RAINFOREST2 - Jerome Joy website

B I U S link image code HTML list	Show page Syntax
!!Les résonateurs (sculptures) \|t [../files/articles/questionsarchives/tudor_6.jpg\|../files/articles/questionsarchives/tudor_6b.jpg]{br}{br}[../files/articles/questionsarchives/tudor_7.jpg\|../files/articles/questionsarchives/tudor_7b.jpg]\|t {small}EN HAUT :{br}L'INSTALLATION RAINFOREST IV (1973) À L'ESPACE PIERRE CARDIN, PARIS, 1976. PHOTO : RALPH JONES. — BILL VIOLA ET LYNWA KREIMANN "ÉCOUTANT" À L'AIDE DE LA TRANSMISSION OSSEUSE LES SONS D'UN DES HAUT-PARLEURS-OBJETS.{br}{br}EN BAS :{br}L'INSTALLATION RAINFOREST IV (1973) À THE KITCHEN, NYC, 19 AVRIL 1975. PHOTO : KATHY LANDMAN. — TOM JOHNSON EST EN ARRIÈRE-PLAN, JOAN LA BARBARA EST FACE À L'OBJECTIF, ÉCOUTANT TOUS LES DEUX L'ARCEAU ; DANS LE FOND À DROITE, LAURIE SPIEGEL. {/small}\| '''''(à traduire)''''' {small}Not all materials make good resonators; it’s a process of trial and error to come up with a handful of good ones out of a wide range of apparent possibilities. Tudor described Rainforest as a piece which “teaches itself,” and here we see him as its first student. I find it surprising that one of the four loudspeaker-objects was plate glass – in a 1995 interview I conducted with Tudor he specifically told me that “Early on ... I avoided glass.” – but then there are theatrical considerations at play here which perhaps allowed a tradeoff between dramatic visual presentation and an ideally resonant speaker-object. (— Tiré de l'article de John Driscoll et Matt Rogalsky, "David Tudor’s Rainforest: An Evolving Exploration of Resonance", issu d'une présentation au symposium “The Art of David Tudor” qui a eu lieu au Getty Research Institute en 2001.){/small} {small}The creation, design, and construction of the sculptural speakers is also left to each individual composer. The use of specific sculptures will vary greatly from installation to installation based upon: {/small} * {small}who is performing (each composer maintains their own collection of objects){/small} * {small}the scale and nature of the performance space {/small} * {small}balancing the sonic properties of various materials (metal, plastic, glass, etc.) {/small} * {small}the number of performers {/small} {small}Because of the varying backgrounds of each composer some sculptural speakers may be found objects while others may be more elaborately fabricated sculptures. The simplicity or elaborateness of the sculptural speakers was never dictated in the collaboration and over the years has accommodated a wide range of sculptures.{br}The repertory of available sculptures increases exponentially as more installations of the work take place. Many have been unique to a particular installation and are retired because of difficulty to transport them due to size or weight. Some objects do not produce the optimum result and are also retired. A number have persisted and became almost “classic” sculptures that appear and re-appear, sometimes growing larger and mutating with time. — (John Driscoll){/small} {br}{br} !!!Les haut-parleurs instruments {small}'''''(à traduire)''''' — "One of the ideas in my Rainforest series is that loudspeakers should be individuals, they should be instruments. So if you need a hundred of them to fill a hall, each one should have its own individual voice ... After all what is a loudspeaker? At present it’s a reproducing instrument, but my feeling all along has been that you should regard it as a generating instrument ... Why shouldn’t there be a thousand or more ways of building loudspeakers? ... Suppose you build one which only responds to the frequencies between 100 and 200? ... If you put sine waves through it, then you get quite a different sound emerging ... The loudspeaker is transforming what goes into it, instead of reproducing it. — (Tudor, 1972) {/small} {small}'''''(à traduire)''''' — "The work requires the fabrication of special resonating objects and sculptural constructs which serve as one-of-a-kind loudspeakers when transducers are attached to them. The constructed "loudspeakers" function to amplify and produce both additive and subtractive transformations of source sounds such as basic electronic waveforms. In more recent performances the sounds have included a wide selection of prerecorded materials. — (David Dunn, "A History of Electronic Music Pioneers") {/small} \|t [../files/articles/tudor/Tudor_Bandoneon_instrLdSpk.jpg\|../files/articles/tudor/Tudor_Bandoneon_instrLdSpkb.jpg]\|t {small}PRESENTATION DE BANDONEON ! (A COMBINE), NINE EVENINGS, E.A.T. NYC, 1966 {footnote}{small} Sources : Tudor, David. ''Interview with Bruce Duffie''. Chicago, April 7, 1986. Recording obtained from the interviewer, and transcribed by Matt Rogalsky. http://www.bruceduffie.com/tudor3.html — Voir aussi http://www.fondation-langlois.org/html/e/page.php?NumPage=2152 — Extrait audio : http://www.fondation-langlois.org/html/e/video.php?NumPage=2152&NumObjet=62810 {/small}{/footnote}{br}'''INSTRUMENTAL LOUD-SPEAKERS (SOUNDING PHYSICAL MATERIALS), ACTUATED BY MATERIAL OF MAURICIO KAGEL - 'ALLE RECHTE VORBEHALTEN'{footnote}{small}"My first plan for the 9 Evenings was to have been (sic) a realization of my friend Mauricio Kagel’s 'Möbius-strip composition',” "Alle Rechte Vorbehalten" (^["All rights reserved", published in Notations by John Cage, NYC 1969^]), using only white noise as a source, dated, triggered, etc. in a complex fashion by some instrument. This idea abandoned itself through the process of my projecting my thoughts into the about-to-become available technology, and its potential for the creation of ‘white noise’ from scratch." (David Tudor) — Frances Dyson, And then it was now, 9 Evenings, Tudor’s White Noise, Fondation Langlois, 2006 - http://www.fondation-langlois.org/html/e/page.php?NumPage=2152 {/small}{/footnote} IN A SELF-MULTIPLYING AUDIO-VISUAL APPLICATION (TOWARDS "REBIRTH OF WHITE NOISE").{br}LIVE SIGNAL --> BECOMING ELECTRONIC --> PROGRAMMED TRANSMISSION TO PHYSICAL MATERIALS{br}TUDOR.'''{br}{br}'''HAUT-PARLEURS INSTRUMENTS (FAIRE RÉSONNER DES MATÉRIAUX ET DES OBJETS) ACTIONNÉS PAR UN MATÉRIAU ŒUVRE DE MAURICIO KAGEL - "ALLE RECHTE VORBEHALTEN"{footnote}{small}"Ma première idée pour 9 Evenings était de présenter la ‘composition en forme de bande de Möbius’ de mon ami Mauricio Kagel, "Alle Rechte vorbe halten" (^["Tous Droits Réservés", publiée in Notations de John Cage, NYC 1969^]), en n’utilisant que du bruit blanc comme source identifiée, déclenchée, etc. de façon complexe par un quelconque instrument. Cette idée est devenue vite inopérante car elle anticipait les avancées technologiques qui allaient rapidement devenir accessibles et leur potentiel de création de bruit blanc à partir de rien." (David Tudor) — Frances Dyson, And then it was now, 9 Evenings, Tudor’s White Noise, Fondation Langlois, 2006 - http://www.fondation-langlois.org/html/e/page.php?NumPage=2152 {/small}{/footnote} — SOUS FORME D'UNE APPLICATION AUDIO-VISUELLE AUTO-MULTIPLICATRICE (VERS LA "RENAISSANCE DU BRUIT BLANC"){br}SIGNAL EN DIRECT --> DEVIENT ÉLECTRONIQUE --> TRANSMISSION VERS DES MATÉRIAUX RÉSONANTS{br}TUDOR.'''{br}{br}---- {br}"POUR CETTE ŒUVRE (BANDONEON) TUDOR A SPÉCIALEMENT DÉVELOPPÉ DES HAUT-PARLEURS INSTRUMENTAUX AVEC LESQUELS IL A EXPLOITÉ LES RÉSONANCES SONORES DE MATÉRIAUX ET D'OBJETS. CETTE NOTION DU HAUT-PARLEUR EN TANT QU'INSTRUMENT MUSICAL FÛT LARGEMENT DÉVELOPPÉE DANS SON ŒUVRE REMARQUABLE RAINFOREST DANS LAQUELLE DES FRÉQUENCES ET DES IMPULSIONS SONORES GÉNÉRÉES PAR DES OSCILLATEURS VENAIENT METTRE EN RÉSONANCE DES OBJETS QUI AINSI DEVENAIENT DES HAUT-PARLEURS INSTRUMENTAUX"{footnote}{small}"For this work Tudor developed special ‘instrumental loudspeakers’ with which he exploited the unique resonant characteristics of sounding physical materials. This concept of the loudspeaker as a musical instrument was further extended in the remarkable Rainforest ^[where^] sine and pulse oscillators are applied to resonant objects which then become ‘instrumental loudspeakers’." — Excerpted from Gordon Mumma, “Live Electronic Music” in The Development and Practice of Electronic Music, edited by Jon H. Appleton (Upper Saddle River: Prentice Hall, 1975), p. 296-297.{/small}{/footnote}{br}{small}(GORDON MUMMA, "LIVE ELECTRONIC MUSIC" IN 'THE DEVELOPMENT AND PRACTICE OF ELECTRONIC MUSIC', JON H. APPLETON (ED.), UPPER SADDLE RIVER : PRENTICE HALL (PUB.), 1975, PP. 296-297){/small}\| {br}{br} ''in progress'' {br}{br} ----
Password Summary of changes		↓ ↑

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