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  Last changed - (French time): 2016/09/09 09:38     > Recent changes

 

This revision is from 2016/09/02 12:14. You can Restore it.


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




AUDITORIA


étude / study



EARLY WORKS (LAURIE ANDERSON)
(highlights)
(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




Pages : — — [The Handphone Table (1978)] — [Part 1 : 1971-1972] — [Part 2 : 1973-1974] — [Part 3 : 1975-1976] — [Part 4 : 1977-1978] — [Part 5 : 1979] —




Part 4 - 1977-1978







cliquez sur les images pour les agrandir



1977(Edit)



-Received a grant from New York State Council on the Arts and the National Endowment for the Arts
-Recorded several songs for "Airwaves" 110 records, New York and "New Music for Electronic and Recorded Media"
-Spent two weeks not speaking in Buddhist retreat
-Published stories in "Individuals" edited by Alan Sondheim
-Shot slides and film on the road
-Performed in many European avant garde music festivals







1977 — Acoustic Lens(Edit)


— — (soon)

../files/articles/anderson/1977_acousticlens_1000.jpg





1977 — Jukebox(Edit)


— — (soon)



../files/articles/anderson/1977_hollysolomongallery_1000.jpg
(Laurie Anderson, "Untitled", 1977, installation : Holly Solomon Gallery, photo : Harry Shunk)
Download a large picture


Such in Dearreader (1975), Laurie Anderson showed a series of photographs coupled with texts at the Holly Solomon Gallery in New York. An unusual feature of the show was the presence of a large jukebox in the room : viewers could listen to songs available to be played on discs via the jukebox which contained twenty-four 45 rpm singles.



— (Voir aussi 1974 — Dearreader (How to Turn a Book Into a Movie))

— — (See also 1974 — Dearreader (How to Turn a Book Into a Movie))





1977 — It's Not The Bullet That Kills You (It's The Hole) (To Chris Burden)(Edit)


— — (soon)

Before Laurie Anderson had a record contract, she released this - her first single, apparently sponsored by the Holly Solomon Gallery for an installation (a jukebox containing this and a number of other songs including New York Social Life). The song was dedicated to Chris Burden.

../files/articles/anderson/1977_burden1.jpg ../files/articles/anderson/1977_burden2.jpg

../files/articles/anderson/1977_burden3.jpg


The rarely heard B-side to Laurie Anderson's first single "It's Not The Bullet That Kills You (It's The Hole)", released on a limited run by the Holly Solomon Gallery in 1977 as part of her "Jukebox" installation there.
Laurie Anderson - vocals and violin — Peter Gordon - saxophone — Scott Johnson - guitar — Ken Deifik - harmonica — Joe Kos - drums





1977 — Song for Juanita(Edit)


— — (soon)

Tape-bow violin, voice and piano, c. 1977.





1977-78 — Notebook(Edit)


— — (soon)

../files/articles/anderson/1977_notebook1.jpg

../files/articles/anderson/1977_notebook2.jpg

../files/articles/anderson/1977_notebook3.jpg

../files/articles/anderson/1977_notebook4.jpg

../files/articles/anderson/1977_notebook5.jpg

../files/articles/anderson/1977_notebook6.jpg





1977 — Talking Pillow(Edit)


— — (soon)

../files/articles/anderson/1977_talkingpillows.jpg





1977 — Six Rooms(Edit)


— — (soon)





1977 — Stereo Decoy(Edit)


— — (soon)

../files/articles/anderson/1977_stereodecoy_1000.jpg






1978(Edit)



-Worked as a migrant cotton picker with the Taylor family near Covington, KY
-Met Mister Spoons
-Wrote NOTEBOOK, a collection of scores and stories
-Lived in Berlin
-Performed at the Nova Convention; met William S. Burroughs
-Performed a series of pieces in Europe and the United States
-Did sound and visual installations at various galleries and museums in the United States and Europe
-Visited Benedictine Convent in Wisconsin to conduct a seminar with nuns on the spoken word
-Worked as a straight man for Andy Kaufman in comedy clubs and Coney Island
-Taught at Cal Arts, Valencia, California







1978 — Quartet for Four Listeners(Edit)


— — (soon)



Laurie Anderson- Quartets For Four Listeners - Holly Solomon Gallery, New York - 1978



../files/articles/anderson/1978_quartets.jpg





1978 — Three Expediences(Edit)


— — (soon)



recorded at ZBS Media, Fort Edward, New York, Feb. 1978.
In LP: Big Ego (Giorno Poetry Systems) - BIG EGO / THE DIAL-A-POEM POETRY LP
https://www.discogs.com/fr/Various-Big-Ego/release/798090



../files/articles/anderson/1978_threeexpediences1.jpg../files/articles/anderson/1978_threeexpediences2.jpg../files/articles/anderson/1978_threeexpediences3.jpg
2 LPs - Giorno Poetry Systems ‎– GPS 012-013 - "The Dial-A-Poem Poets LP" - 1978





1978 — Numbers Runners(Edit)




../files/articles/anderson/1978_numbers.jpg ../files/articles/anderson/1978_numbers2.jpg ../files/articles/anderson/1978_numbers4.jpg
../files/articles/anderson/1978_numbers3.jpg



Laurie Anderson’s Numbers Runners (1979) recreating a typical American phonebox, only becomes an entirely fuller proposition when the viewer picks up the receiver to hear the artists existential questions : a phone in a booth that plays back the talker's voice almost as he uses it, creating additional dialogue by interspersing recorded comments from the artist.



Numbers Runners est une cabine de téléphone modifiée. Il s’agit en fait d’une pseudo cabine téléphonique. Le spectateur-expérimentateur entre dans la cabine, décroche le combiné et le porte à son oreille: il peut alors entendre deux voix, celle de Laurie Anderson (préalablement enregistrée sur une bande) et sa propre voix. Le spectateur entend les mots qu’il a prononcés avec un retard (un décalage plutôt) de 0,75 seconde. Ainsi la cabine téléphonique donne la possibilité au spectateur-auditeur de participer à un dialogue avec l’artiste. Mais on comprend assez vite que ceci est un faux dialogue comme le remarque très justement Jessica Prinz :
« Dans la pseudo-cabine téléphonique Numbers Runners (1978), les auditeurs deviennent locuteurs, puis de nouveau auditeurs, ainsi ils sont contraints de se confronter aux mots qu’ils ont prononcés eux-mêmes. »

Le spectateur réalise qu’il dialogue avec une machine et au-delà de ça qu’il discute avec lui-même. Parler à une machine revient donc à parler tout seul et à échouer dans la communication. Certaines personnes ont cette sensation lorsqu’elles doivent laisser un message sur un répondeur téléphonique, tandis que d’autres ont la quasi conviction d’avoir un échange avec un interlocuteur. Outil de communication moderne, le téléphone peut jouer un rôle paradoxal. L’artiste montre en effet que cet objet peut court-circuiter la communication et provoquer son échec. Et comme le souligne Laurie Anderson elle-même :
« La chose la plus importante est que les gens apprennent à communiquer et à se parler. Les appareils électroniques ne sont que des médiateurs. Leur efficacité dépend de la manière dont ils sont utilisés. »
(Thomas Aucouturier, ÉTUDE CRITIQUE D'UNE PERFORMANCE - LAURIE ANDERSON: United States Parts I-IV (1983), 1977)









   
   
   
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