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"Among all aspects of knowledge, the knowledge of sound is supreme." — Hazrat Inayat Khan

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Images from Bernhard Leitner’s “Sound:Space” (1978)

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SPATIAL GRID  "The spatial grid is a three-dimensional grid of loudspeakers, a neutral frame for creating various spatial statements."

SOUND SWING  “A minimum of four loudspeakers is required for a pendulum-like motion of sound in space. Two speakers mark the upper ends on each side of the pendulum, the other two speakers are placed closely to the left and right of the walking platform. The direction of the swinging motion is thereby always clearly established. The swing is physically and very clearly experienced. The location of the two upper loudspeakers has been empirically determined. The wooden panel is an acoustical resonance link between lower and upper loudspeakers…”

SOUND CHAIR I  “Two loudspeakers are mounted directly on the chair. The sound shifts between these two points. The sound travels along inside the body without ever leaving it. One program for the sound chair is written down as a circular notation: the program can be repeated and experienced over an indefinite period of time. The calming, relaxing, soothing quality of this program is determined by the choice of instruments, speed and frequencies.”

HAND SOUND-OBJECTS  “A loudspeaker is carried in each hand and placed on the body according to the program. Notation and photograph show a cello-tone passing through the body’s center. The sound increases its intensity in the back, jumps at the highest volume to the speaker in front where it fades away. This motion alternates in the two directions.”

VERTICAL SPACE FOR ONE PERSON  “Diameter of both speaker drums: 75 cm. The level of the upper drum is adjustable. The lower the height the clearer is the perception of sound travelling in/through the vertical axis of the body.”

LATERAL SPACE  “The loudspeaker behind the seat and the loudspeakers on both sides are alternately activated, resulting in expanding and contracting motions of sound. The person identifies with the source of sound behind the seat: the spatial expansion originates in the person, the spatial contraction terminates in the person.”



November 29, 2012, 3:33pm

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Video

Tim Hawkinson: Uberorgan (2001)

"Uberorgan [is] a work by Los-Angeles based artist Tim Hawkinson, commissioned by MASS MoCA for its Building 5 Gallery, which is nearly 300’ long. Possibly the largest indoor sculpture ever created, Uberorgan was a massive musical instrument, a Brobdingnagian bastard cousin of the bagpipe, the player piano and the pipe organ. It consisted of thirteen bus-sized inflated bags, one for each of the twelve tones in the musical scale and one udder-shaped bag that fed air to the other twelve by long tubular ducts.” (Source: MassMOCA.org. The above video is from the Uberorgan installation in the Getty Museum in Los Angeles in 2007.)



October 18, 2012, 1:54pm

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Cosmogony in Sound: Iannis Xenakis’ “The Legend of Er”

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Released on DVD by Mode Records (2005)

The Pompidou Center in Paris: a monument to modernism erected at the historical moment of that movement’s decline.  It was here, at the inauguration of the Pompidou in 1978, that the composer and architect Iannis Xenakis presented his “gesture of light and sound” known as Le Diatope

Made of red vinyl stretched over a metal frame, the Diatope’s curvilinear form recalls the famous Philips Pavilion designed by Xenakis and Le Corbusier for the Brussels World Fair in 1958, which housed the Poème électronique of Edgard Varèse.  Indeed, the immersive multimedia plan of the Philips Pavilion was the model for a number of later works Xenakis called Polytopes.  He created four of these prior to the Diatope: the Polytope de Montreal in 1967, an open-air spectacle in Persepolis in 1971, and two Polytopes in the Parisian Abby of Cluny in 1972 and 1973.

Inside the Diatope Xenakis arranged a light show involving 1600 flashbulbs and four lasers guided by four hundred adjustable mirrors.  Both abstract and representational figures were meticulously choreographed and traced by light. Xenakis’ sketches for the light show mention shapes such as “lotuses,”galaxies,” and “wheels.”

In the program booklet for the original 1977 presentation, Xenakis included five quotations that together capture the metaphysical ambiance of the work.  I reproduce them here in the order in which they originally appeared:

Each group would spend seven days in open country, and on the eighth, they had to break camp and head out for four days to finally reach a place where one discovers, stretching all across the sky and over the earth, a beam of light straight as a pillar, akin to a rainbow, but much more radiant and pure. – Plato, The Republic

From there emerged a crying out, indistinct, one I likened to a voice of fire,  just as there emerged from the light…a holy Word blanketing all of Nature, and the purest of fire was thrust out of the humid natural world toward the sublime area above. – Hermes Trismegistus, Pymander


For indeed, what is man within nature?  A void in the face of infinity, a whole before the void, a center between nothingness and wholeness…unable to perceive the void from whence he came, nor the infinity in which he is submerged. – Blaise Pascal, Pensées


 Christ went on: “I traversed the worlds, I ascended into the suns, and soared with the Milky Ways through the wastes of heaven; but there is no God. I descended to the last reaches of the shadows of Being, and I looked into the chasm and cried: ‘Father, where art thou?’ But I heard only the eternal storm ruled by none, and the shimmering rainbow of essence stood without sun to create it, trickling above the abyss. – Jean-Paul Richter, Siebenkäs


In the first stages of the explosion, the general distribution of the star’s energy closely matches the distribution known for theoretical black holes at a temperature of 12,000 degrees Kelvin.  In the case of SN 1970g the radius was measured at 3x1014 centimeters, in other words, as large as the orbit of Uranus.  Once the supernova’s radius is known, it is possible to determine its absolute luminosity.  For SN 1970g, this was calculated at 1042 ergs per second, or one trillion times that of the sun…  During the 30 days following the explosion, the radius of the surface from which the light was emitted increases at a near-constant speed of 5,000 kilometers per second.  At the end of this period, the star’s photosphere, in other words, its visible surface, reaches a radius of 2x1018 centimeters, a much larger radius than that of our solar system. – Robert P. Kirshner, Supernova

These quotations offer no program or story, but rather, at best, set a mood for the spectacle: a sort of saturnine melancholy tinged with childlike wonder.  The first quote, taken from the end of Plato’s Republic, demands explanation, as it the source of the title Xenakis chose for the musical component of the Diatope.  It concerns a soldier named Er who returns from the dead and describes what he saw on the other side.  The vision culminates with Er’s sighting of the “Spindle of Necessity,” a great shaft encircled with eight rings representing the eight celestial spheres known to ancient astronomy.  On each ring is perched a siren singing a tone corresponding to the circumference of its orbit and together forming a cosmic harmony.  Seated on thrones amidst the sirens are the three Fates, or “daughters of necessity,” who accompany with their voices the harmony of the sirens: Lachesis, singing of the past, Clotho of the present, and Atropos of the future.

Finally, there is the music: comprising seven tracks distributed over 11 loudspeakers placed throughout the Diatope, Xenakis’ tape composition La legénde d’Eer (The Legend of Er) is a sprawling, 46-minute journey in sound.  (For the DVD release, Xenakis’ original seven-channel mix has been reduced to a 5.1 version.)

Given Xenakis’ reputation as a composer of fearful complexity, the form of the music is remarkably transparent: beginning with pure, high twinkling tones that Xenakis described as “sonic shooting stars,” layer upon layer of sound is added, from harsh, wailing industrial noises, to recognizable instrumental timbres such as thumb piano and mouth harp, to a throbbing electronic vortex that emerges midway through the composition.  These sound layers enter at lower and lower registers, suggesting a descent from the rarefied upper realms into the chthonic domain below.  Hearing this music at high volume over a surround-sound system in a large room, one is confronted with the sublime aesthetic terror of sensory overload.  As one listener described the experience, it is the auditory equivalent of staring directly into the sun.

Finally the density of sound subsides, and at the end the listener is left once again with the shooting stars.  These too gently fade away into a now-resonant silence. The emergence and passing of these distinct sonic textures gives the music a powerful if extremely dilated sense of motion.  Indeed, the time scale of The Legend of Er, and the primal violence of its sounds, are suggestive less of human music than of natural phenomena: as if we, like Er himself, are here witness to some vast cosmological process otherwise inaccessible to human ears and eyes.




April 20, 2010, 5:39pm

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