、“ah”、“ee”）被拉长为带有音高的共鸣波形。 - 语音的语义可理解度降至临界点，听众的注意力不由自主地从词义转移至谐波的起伏。 --- ### [08:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=487s) 语言语义解体：驻波与共鸣频率的显现随着第七与第八次迭代的进行，人类语言的表面结构发生了剧烈塌陷。卢希尔的声音已经被彻底镶嵌在自发振荡的空间音网之中，听觉感受由“一个说话的人”转变为“一个由人声激发的房间”。转写系统开始频繁出现识别中断与错词，把卢希尔念出的残余辅音误判为细碎杂音。卢希尔念到末尾那句“more as a way to smooth out any irregularities my speech might have”时，原本让他感到困扰的口吃障碍在此刻反而获得了奇妙的声学升华：那些停顿与颤音激发出截然不同的泛音跳跃，口吃不再是表达的缺陷，而是化作了独特的节奏切分与音高调制。房间并没有消除这些不规则性，而是通过谐波的层层叠加，将它们平滑成了如同合唱般的连贯音响。 - 房间特有的共鸣频点彻底确立，人声频率响应曲线呈现出陡峭的梳状滤波特征。 - 原本连贯的语句被分解为一组有节奏律动的声学音块，语义信息基本丧失。 - 空间本身作为滤波器的特质占据绝对主导地位，背景啸叫与特定驻波深度融合。 --- ### [10:53](https://www.youtube.com/watch?v=bhtO4DsSazc&t=653s) 临界蜕变：语音轮廓破碎与金属感泛音生成在第九与第十代再录制中，语音的形态已濒临完全解体。自动语音识别系统仅能捕捉到零星的破碎单词，如“different”、“speaking voice”、“world”以及“destroyed”。卢希尔的声音完全失去了日常交流的温度，化作冰冷而迷人的金属质感鸣响，宛如敲击大型铜钟或青铜编钟后留下的深长尾音。转写文本中记录的断裂短语“of is destroyed”恰如其分地印证了当下的声学现实：语言原有的外在形式确实被摧毁了。留存下来的只有一种机械而诗意的骨架——那便是纯粹由卢希尔原始说话习惯所决定的音量起伏与断句节奏。每一个发音动作，都在空间中激起一道道特定频率的光谱波纹，随后又在下一轮重放中成为新的激发源。 - 单词的可辨度降至几乎为零，人类语音退化为激发房间共振的白噪声脉冲。 - 声音的泛音结构显著丰富，呈现出明亮而尖锐的共振峰与深沉的低频共鸣基底。 - 音响在房间内形成物理性的驻波节点，不同频率在立体声场中展现出空间游移感。 --- ### [13:45](https://www.youtube.com/watch?v=bhtO4DsSazc&t=825s) 彻底音调化：从人声到空间合成器的转变从大约第十三分钟开始，作品进入了一个全新的声音境界：语言的躯壳已经完全消散，取而代之的是纯粹的持续和声与节奏性脉冲。转写文本中充斥着大段的音乐标签，仅偶尔穿插着语音识别算法从共振包络中强行辨识出的极个别词语碎片（例如“sound of speaking”、“demonstration”与“speech”）。整个房间此刻已经完全演化为一台自主运转的声学加法合成器。原初文本中卢希尔对于过程的预言在此刻得到了完全的物理印证：除了节奏以外，言语的任何表象均已不复存在。每一次循环播放，房间都只是在自身最偏好的物理频率上进行自激震荡。听众听到的不再是任何英语句子，而是一串由四条到五条独立旋律线条交织而成的极简主义复调音乐。 - 声音信号完全转化为由若干固定纯音构成的复杂和弦，具有电子合成器般的纯净度与穿透力。 - 卢希尔曾经的吐字气流退化为带有泛音敲击感的打击乐式瞬态。 - 语音中原本高低起伏的语调被完全固化为固定的和声阶梯。 --- ### [20:07](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1207s) 纯粹共振谱系：谐波叠加与节奏脉冲化在二十分钟至二十八分钟的长周期演变中，作品展现出令人着迷的声学极简主义特征。录音转写中已几乎不再出现实质性的连贯语言，仅偶有语音模型在纯共振和弦的微小波动中误读出的单词碎片（如“don't”、“know”、“that's all”）。在长达数分钟的时间跨度里，系统完全被标记为音乐状态。声音在此时形成了一种近乎催眠的脉动节律：由原初句子中的重音与停顿所塑造的时间骨架依然清晰，声音按时涌起、鸣响、达到驻波峰值，然后随着句尾的间歇逐渐回落为低沉的背景回音。每一个音块都拥有极其丰富的微观内结构，由于磁带录音机和扬声器的高次谐波失真累加，这些音块之间产生细微的差频与拍频现象，使得静止的和声中蕴含着剧烈的内部张力。 - 声音系统进入准自激振荡状态，能量高度集中在房间几何尺寸所决定的少数几个共振模态上。 - 拍频与互调失真使得长和弦内部产生类似极光般的波动感与空间相位漂移。 - 句式结构的节律形态被提炼为抽象的声音明暗交替，展现出高度形式化的韵律美。 --- ### [28:35](https://www.youtube.com/watch?v=bhtO4DsSazc&t=1715s) 空间自主鸣响：管风琴般的持续共振音块进入近半小时的节点后，声响的宏大感进一步加剧。原本由单人朗读激发的纤细声音，在此刻演变成为犹如宏伟管风琴在封闭大教堂内演奏的持续簇音。转写文本在这个漫长的阶段几乎全部被持续的音乐标记所占据，间歇性出现的孤立辅音标记仅仅是某些偶次谐波过载导致的微弱尖刺。物理空间的反光面与吸音面对声音的塑造已经达到极限，系统内部的动态平衡使得声音不再向混沌白噪声演变，而是稳定在极其纯净的驻波群中。声波在墙壁之间来回折射数千次，抹平了所有的毛刺与偶然性。听众在此处体验到一种奇妙的矛盾：声音既是绝对客观、非人格化的物理定律展现，同时其节奏又完全保留了阿尔文·卢希尔作为一个个体生命在1969年某一特定时刻所独有的呼吸与停顿。 - 声音能量在几个主要共振峰上高度固化，形成多声部的持续音（drone）声景。 - 扬声器与麦克风的频响限制导致两端频段自然衰减，中高频谐波产生如玻璃般剔透的听觉质感。 - 原始语音的每一处气息断点演变为声学空间的能量释放阀，构成了呼吸般的涨落周期。 --- ### [37:35](https://www.youtube.com/watch?v=bhtO4DsSazc&t=2255s) 终章纯粹泛音：原初语言的声学升华在作品的最后八分钟里，声音演变至其最终极的形式。高密度的共振音块在空中交叠鸣响，泛音极其尖锐而丰富，乃至在自动化音频分析中被算法误判为细碎的笑声与交叠杂音。实际上，这是复杂的驻波群在相互干涉时产生的微小振幅波动与高频镶边效果。当全曲走向尾声，最初那个坐在不同房间里的男人的肉身痕迹已经完全升华。语言所承载的逻辑、概念与人类情绪全部被剥离，房间的声学本质彻底完成了对人类言语的吞噬与重构。留存在空气中的，只有一组纯粹依靠空间几何结构振荡出的神秘旋律，它悠长、空灵且永恒，完成了从日常对话向先锋声学艺术史诗的彻底蜕变。 - 高频谐波之间的复杂相位干涉产生微观声学抖动，显现出类似合唱音效的神秘重叠感。 - 卢希尔原本朗读中微小的口吃停顿，最终被铭刻为这首空间交响曲中最富辨识度的节奏切分点。 - 整个45分钟的迭代完整呈现了一个封闭声学系统从“语义信息输入”到“物理共鸣自组织”的全过程。 ## Notable quotes > [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. — 阿尔文·卢希尔 > [00:00](https://www.youtube.com/watch?v=bhtO4DsSazc&t=0s) I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. — 阿尔文·卢希尔 ## Mentioned Alvin Lucier, I Am Sitting in a Room, YouTube [Source](https://www.youtube.com/watch?v=bhtO4DsSazc)

Source quotes

[0:00] 阿尔文·卢希尔: I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. [0:00] 阿尔文·卢希尔: I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed.

Original transcript

[0:00] I am sitting in a [0:02] room different from the one you are in [0:07] now I am recording the sound of my [0:10] speaking [0:12] voice and I am going to play it back [0:15] into the room again and [0:18] again until the resonant frequencies of [0:22] the room reinforce [0:25] themselves so that any semblance of my [0:29] speech [0:31] with perhaps the exception [0:33] of [0:36] rhythm is [0:40] destroyed what you will hear then are [0:43] the natural resonant frequencies of the [0:48] room articulated by [0:52] speech I regard this [0:57] activity not so much as a demonstration [1:00] of a physical [1:02] fact but [1:04] more as a way to smooth [1:08] out any irregularities my speech might [1:20] have I am sitting in a [1:23] room different from the one you are in [1:28] now I am recording recing the sound of [1:31] my speaking [1:33] voice and I am going to play it back [1:35] into the room again and [1:39] again until the resonant frequencies of [1:42] the room reinforce [1:46] themselves so that any semblance of my [1:50] speech with perhaps the exception [1:54] of [1:56] rhythm is destroyed [2:01] what you will hear then are the natural [2:06] resonant frequencies of the [2:08] room articulated by [2:13] speech I regard this [2:17] activity not so much as a demonstration [2:21] of a physical [2:22] fact but [2:24] more as a way to smooth out [2:30] any irregularities my speech might [2:41] have I am sitting in a [2:44] room different from the one you are in [2:49] now I am recording the sound of my [2:52] speaking [2:54] voice and I am going to play it back [2:57] into the room again and again [3:00] again until the resonant frequencies of [3:04] the room reinforce [3:07] themselves so that any semblance of my [3:12] speech with perhaps the exception [3:15] of [3:18] rhythm is [3:22] destroyed what you will hear then are [3:26] the natural resonant frequencies of the [3:29] room [3:31] articulated by [3:35] speech I regard this [3:39] activity not so much as a demonstration [3:42] of a physical [3:44] fact but [3:46] more as a way to smooth [3:50] out any irregularities my speech might [3:54] have [4:04] I am sitting in a [4:06] room different from the one you are in [4:11] now I am recording the sound of my [4:14] speaking [4:16] voice and I am going to play it back [4:19] into the room again and [4:22] again until the resonant frequencies of [4:25] the room reinforce themselves [4:30] so that any semblance of my [4:34] speech with perhaps the exception [4:37] of [4:40] rythm is [4:44] destroyed what you will hear then are [4:47] the natural resonant frequencies of the [4:52] room articulated by [4:56] speech I regard this activity [5:02] not so much as a demonstration of a [5:04] physical [5:06] fact but [5:08] more as a way to smooth [5:12] out any irregularities my speech might [5:23] have I am sitting in a [5:27] room different from the one you are in [5:29] [Music] [5:31] now I am recording the sound of my [5:35] speaking [5:36] voice and I am going to play it back [5:39] into the room again and [5:43] again until the resonant frequencies of [5:46] the room reinforce [5:50] themselves so that any semblance of my [5:54] speech with perhaps the exception [5:58] of [6:01] rhythm is [6:05] destroyed what you will hear [6:07] then are the natural resonant [6:11] frequencies of the [6:13] room articulated by [6:16] [Music] [6:18] speech I regard this [6:22] activity not so much as a demonstration [6:26] of a physical [6:27] fact but more [6:30] as a way to smooth [6:34] out any irregularities my speech might [6:45] have I am sitting in a [6:48] room different from the one you are in [6:51] [Music] [6:53] now I am recording the sound of my [6:56] speaking voice [6:59] and I am going to play it back into the [7:02] room again and [7:04] again until the resonant frequencies of [7:08] the room reinforce [7:12] themselves so that any semblance of my [7:16] speech with perhaps the exception [7:20] of [7:23] bre is [7:26] destroyed what you will hear then [7:30] are the natural resonant frequencies of [7:33] the [7:35] room articulated by [7:37] [Music] [7:40] speech I regard this [7:44] activity not so much as a demonstration [7:47] of a physical [7:49] fact but [7:51] more as a way to smooth [7:55] out any irregularities my speech might [8:07] have I am sitting in a [8:11] room different from the one you are in [8:16] now I am recording the sound of my [8:19] speaking [8:21] voice and I am going to play it back [8:24] into the room again and [8:27] again until the resonant frequencies of [8:31] the room reinforce [8:35] themselves so that any semence of my [8:39] speech with perhaps the exception of [8:45] her is [8:49] destroyed what you will hear [8:52] then are the natural resonant [8:56] frequencies of the [8:57] room artic ulated by [9:00] [Music] [9:03] speech I regard this [9:07] activity not so much as a demonstration [9:11] of a physical [9:12] fact but [9:14] more as a way to smooth [9:18] out any irregularities my speech might [9:22] have [9:31] I am sitting in a [9:34] room different from the one you are in [9:39] now I am recording the sound of my [9:42] speaking [9:44] voice and I am going to play it back [9:47] into the room again and [9:50] again until the resonant frequencies of [9:54] the room reinforce [9:57] themselves so that any semblance of my [10:02] speech with perhaps the exception of [10:08] her is [10:12] destroyed what you will do [10:15] then are the natural resonant [10:19] frequencies of the [10:20] room articulated by [10:25] speech I regard that this activity [10:31] not so much as a demonstration of a [10:34] physical [10:35] fact but [10:37] more as a way [10:40] Tove [10:42] out any irregularities when I speech [10:45] might [10:53] have I am sitting in the [10:57] room different from the one you are [11:02] now I am recording the sound of my [11:05] speaking [11:07] voice and I am going to PL back into the [11:10] world again and [11:13] again until the res frequencies of the [11:17] room [11:20] reinforce so that any SS of my [11:25] speech will perhaps be exception of [11:32] is [11:35] destroyed what you [11:38] will are the natural resonant [11:42] frequencies of the [11:44] world articulated by [11:49] speech I remember this [11:53] activity not so much as a demonstration [11:57] of a physical fact [12:01] but as a [12:05] to any regularities when I speech my [12:17] hand I [12:21] sit different you [12:26] are i s speaking [12:31] voice and I going to play back into the [12:34] world again and [12:37] again until the frequencies [12:41] of [12:43] [Music] [12:44] reinforce so that any sance of my [12:49] speech the be exception [12:55] of is destroyed [13:04] I [13:08] res articulated my [13:13] speech I [13:17] activity not much as a demonstration of [13:23] physical that [13:31] any speech may [13:45] have from the one you are [13:49] now [13:51] I of speaking [13:54] voice and [14:01] until [14:03] 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