RAINFOREST2 - Jerome Joy website

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!!!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} ----
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