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Spending time together in Gothenburg in the spring of 2003, Florian Hecker and Carsten Höller discovered that they don't share only a passion for Munich's culinary speciality Saures Lüngerl. Carsten later driving off to Berlin, equipped with a single CD-R of some unreleased Hecker tracks playing on heavy rotation in his car, and Florian enjoying the Upside Down Goggles, they said goodbye, but not for long. Once Florian mentioned to Carsten his fascination for psycho acoustics, he soon found a CD of Diana Deutsch's famous Musical Illusions in his mail box, followed by an invitation to conceive a sound piece to accompany Carsten’s Light Wall, then planned as a contribution to 2003's Nuit Blanche to be held at Gare de Lyon, Paris. Florian wanted to second the persuasive notion of the flickering Alpha Wave inducing Light Wall, with a sound piece at least as hypnotic as a Dreamachine and as abrasive as a quality Acid House bassline. Not interested in Musical Illusions per se, he aimed to break the psycho acoustics down to the level of sound particles, not having to deal with scale, octave or tritone illusions in the style of Diana Deutsch. The result was a 4-minute long, intensively pulsating piece, a flickering rhythm with a constant Precedence Effect and a phase inversion at a frequency of 7,12 Hz to add even more spatial disorientation. The Precedence Effect fascinated him as a beautiful example of spatio-sonic confusion, exposing the very heart of many psycho acoustic applications, where only some spare but carefully chosen modifications of slight temporal ortonal shifts, time delays, loudness and pitch differences are responsible for intense and unusual sonic phenomena. As a classic example of French bureaucracy the planned combination of the Light Wall and the Precedence Effect sound piece never happened. 9 months later Carsten contacted him, having found an even better occasion to present the work; his solo show at the Museum of Contemporary Art, Marseille. He made a series of tracks, all using a super abundance of Acid Phase Inversion, intensively klickering hypnotic pulsars, crescendos of Precedence Effects, and eventually titled them Höller Tracks. The shifting pulsars opened in two microtonally different versions in two identically empty rooms in the museum. The piece which actually was on display at the museum can be found in its two different versions on a DVD with the published book, and in again another slightly different version on his album Recordings for Rephlex. This was the driest, most sober take out of all the Höller Tracks.