AUDIAanderson2 - Jerome Joy website

B I U S link image code HTML list	Show page Syntax
!!1972 — An Afternoon of Automotive Transmission ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t En 1972, ''Automotive'', l'une de ses premières performances, consiste en un concert de klaxons de voitures présenté dans le parc de la ville de Rochester, dans le Vermont.{br}{br}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Rochester, Vermont - concert of automobile horns{br}In the early 1970s, she started creating and presenting her first performance pieces such as ''Automotive'', a “concert” of car horns in an open space in 1972. There was a symphony for car horns and autoparts entitled ''An Afternoon of Automotive Transmission''.{br}Renting a house in the North Hollow with downcountry friends, she exhibited her creative way of looking at things by drawing together 10 automobiles, which she called ''the Horn and Engine Society,'' and leading them in a "musical" performance that required them to blow their horns at the correct time. The concert was held Aug. 26, 1972. Despite threatening skies, the day’s program was attended by about 50 of the curious. Two other composers listed on the program that day included Peter Schneider and Geraldine Pontius.{br}[The White River Valley Herald\|http://www.ourherald.com/news/2005-01-20/Front_page/f07.html] newspaper headlined "Automotive Orchestra Bows/ In Stunning Rochester Debut," and judged that "Laurie Anderson ^[...^] has been catapulted to recognition as the world’s foremost composer of work for automotive orchestra." "No less curious than the audience was the music," The Herald reported. "Written especially for the tonal possibilities of the autos represented, it was limited to seven notes; and because the Fords all tooted in thirds, the harmonic construction was limited." The Herald reported also that to find her orchestra, Anderson "took to the streets with a tape recorder, asking startled local motorists to toot into her machine. ^[...^] The absense of another vehicle sent the organizers scurrying down the line of assembled spectators, blowing their auto horns until an E-natural was found and pressed into service."'' — {small}(M. D. Drysdale, Laurie Anderson Gave First Concert On Rochester Park, In The Herald, Jan. 20, 2005 - ^[[Source\|http://www.ourherald.com/news/2005-01-20/Front_page/f07.html]^]{/small}{br}— —'' ''An Afternoon of Automotive Transmission'', which Anderson describes as ‘really horrible’, was her first outdoor spectacle. Performed in Rochester, New York, this happening was envisioned as a summer concert for automobile and truck horns. The whole event has a humorous tone featuring musical compositions such as: ‘The Well-Tempered Beep’, ‘Concerto for Land Rover with Six-Cylinder Backup’, ‘Six-Part Fugue for the Well-Fueled Heretic’, and ‘Auto-Da-Fé’ — “Peter Schneider, attired in a full tuxedo with black tie but without socks, directed his ‘Horn Pipe for Horn and Pipe’ while Geraldine Pontius conducted her ‘Well-tempered Beep.’” — {small}(In Drysdale, “Automotive Orchestra Bows in Stunning Rochester Debut,” White River Valley Herald of Randolph ^[Rochester, VT^], August 31, 1972){/small} —. Even though mostly preoccupied with sound, this performance also inverts common spatial delineation by reversing the traditional relationship between the audience and the performers. Every summer regular musical concerts would be held in the Rochester Park, with musicians playing in the park’s gazebo and the audience seated on the surrounding grass. Also part of the local custom has been that the audience applauds the summer concerts by blowing their car horns. Anderson places the audience in the gazebo and the performers – drivers and their cars – around it. Reversing the positions and performing the concert of car horns, Anderson subverts the conventions of a traditional communal event and turns it into a happening of avant-garde defamiliarisation.'' — {small}(Silvija Jestrovic, From the Ice Cube Stage to Simulated Reality: Place and Displacement in Laurie Anderson’s Performances, ^[[Source\|http://fabianalib200.blogspot.fr/2013/10/laurie-anderson.html]^]){/small}{br}— —'' On one level, Anderson’s ''Automotive'' reacts to the dominance of the automobile in American culture, a fact criticized and brought to national attention by Helen Leavitt’s ''Superhighway - Super Hoax'' (1970). On other levels, the piece offers a wry reply to the high culture of orchestras and to a regular local event in Rochester. During Sunday evenings in the summer of 1972, the town of Rochester convened on its town green. The high school brass band played in the gazebo, while the audience parked their cars around it and sat there to hear the show. Anderson explains, "The strange thing was that they never got out of their cars. After each number, they honked their horns as applause ^[…^] The applause sounded better than the concert". Inspired by the "rich, resonant, loud" sounds of the horns, she decided to write a piece for car horns. Anderson auditioned local owners of cars, trucks, and motorcycles — ''If you would like to participate in the first Automotive Orchestra please call 767-5331. (No previous orchestral experience necessary). We hope to rehearse and perform this piece soon so please call before August 20.'' —, and ''Automotive'' was performed on Sunday evening, 27 August 1972, on Rochester’s green. She reports, "The concert was performed on the town green but this time the relationship was reversed : the audience sat in the gazebo and the orchestra surrounded it. ^[…^] On of the pieces sounded more or less like barking seals but another had the magnificence of an enormous traffic jam" (Laurie Anderson, In ''Stories from the Nerve Bible'')'' — {small}(Philip Nel, The Avant-garde and American Postmodernity, University Press of Mississippi, 2002){/small} \| \|t \|t ''It sounded great. WBAI has broadcast it a few times. I sent them a tape after the concert and said, Here are some nice cars in harmony. If you ever want to play it, you can.'' — {small}(Laurie Anderson, [Interviewed by William Duckworth\|http://www.csuchico.edu/~jalexander/Sound_Vision/Reading/LAnderson]){/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \| {br}{br} {br}{br}
Password Summary of changes		↓ ↑

[Edit] [History] [UP] [List of all pages] [Create page] [Erase cookies]