AUDIAanderson5 - Jerome Joy website

B I U S link image code HTML list	Show page Syntax
!1978 ---- ---- \|tr {small}{cap}'''-Worked as a migrant cotton picker with the Taylor family near Covington, KY'''{/cap}{/small}{br}{small}{cap}'''-Met Mister Spoons'''{/cap}{/small}{br}{small}{cap}'''-Wrote ''NOTEBOOK'', a collection of scores and stories'''{/cap}{/small}{br}{small}{cap}'''-Lived in Berlin'''{/cap}{/small}{br}{small}{cap}'''-Performed at the Nova Convention; met William S. Burroughs'''{/cap}{/small}{br}{small}{cap}'''-Performed a series of pieces in Europe and the United States '''{/cap}{/small}{br}{small}{cap}'''-Did sound and visual installations at various galleries and museums in the United States and Europe'''{/cap}{/small}{br}{small}{cap}'''-Visited Benedictine Convent in Wisconsin to conduct a seminar with nuns on the spoken word'''{/cap}{/small}{br}{small}{cap}'''-Worked as a straight man for Andy Kaufman in comedy clubs and Coney Island'''{/cap}{/small}{br}{small}{cap}'''-Taught at Cal Arts, Valencia, California '''{/cap}{/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 \| ---- ---- {br}{br} {br}{br} !!1978 — Handphone Table ---- \|tr — '''Merci d'accéder directement à [cette page consacrée à une étude sur The Handphone Table\|AUDIAanderson]'''{br}— —''' ''please read [this page about a study on The Handphone Table\|AUDIAanderson]'' '''{br}{br}[../files/articles/anderson/1978_handphonesmall.jpg\|https://jeromejoy.org/w/index.php?page=AUDIAanderson]\| {br}{br} {br}{br} !!1978 — Cassette in Mouth (The Pillow Speaker) ---- \|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 ''In 1978 Laurie Anderson used ''The Cassette in Mouth'', a small audio cassette of violin recordings ^[plays while^] that she puts ^[a small loudspeaker^] in her mouth so that she can modify the dynamics and phrasing by varying the speed with which she opens and closes her lips.'' — {small}(Jacqueline Caux, Laurie Anderson Brings Out Her Violins / Les Violons de Laurie Anderson, In Art Press nr 285, ^[[Source (pdf)\|http://www.jacquelinecaux.com/download/articles/les_violons_de_laurie_anderson_art_press_dec_2002_n285.pdf]^]){/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t En 1978, Laurie Anderson utilise ''The Cassette in Mouth', petite cassette d’enregistrements de violon ^[lu par un lecteur cassette et connecté à un petit haut-parleur^] qu’elle introduit dans sa bouche et dont elle nuance la dynamique et le phrasé en ouvrant et en refermant plus ou moins rapidement les lèvres. — {small}(Jacqueline Caux, Laurie Anderson Brings Out Her Violins / Les Violons de Laurie Anderson, In Art Press nr 285, ^[[Source (pdf)\|http://www.jacquelinecaux.com/download/articles/les_violons_de_laurie_anderson_art_press_dec_2002_n285.pdf]^]){/small}\| [../files/articles/anderson/1978_cassette1_600.jpg\|../files/articles/anderson/1978_cassette1.jpg] [../files/articles/anderson/1978_cassette2_300.jpg]{br}{br} \|t [../files/articles/anderson/1978_cassette3.jpg]\|t \|t \|t \|t \|t \|t {small}{cap}Small voice{br}{br}Pillow speaker{br}(in mouth) runs to{br}concealed tape{br}deck which plays{br}tape of violin solo.{br}{br}Violin coming{br}from mouth is{br}phrased and{br}modulated by{br}moving the lips.{/cap}{/small}\| {br}{br} ---- {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/Ul25TPz0fGE?rel=0" frameborder="0" allowfullscreen></iframe> {/html} {small}Laurie Anderson performs a short song with a pillow speaker, in 2012 at the School Of Visual Arts, NYC.{/small} {br}{br} {br}{br} !!1978 — Quartet for Four Listeners ---- — — ''Laurie Anderson- Quartets For Four (Subsequent) Listeners - Holly Solomon Gallery, New York - September 9-September 30, 1978'' {br}{br} \|t [../files/articles/anderson/1978_quartets.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Laurie Anderson’s acoustical installation - ''Quartet #1 for Four (Subsequent) Listeners'', 1978 - inverts Rauschenberg’s procedure by having lights trigger sounds. A small gallery room is rigged with four large loudspeakers suspended in a diagonal row along the ceiling with four spotlights installed in a corner and four cylindrical light sensors hung in line among the speakers. In the darkened room a diagonal ribbon of light on the floor directs gallery visitors. The words ’note’ and ‘tone’ are printed on the floor at each end of the room.{br}When a visitor blocks the light, he/she activates four sounds : a repeated monosyllable, a violin phrase , a woman’s voice softly humming, and a sound that is either traffic or surf.{br}ln some ways suggestive of participatory theatre, ''Quartet #1 for Four (Subsequent) Listeners'' is programmed for social interaction.{br}The installation invites the anonymous observer/auditor to perform acts of sensory engagement, which disrupt patterns of perception. For every action there is a prerecorded aural reaction in Laurie Anderson's installation. The piece is both engaging and entertaining.''\| {br}{br} {br}{br} !!1978 — Doormat Love Song ---- —— ''and/or, Seattle, June 6-14, 1978'' {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 \|''Laurie Anderson built a palindrome door for an installation at and/or Seattle, in 1978. As the door was opened or closed the ''Door Mat Love Song'' audio tape on the floor was played by a tape head under the door. The song was heard forward and backward.''\| {br}{br} \|t [../files/articles/anderson/1978_doormat.jpg]{br}{br}[../files/articles/anderson/1978_doormat2.jpg]\|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} !!1978 — Three Expediences ---- \|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}---- {small}{cap}Three Expediencies{br}{br}I met a man in Canada, and every day he had the same thing for lunch{br}He had a carrot, and he had a bowl of chocolate pudding{br}First, he ate the carrot into the shape of a spoon,{br}Then, he ate the pudding with the carrot shaped spoon{br}And then, he ate the carrot{br}{br}I saw a photograph of Tesla, who invented the Tesla coil{br}He also invented a pair of shoes, with sole fourteen inches thick,{br}To Ground him while he worked in his laboratory.{br}In this picture, he was sitting in his lab, wearing his shoes,{br}And reading by the light of the long streamer-like sparks{br}shooting out of his transformers{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {br}{br}{br}{br}{small}{cap}It was the night flight from Houston,{br}near perfect visibility{br}We could see the lights from all the little Texas towns{br}I was sitting next to a 52 year old woman,{br}Who'd never been on a plane before{br}Her son had sent her a ticket and said{br}"Mom, you've raised ten kids, it's time you got on a plane"{br}{br}She sat on the window seat{br}She kept talking about the big dipper, and the little dipper{br}And pointing{br}Suddenly I realized she thought we were in outer space,{br}Looking down at the starts{br}I said "I think those are little towns" {/cap}{br}{br}^[[Source\|http://www.jimdavies.org/laurie-anderson/lyrics/three-expediencies.txt]^]{/small}\| ---- {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/0hTIz8Ook4c" frameborder="0" allowfullscreen></iframe> {/html} {small}recorded at ZBS Media, Fort Edward, New York, Feb. 1978. {br} In LP: Big Ego (Giorno Poetry Systems) - BIG EGO / THE DIAL-A-POEM POETRY LP{br}https://www.discogs.com/fr/Various-Big-Ego/release/798090 - http://www.ubu.com/sound/big_ego.html {/small} {br}{br} [../files/articles/anderson/1978_threeexpediences1_300.jpg\|../files/articles/anderson/1978_threeexpediences1.jpg][../files/articles/anderson/1978_threeexpediences2.jpg\|../files/articles/anderson/1978_threeexpediences2.jpg][../files/articles/anderson/1978_threeexpediences3_300.jpg\|../files/articles/anderson/1978_threeexpediences3.jpg]{br}{small}2 LPs - Giorno Poetry Systems ‎– GPS 012-013 - ["The Dial-A-Poem Poets LP" - 1978\|https://www.discogs.com/fr/Various-Big-Ego/release/798090]{/small} {br}{br} {br}{br} !!1978 — Numbers Runners ---- {br}{br} [../files/articles/anderson/1978_numbers.jpg] [../files/articles/anderson/1978_numbers2_400.jpg\|../files/articles/anderson/1978_numbers2.jpg] [../files/articles/anderson/1978_numbers4_400.jpg\|../files/articles/anderson/1978_numbers4.jpg]{br}[../files/articles/anderson/1978_numbers3.jpg] {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 ''Laurie Anderson’s ''Numbers Runners'' (1979) recreating a typical American phonebox, only becomes an entirely fuller proposition when the viewer picks up the receiver to hear the artists existential questions : a phone in a booth that plays back the talker's voice almost as he uses it, creating additional ''dialogue'' by interspersing recorded comments from the artist.''\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Numbers Runners'' est une cabine de téléphone modifiée. Il s’agit en fait d’une pseudo cabine téléphonique. Le spectateur-expérimentateur entre dans la cabine, décroche le combiné et le porte à son oreille: il peut alors entendre deux voix, celle de Laurie Anderson (préalablement enregistrée sur une bande) et sa propre voix. Le spectateur entend les mots qu’il a prononcés avec un retard (un décalage plutôt) de 0,75 seconde. Ainsi la cabine téléphonique donne la possibilité au spectateur-auditeur de participer à un dialogue avec l’artiste. Mais on comprend assez vite que ceci est un faux dialogue comme le remarque très justement Jessica Prinz :{br}« Dans la pseudo-cabine téléphonique ''Numbers Runners'' (1978), les auditeurs deviennent locuteurs, puis de nouveau auditeurs, ainsi ils sont contraints de se confronter aux mots qu’ils ont prononcés eux-mêmes. »{br}{br}Le spectateur réalise qu’il dialogue avec une machine et au-delà de ça qu’il discute avec lui-même. Parler à une machine revient donc à parler tout seul et à échouer dans la communication. Certaines personnes ont cette sensation lorsqu’elles doivent laisser un message sur un répondeur téléphonique, tandis que d’autres ont la quasi conviction d’avoir un échange avec un interlocuteur. Outil de communication moderne, le téléphone peut jouer un rôle paradoxal. L’artiste montre en effet que cet objet peut court-circuiter la communication et provoquer son échec. Et comme le souligne Laurie Anderson elle-même :{br}« La chose la plus importante est que les gens apprennent à communiquer et à se parler. Les appareils électroniques ne sont que des médiateurs. Leur efficacité dépend de la manière dont ils sont utilisés. »{br}{small}(Thomas Aucouturier, [ÉTUDE CRITIQUE D'UNE PERFORMANCE - LAURIE ANDERSON: United States Parts I-IV (1983)\|http://choc.electrique.free.fr/united_states.html], 1977){/small}\| {br}{br} {br}{br} !!1978 — Tape Bow Trio ---- — — ''The Kitchen, NYC, 1978'' {br}{br} \|t [../files/articles/anderson/1978_tapebowtrio_600.jpg\|../files/articles/anderson/1978_tapebowtrio_1000.jpg] \|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 ''The Tape Bow Trio : Patrice Anderson, Joe Kos, Laurie Anderson.{br}All three instruments were equipped with both strings and audio tape heads mounted on the bodies of the instruments.''\| {br}[../files/articles/anderson/1978_tapebowtrio2_400.jpg] [../files/articles/anderson/1978_tapebowtrio3_400.jpg]{br}{small}Tape Bow scores for "Born, Never Asked", 1980{/small} {br}{br} ---- {html} <b>Tape Bow Trio - Say Yes </b> <i>(1978)</i><br> <object type="application/x-shockwave-flash" data="webs/dewplayer-vol.swf" width="350" height="20" id="dewplayer" name="dewplayer"> <param name="wmode" value="transparent" /> <param name="movie" value="webs/dewplayer-vol.swf" /> <param name="flashvars" value="mp3=https://jeromejoy.org/files/articles/anderson/1978_tapebowtrio.mp3&bgcolor=FFFFFF&showtime=1&autoplay=0&autoreplay=0&volume=100" /> </object><br><br><i></i> <br> {/html} {small}From the CD [The Record of the Time (Sound In The Work Of Laurie Anderson)\|https://www.discogs.com/fr/Laurie-Anderson-The-Record-Of-The-Time-Sound-In-The-Work-Of-Laurie-Anderson/release/4481588], Museum Kunst Palast ‎– ISBN 3-9808208-8-2, cd 2003{/small} ---- {br}{br} {br}{br} !!1978 — Songs for the Night Driver ---- — — ''an installation of slides and audio at the Wadsworth Atheneum, Hartford, Connecticut, Dec. 1978 - Jan. 1979.'' {br}{br} \|t [../files/articles/anderson/1978_songsnightdriver.jpg]\|t \|t \|t \|t \|t '' ''Song for the Night Driver #3'' contains the often cited passage, "I am in my body the way most people drive their cars."{br}{br}Laurie Anderson plugs her body into technology to produce a cyborg-like character. Here sexuality is blurred in an androgynous figure, however, this is not the bachelor machine body of an earlier modernist practice. Although Anderson announces that her body is a machine: "I am in my body the way most people drive their cars", her autobiographical scripts are allegories. The car becomes the metaphor for the unconscious. The female body-machine is commodified in a familiar way, alienated from its own subjectivity. The car as feminine subject and extended (phallic) ego is analogous with the body as vehicle.'' — {small}(Ann March, In Bad futures: performing the obsolete body, ^[[Source\|https://www.academia.edu/2937129/Bad_futures_Performing_the_obsolete_body]^]){/small}{br}{br}— — '' ''[United States\|AUDIAanderson5]'' (1983) is framed, for instance, by the image of a Night Driver, windshield wipers monotonously moving back and forth before her, lost on the way home from work. Wearing goggles that light up like headlights, Anderson says "I am in my body the way most people drive their cars." The body, that is, is a more or less mechanical conveyance for the mind that it hauls around - and yet most people drive in their cars mindlessly, or a least carelessly. At the outset we are introduced to this Night Driver in a piece called ''[Say Hello\|AUDIAanderson5]''. ''\| {br}{br} [../files/articles/anderson/1978_songsnightdriver1_400.jpg\|../files/articles/anderson/1978_songsnightdriver1.jpg][../files/articles/anderson/1978_songsnightdriver2_400.jpg\|../files/articles/anderson/1978_songsnightdriver2.jpg]{br}{br} [../files/articles/anderson/1978_songsnightdriver3_400.jpg\|../files/articles/anderson/1978_songsnightdriver3.jpg][../files/articles/anderson/1978_songsnightdriver4_400.jpg\|../files/articles/anderson/1978_songsnightdriver4.jpg]{br}{br} [Download Songs for the Night Driver presentation, Wadsworth Atheneum, Dec. 1978 - Jan. 1979 (pdf)\|https://jeromejoy.org/files/articles/anderson/1978_songsnightdriver.pdf] [../files/articles/anderson/1978_songsnightdriver5.jpg] {br}{br} {br}{br} !!1978 — Instants - Part 12 ---- — — ''See next page : [1979 - Americans on the Move.\|AUDIAanderson6#1979_____Americans_on_the_Move]'' {br}{br} {br}{br} ---- ---- ---- !!! Notes \|t \|t \|t \|t \|t \|t \|t ---- {small}'''Peter Gordon'''{br}{br} ''(composer, saxophonist, producer) first began collaborating with Jill Kroesen in 1973, when they were both graduate students at Mills College, and they have been working together ever since. Gordon has performed with his Love of Life Orchestra since 1977. He has an ongoing collaboration of video and music performances with Kit Fitzgerald, has composed four operas and numerous scores and soundtracks, and received Obie and Bessie Awards. Work with Lawrence Weiner includes films, recordings and an opera The Society Architect Ponders the Golden Gate Bridge. A frequent collaborator of the late Arthur Russell, he has been touring Arthur Russell’s INSTRUMENTALS, directed by Peter Gordon. He produced records for Arthur Russell, Rhys Chatham, Laurie Anderson, and Jill Kroesen, and was music producer for Robert Ashley’s Perfect Lives, as well as the Spanish-language version, Vidas Perfectas. Recent recordings include the retrospective Love of Life Orchestra (DFA Records), Beachcombing, with Factory Floor, and Symphony 5; and his new album with Tim Burgess, Same Language, Different Worlds will be released in September. Gordon is Professor of Music at Bloomfield College.''{/small}{br}---- ^[[see Part 3 : 1975-1976\|AUDIAanderson4#1974_75_____Fast_Food_Band]^]{br}{br}---- \| \|t \|t \|t \|t \|t \|t \|t ---- {small}'''Scott Johnson'''{br}{br} ''Composer Scott Johnson has been a pioneering voice in the new relationship being forged between the classical tradition and the popular culture that surrounds it. Since the early 1980s, he has played an influential role in the trend towards incorporating rock-derived instrumentation and electronic elements into instrumental ensembles and traditionally scored compositions. His music has been presented worldwide, by performers ranging from the Kronos Quartet and the Bang On A Can All-Stars to the Chamber Music Society of Lincoln Center; in dance works performed by the Boston Ballet, the London Contemporary Dance Theater, and the Ballets de Monte Carlo, and in recordings on the Nonesuch, CRI, Point, and Tzadik labels. Recent awards include a Koussevitsky Foundation commission and a 2006 Guggenheim Fellowship.''{/small}{br}---- ^[[see Part 3 : 1975-1976\|AUDIAanderson4#1974_75_____Fast_Food_Band]^]{br}{br}---- \| {br}{br} {br}{br} ---- !! Next Part 5 : 1979 ---- '''Pages : — — ^[[The Handphone Table (1978)\|AUDIAanderson]^] — ^[[Part 1 : 1971-1972\|AUDIAanderson2]^] — ^[[Part 2 : 1973-1974\|AUDIAanderson3]^] — ^[[Part 3 : 1975-1976\|AUDIAanderson4]^] — ^[[Part 4 : 1977-1978\|AUDIAanderson5]^] — ^[[Part 5 : 1979\|AUDIAanderson6]^] —''' ---- '''Page : — — ^[[Introduction (in French)\|AUDIAanderson1]^]'''{br}---- {br}{br} {br}{br}{br}{br}{br}{br}{br}{br} ---- {br}{br}
Password Summary of changes		↓ ↑

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