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  Last changed - (French time): 2016/09/27 08:25     > Recent changes

 

This revision is from 2016/08/26 20:12. You can Restore it.


listening, auditoria, audiences / écoute, auditeurs, auditoriums : — Studies




AUDITORIA


étude / study



EARLY WORKS (LAURIE ANDERSON)
(1971-1978)





Cette série explore les œuvres prenant la notion d'auditorium comme principe /
This series is a study about works based on principles of auditoria.

• COMPOSING THE NOW (Michel Waisvisz) - 2003 — read /lire
• JULES VERNE - (Auditoires, Noise et Aventures Acoustiques / ''Audiences, Noise and Acoustic Adventures'') - XIX° — read /lire
• BREATH (Gerald Shapiro) - 1971— read /lire
• THE HANDPHONE TABLE (Laurie Anderson) - 1978— read /lire







cliquez sur les images pour les agrandir


1971-1979 — New York Times horizontal/China Times vertical(Edit)


Laurie Anderson crée ses premières sculptures entre visuel et concept, dans lesquelles la structure formelle et la relation au monde sont intimement imbriquées, en tressant divers journaux (le New York Times et le Sunday pour Seven Weekends en mars 1972, ou encore le New York Times et le China Times).

../files/articles/anderson/1971_nyc.jpg



1972 — An Afternoon of Automotive Transmission(Edit)


Rochester, Vermont - concert of automobile horns
In the early 1970s, she started creating and presenting her first performance pieces such as
Automotive, a “concert” of car horns in an open space in 1972. There was a symphony for car horns and autoparts entitled An Afternoon of Automotive Transmission.
— —
An Afternoon of Automotive Transmission, which Anderson describes as ‘really horrible’, was her first outdoor spectacle. Performed in Rochester, New York, this happening was envisioned as a summer concert for automobile and truck horns. The whole event has a humorous tone featuring musical compositions such as: ‘The Well-Tempered Beep’, ‘Concerto for Land Rover with Six-Cylinder Backup’, and ‘Auto-Da-Fé’. Even though mostly preoccupied with sound, this performance also inverts common spatial delineation by reversing the traditional relationship between the audience and the performers. Every summer regular musical concerts would be held in the Rochester Park, with musicians playing in the park’s gazebo and the audience seated on the surrounding grass. Also part of the local custom has been that the audience applauds the summer concerts by blowing their car horns. Anderson places the audience in the gazebo and the performers – drivers and their cars – around it. Reversing the positions and performing the concert of car horns, Anderson subverts the conventions of a traditional communal event and turns it into a happening of avant-garde defamiliarisation.(Silvija Jestrovic, From the Ice Cube Stage to Simulated Reality: Place and Displacement in Laurie Anderson’s Performances, [Source]



1973 — O-Range(Edit)


Town Green, 1973
Lewiston Stadium, City College of the City University of New York, 1973
sponsored by Vito Acconci
"Megaphones were used as the sound system in a large empty sports stadium; ten performers shouted stories across the field."
(Laurie Anderson)



1972-73 — Institutional Dream Series(Edit)


../files/articles/anderson/1972_institutionallarge.jpgA personal study of narcolepsy and dreams
In this performance Laurie Anderson slept in various public places to see if the place would affect her dreams. She chose places like public bathrooms, a park bench and the public library.
../files/articles/anderson/1972_institutional1.jpgConey Island January 14, 1973
I lie down near the water which is at low tide. It is bitterly cold and the sand is damp. I pull my turtleneck sweater over my face. After several minutes I begin to relax and lose consciousness. I am trying to sleep indifferent public places to see if the place can color or control my dreams. At the moment this seems like a crazy idea. I can hear the tide coming in. The water is beginning to cover my frozen feet. I’m not sure whether I’m asleep or awake so I keep my eyes shut tight. After a couple of hours I hear a loud rushing drone. It sounds like giant wave is rolling toward shore. I jump up and start to run. A large helicopter is hovering directly overhead.
../files/articles/anderson/1972_institutional2.jpgSouth Street Seaport The “Lettie G. Howard” starboard berth December 10, 1972. I lie down in the starboard berth and dream about a white desert in which every plant was labeled in tiny writing.
../files/articles/anderson/1972_institutional3.jpg'
../files/articles/anderson/1972_institutional4.jpg'
../files/articles/anderson/1972_institutional5.jpgNight Court
100 Centre Street, December 29, 1972
The first case up is Robbery and Assault. The courtroom is noisy and full of people. I rest my head against a wall running the length of the courtroom. I drift off slowly.I have the impression that dark shadows or clouds are scudding across the courtroom just below the ceiling. When I wake up I realize this sensation is produced by the peaked cap I am wearing which, with me head’s periodic bobbing, alternately obscures and reveals the bright lights which hang near the ceiling. I wake up just as the judge is confiscating our camera. “You understand of course blackmail is illegal,” he is saying. But he only makes a show of taking the film out of the camera and then hands it back.





















   
   
   
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