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


This revision is from 2016/09/02 13:39. You can Restore it.

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


étude / study


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


-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)


1977 — Jukebox(Edit)

— — (soon)

(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


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)







1977 — Talking Pillow(Edit)

— — (soon)


1977 — Six Rooms(Edit)

— — (soon)

1977 — Stereo Decoy(Edit)

— — (soon)



-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 — Cassette in Mouth (The Pillow Speaker)(Edit)

In 1978 Laurie Anderson used The Cassette in Mouth, a small audio cassette of violin recordings [plays while] that she puts [a small loudspeaker] in her mouth so that she can modify the dynamics and phrasing by varying the speed with which she opens and closes her lips.(Jacqueline Caux, Laurie Anderson Brings Out Her Violins / Les Violons de Laurie Anderson, In Art Press nr 285, [Source (pdf)])

En 1978, Laurie Anderson utilise ''The Cassette in Mouth', petite cassette d’enregistrements de violon [lu par un lecteur cassette et connecté à un petit haut-parleur] qu’elle introduit dans sa bouche et dont elle nuance la dynamique et le phrasé en ouvrant et en refermant plus ou moins rapidement les lèvres. — (Jacqueline Caux, Laurie Anderson Brings Out Her Violins / Les Violons de Laurie Anderson, In Art Press nr 285, [Source (pdf)])

../files/articles/anderson/1978_cassette1.jpg ../files/articles/anderson/1978_cassette2_300.jpg

../files/articles/anderson/1978_cassette3.jpgSmall voice

Pillow speaker
(in mouth) runs to
concealed tape
deck which plays
tape of violin solo.

Violin coming
from mouth is
phrased and
modulated by
moving the lips.

Laurie Anderson performs a short song with a pillow speaker, in 2012 at the School Of Visual Arts, NYC.

1978 — Quartet for Four Listeners(Edit)

— — Laurie Anderson- Quartets For Four (Subsequent) Listeners - Holly Solomon Gallery, New York - September 9-September 30, 1978

../files/articles/anderson/1978_quartets.jpgLaurie Anderson’s acoustical installation - Quartet #1 for Four (Subsequent) Listeners, 1978 - inverts Rauschenberg’s procedure by having lights trigger sounds. A small gallery room is rigged with four large loudspeakers suspended in a diagonal row along the ceiling with four spotlights installed in a corner and four cylindrical light sensors hung in line among the speakers. In the darkened room a diagonal ribbon of light on the floor directs gallery visitors. The words ’note’ and ‘tone’ are printed on the floor at each end of the room.
When a visitor blocks the light, he/she activates four sounds : a repeated monosyllable, a violin phrase , a woman’s voice softly humming, and a sound that is either traffic or surf.
ln some ways suggestive of participatory theatre,
Quartet #1 for Four (Subsequent) Listeners is programmed for social interaction.
The installation invites the anonymous observer/auditor to perform acts of sensory engagement, which disrupt patterns of perception. For every action there is a prerecorded aural reaction in Laurie Anderson's installation. The piece is both engaging and entertaining.

1978 — Three Expediences(Edit)

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 - http://www.ubu.com/sound/big_ego.html

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

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)

1978 — Songs for the Night Driver(Edit)

— — an installation of slides and audio at the Wadsworth Atheneum, Hartford, Connecticut, Dec. 1978 - Jan. 1979.

../files/articles/anderson/1978_songsnightdriver.jpg Song for the Night Driver #3 contains the often cited passage, "I am in my body the way most people drive their cars."

Laurie Anderson plugs her body into technology to produce a cyborg-like character. Here sexuality is blurred in an androgynous figure, however, this is not the bachelor machine body of an earlier modernist practice. Although Anderson announces that her body is a machine: "I am in my body the way most people drive their cars", her autobiographical scripts are allegories. The car becomes the metaphor for the unconscious. The female body-machine is commodified in a familiar way, alienated from its own subjectivity. The car as feminine subject and extended (phallic) ego is analogous with the body as vehicle.

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