RAINFOREST - Jerome Joy website

B I U S link image code HTML list	Show page Syntax
!!!Quatrième version, Rainforest IV (1973) [../files/articles/tudor/Tudor_Rainforest4_pan.jpg\|../files/articles/tudor/Tudor_Rainforest4_panb.jpg] \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl ''La quatrième version de Rainforest en 1973 est une œuvre environnementale collaborative mixant spatialement des sons en direct de sculptures et d'objets trouvés suspendus avec leurs réflexions transformées au travers d'un dispositif audio.''{footnote}{small}Fourth version (1973): A collaborative environmental work, spatially mixing the live sounds of suspended sculptures and found objects, with their transformed reflections in an audio system. — (David Tudor, form interview by John Fullemann 10/12/85){/small}{/footnote} {br}— {small}(David Tudor interviewé par John Fullemann 10/12/85){/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl ''L'objectif de Rainforest IV était de faire résonner par elles-mêmes des sculptures dans un espace. Une partie de ce travail à faire est en fait de créer un environnement. Les microphones de contact placés sur les objets captent les fréquences de résonance de l'objet même, que l'on peut entendre lorsqu'on se trouve proche de l'objet. Les sons sont ensuite amplifiés par des haut-parleurs ^[pour rehausser le niveau sonore et donner une autre approche de l'écoute^].'' {footnote}{small}"Rainforest IV"... the object was to make the sculptures sound in the space themselves. Part of that process is that you are actually creating a an environment. The contact mikes on the objects pickup the resonant frequencies which one hears when very close to the object, and then are amplified through a loudspeaker as an enhancement. — (David Tudor, form interview by John Fullemann 10/12/85){/small}{/footnote} {br}— {small}(David Tudor interviewé par John Fullemann 10/12/85){/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl ''En 1973 j'ai réalisé Rainforest IV, une version dans laquelle les objets au travers desquels les sons étaient transmis étaient de grande dimension et créaient ainsi des présences ^[distribuées^] dans l'espace. C'est-à-dire en fait que leurs résonances étaient perceptibles dans l'espace lorsqu'on s'approchait d'eux à l'endroit où ils étaient suspendus mais aussi dans l'espace tout entier parce que les sons étaient diffusés en supplément sur des haut-parleurs. Le principe est que si vous envoyez du son au travers de ces objets et matériaux, les fréquences de résonance de ceux-ci se trouvent excitées, et ainsi ces résonances peuvent être à nouveau captées par des microphones de contact ou des cellules de lecture d'électrophone. Ces matériaux et objets mis en résonance possèdent chacun une sonorité différente, et leur captation par un microphone de contact rend un son différent que celui que vous entendez lorsque vous êtes près de l'objet suspendu. Cela devient comme des réflexions ou des reflets ^[acoustiques^], et l'ensemble rend, je pense, une atmosphère presque harmonieuse et magnifique, car lorsque vous vous déplacez dans l'espace vous avez l'impression de sortes de réminiscences ^[ou de rappels et de renvois^] de sons que vous avez entendus à un autre endroit de ce même espace ^[que remplit Rainforest^]. C'est en fait une œuvre réalisable par un nombre important de performeurs et d'exécutants ; n'importe quel nombre de personnes peut y participer. ^[Toutefois^] il est vraiment impotant que chacun des performeurs fabrique sa propre "sculpture", décide du système sonore à mettre en place, et performe et joue lui-même son dispositif. Il y a très peu d'instructions et de préconisations qui sont nécessaires à la réalisation de cette œuvre. Je trouve d'ailleurs que c'est une œuvre basée pratiquement sur des formes "d'apprentissage", voire d'auto-apprentissage, du fait que chacun découvre comment il doit programmer et développer son dispositif en fonction de que celui-ci peut "encaisser". Cela a été vraiment une activité très gratifiante pour moi, ^[qui renvoie beaucoup sur soi-même et sur ce qu'on fait et ce qu'on en fait^]. Cette œuvre a été réalisée et jouée par un ensemble assez nombreux de 14 personnes. Donc voici comment Rainforest a été réalisé.''{footnote}{small} In 1973 I made "Rainforest IV" where the objects that the sounds are sent through are very large so that they have their own presence in space. I mean, they actually sound locally in the space where they are hanging as well as being supplemented by a loudspeaker system. The idea is that if you send sound through materials, the resonant nodes of the materials are released and those can be picked up by contact microphones or phono cartridges and those have a different kind of sound than the object does when you listen to it very close where it's hanging. It becomes like a reflection and it makes, I thought, quite a harmonious and beautiful atmosphere, because wherever you move in the room, you have reminiscences of something you have heard at some other point in the space. It's (can be) a large group piece actually, any number of people can participate in it. It's important that each person makes their own sculpture, decides how to program it, and performs it themselves. Very little instruction is necessary for the piece. I've found it to be almost self-teaching because you discover how to program the devices by seeing what they like to accept. Its been a very rewarding type of activity for me. It's been done by as large a group as 14 people. So that was how our Rainforest was done. — David Tudor, from An Interview with David Tudor by Teddy Hultberg in Dusseldorf, May 17-18, 1988, http://davidtudor.org/Articles/hultberg.html {/small}{/footnote} {br}— {small}David Tudor interviewé par Teddy Hultberg à Düsseldorf les 17 et 18 mai 1988, http://davidtudor.org/Articles/hultberg.html {/small}\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/tudor/Tudor_diagram_Rainforest4.jpg\|../files/articles/tudor/Tudor_diagram_Rainforest_IV_1973.jpg] \|tl {small}LA PARTITION/DIAGRAMME DE RAINFOREST IV (SYSTÈME GÉNÉRALISÉ), DAVID TUDOR, 1973{/small}\| {br}{br} '''''(à traduire)''''' {small}Rainforest is the best known of Tudor’s pieces, in part because the concept is readily understood. One selects an object and the object constrains and shapes all subsequent sonic choices. As one prepares material for the piece, discoveries are made; some sounds “work” for many objects, others do not. To realize the piece, you must collaborate with the object you chose. As a composition, all that must be stipulated are the basic terms of that collaboration, the rest will unfold as ‘nature’. In its initial form, the objects were small and produced small sounds that required amplification. — (Ron Kuivila){/small} {br}{br} Voici une présentation générale de Rainforest IV rédigée par John Driscoll (du CIE, Composers Inside Electronics) : '''''(à traduire)''''' {small}The work is improvisational by nature and typically performed by a minumum of four performers continuously for between 3-6 hours at a time. A minimum of 16 sculptural speakers are used with an upper limit of forty. The work has been installed in approximately 36 different locations (museums, universities, performance centers and even Pierre Cardin’s fashion studio), with over 125 individual performances to date.{br}The character of a Rainforest IV performance is an informal social environment where visitors are encouraged to wander around and physically interact with the work (including placing your ear against the sculptures, feeling the vibrations in your hand or against your head, and even biting an object allowing the sound to travel through the bones in your head.) Performers are also free to move about during the performance to monitor the sculptural speakers and engage in discussions with the audience. Chairs are placed at the performers’ tables to encourage this interaction. David requested that two particular audiences be invited when possible – the blind and children.{br}Rainforest IV was technologically a direct outgrowth of the earlier Rainforest versions using low powered amplifiers, electronic and tape source signals and sound transducers fastened to objects. {/small} {br}{br} * '''La première réalisation de Rainforest IV ''' '''''(à traduire)''''' {small}Rainforest IV evolved out of a workshop that David presented at the New Music in New Hampshire Festival (Chocorua, NH) in the summer of 1973. The first performance titled Sliding Pitches in the Rainforest in the Field took place in a large barn and lasted for approximately five hours. The “Sliding Pitches” part of the title came from joint circuit building workshop by Gordon Mumma and David Behrman, and the “in the Field” came from the name of the Inn at which the Festival was held (Stafford’s in the Field). The sculptures included a metal bedspring, a huge wine barrel, toilet floats, cast iron wagon wheel rims, a stainless steel milk container lid, lawn sprinklers, a copper still, styrofoam box, a large metal cable, and more. The performers included: John Driscoll, Phil Edelstein, Linda Fisher, Martin Kalve, Greg Kramer, Susan Palmer, David Tudor, and Bill Viola.{br}This first realization of the work was probably as much a revelation to David as it was to the other performers for a unique visual and sonic environment was created. This performance set the stage for the evolution of the work over the next 28 years. David stated in interviews that his intention at Chocorua was to “give away” the Rainforest IV work. This desire goes to the heart of a long collaboration which grew into an extended family of associates known as Composers Inside Electronics. — (John Driscoll){/small} {br}{br} * '''Les sources sonores''' '''''(à traduire)''''' {small}Questions continually arise about the selection and origin of the sound materials used for Rainforest IV. Each performer is responsible for producing the sound materials for the particular sculptural speakers they construct. These sound materials have covered the gamut from electronically produced to highly amplified natural sounds (ie. a fly walking on paper). The only restriction David ever spoke about is there should not be any pre-recorded musical material used, though at one point in the installation at the Walker Museum, as a spoof, we played the tape that signaled the closing of the gallery through all the sculptures simultaneously.{br}The source material created is motivated by the unique set of resonant characteristics that each sculptural speaker presents. After investigation, the composer creates material which will tease the resonant nodes into strong vibration creating responses that are highly non-linear. It is the equivalent of tickling someone – a little input at just the right spot creates great output. The resonance nodes of the sculptural speaker contribute to what is heard as much as the original sounds, and in some cases influences the result even more. It is possible to put a sound in which is unrecognizable coming out of the sculpture. For example, David occasionally used two transducers out of phase to create results that did not exist in the source material. — (John Driscoll){/small} {br}{br} * '''l'environnement (visuel et sonore)''' '''''(à traduire)''''' {small}A critical aspect of the collaboration is the arrangement of the objects in the performance space creating both a visual and sonic environment. — (John Driscoll){/small} {br}{br} ----
Password Summary of changes		↓ ↑

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