SON ET DISTANCE - 2.1.7. Enregistrement

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!!!! 2.1.7.10. — Microphones ouverts : ''Locustream, Fontana, Viola, Cage, Davis, Sobralasolas'' Le fait d’identifier le système de ''Locustream'' à une organisation en réseau de micros ouverts, mobiles ou non, mais soumis à aucun autre traitement que celui de la chaîne technique de captation et de transmission, est tout-à-fait cohérent pour pouvoir imaginer comment ce système peut s’adapter à et initier des instruments ou d’autres systèmes processuels. Il s’agit d’un organe continu (en réseau) de sons captés bruts dans des environnements et contextes distants (intérieurs, extérieurs, urbains, ruraux, etc.), c’est-à-dire de matériaux / flux sonores modulés et évolutifs disponibles à alimenter des interfaces et des dispositifs d’écoute et de jeux ainsi que des systèmes et des processus d’interprétation et de traitements. Nous pourrions en quelque sorte envisager des interfaces possibles, comme par exemple pour parler par analogie d’un ''clavier'' ou d’un ''tuner'' de flux sonores (comme c’est le cas pour le ''Locustream Tuner''), puisque que c’est l’interface qui détermine les degrés d’action sur les flux, tout comme il pourrait s’associer à d’autres systèmes ouverts de gestion et de contrôle de réalisation sonore voire même de transposition. Un troisième exemple peut ici être cité pour introduire une autre piste à laquelle peut se référer le projet de ''Locustream'' : il s’agit de l’œuvre intitulée ''Kirribilli Wharf'' de Bill Fontana (1976 et 1988) et qu’il définit comme ''sculpture sonore'' au sein de son travail ''Resoundings'' : ''« Kirribilli Wharf was a floating concrete pier that was in a perpetual state of automatic self performance. There were rows of small cylindrical holes going between the floor and underside to the sea below. They sounded with the percussive tones of compression waves as the holes were momentarily closed by the waves. This 8 channel recording consisted of placing microphones over the openings of eight such holes, making a real time sound map of the wave action in the sea below the pier. It was later installed as a gallery installation played from 8 loudspeakers in a space. ... Twelve years after this recording was made, I returned to Kiribilli Wharf and placed microphones there which transmitted live sound to the Art Gallery of New south sales in sydney, as part of a sound sculpture. »'' ''« Kirribilli Wharf (Sydney, 1976) was the first successful work in the genre, and marked a turning point. In the middle of the night, I went with an outside broadcast van to a floating concrete pier in Sydney Harbor that had vertical cylindrical holes going from the deck to the underside. The movement of waves would close the bottom ends of these holes creating compressions waves. These were audible by means of microphones placed in the openings of these holes (8 were used). The recording that ensued revealed a highly musical wave map defined by the changing percussive rhythms of the simultaneously miked blowholes. This array of microphones was a musical information network that revealed a complex result not discernable from any individual point taken separately. »'' ''« From mobile 8 channel recordings that sampled 30 to 60 minutes of real time in the life of an acoustic situation, it was a easy to make the leap to using analog (broadcast quality) telephone lines and wireless communication to investigate the simultaneity of sound in a much wider acoustic situation called a landscape. These installations covered greater distances and time scales that further expanded the conceptual envelope of connecting multiple spatial points to a single defined listening zone that used multiple loudspeakers to render to the acoustic topography of a landscape. »'' ''« Landscape with Fog Horns, San Francisco (1981){br}This was a live acoustic map of San Francisco Bay. Microphones were installed at 8 different positions around the bay in order to hear the multiple acoustic delays from the fog horns on the Golden Gate Bridge. Since the speed of sound is 1100 feet per second, this created a spontaneously contrapuntal texture. Sounds were broadcast to the facade of Pier 2, at Fort Mason Center along the San Francisco waterfront. This created a sophisticated degree of acoustic interactions between the transmitted sounds and the ambiance of the pier. The method of transmission was 15 kHz telephone lines. »'' (Bill Fontana) Ou encore d’''Acoustic Views'' (1988) et ''Sound Island'' (1994) ''« Works like "Acoustic Views" and Cologne-San Francisco Ear Bridge are large in scale and deal with macro sound elements often relocated across vast distances. These massive installations rely on the already existing telecommunication networks (mostly the telephone for locally based designs, but also FM links and even satellites for international sampling and relocation of sounds). A set of live sounds are collected by whatever network is appropriate and are transported to the site of the installation for relocation there. The sounds are selected on a basis of musical quality, frequency, rhythm, and the very site specific nature of their origin. Juxtaposed with dissimilar sounds from other locations, they create new constellations, moments of extraordinary juxtapostion, a redefinition of those once famliar sounds in their new context. Apart from their site specific sculptural manifestations the works also receive radio transmissions live to air with the composer mixing the multiple sources in a sequence of his own devising. »'' (Andrew McLennan) ''« "Sound Island" was installed at the Arc de Triomphe, in which the live sound of the sea from Normandy was broadcast to 48 loudspeakers hidden on the facade of the monument, creating the illusion that the cars circling the place de l'Etoile were silent. The Arc de Triomphe is an island at the center of an immense traffic circle. It is an urban architectural island not because it is surrounded by water, but by a sea of cars. The constant flow of hundreds of encircling cars are the dominant visual and aural experience one has when standing under the towering monument, looking out at Paris. This sound sculpture explored the transformation of the visual and aural experience of traffic. Live natural white sounds of the sea from the Normandy coast were transmitted to loudspeakers installed on the facade of the monument. The presence of the breaking and crashing waves created the illusion that the cars were silent. This was accomplished in contradiction to the visual aspects of the situation. The sound of the sea is natural white sound, and has the psycho-acoustic ability to mask other sounds, not by virtue of being louder, but because of the sheer harmonic complexity of the sea sound. »'' (Bill Fontana) A voir : ''Bill VIOLA avait produit en 1973 des expériences similaires : The Breathing Space, était la reconstitution d'un environnement sonore extérieur, réalisée d'après un réseau variable de microphones sur 4 canaux (Synapse Video Center, Syracuse, N.Y., États-Unis) et Sound Field Insertion, était un espace sonore capté par 4 microphones et retransmi en direct dans un autre espace par 4 haut-parleurs (Syracuse University, Syracuse, N.Y., États-Unis)'' ''« A few years ago Bruce Davis and I had an idea for what we called "Wilderness Radio". The plan was to put microphones in remote locations uninhabited by humans and to broadcast whatever might be happening out there : the sounds of wind and rain, the cries of birds and animals - the uneventful events of the natural soundscape transmitted without editing into the hearts of cities. It seemed to us that since man has been pumping his affairs out into the natural soundscape, a little natural wisdom might be an useful antidote. » (Murray SCHAFER, Radical Radio, in Sound by Artists, p. 210).'' ''Cage Variations VII, EAT NYC'' '''(à développer, descriptif){br}(à réécrire)''' {br}{br}
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