In the long interview that forms the body of this publication, Éliane Radigue talks about her work, her reflections and underlying research, as well as her historical context. The publication also contains a commented list of works and Radigue's programmatic text on The Mysterious Power of the Infinitesimal.
Second edition (2020).
作者简介
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Éliane Radigue (born 1932 in Paris) is considered one of the most innovative and influential contemporary composers, from her early electronic music through to her acoustic work of the last fifteen years. Influenced by musique concrète and shaped by regular sojourns in the United States, where she discovered analogue synthesisers, her work unfolds an intensity which is at once ...
Éliane Radigue (born 1932 in Paris) is considered one of the most innovative and influential contemporary composers, from her early electronic music through to her acoustic work of the last fifteen years. Influenced by musique concrète and shaped by regular sojourns in the United States, where she discovered analogue synthesisers, her work unfolds an intensity which is at once subtle and monumental. Through her deep reflections on sound and listening, not only her music but also her working methods have come to shape a widely resonating set of new parameters for working with sound as musical material.
Julia Eckhardt is a musician and curator in the field of the sonic arts. She is a founding member and artistic director of Q-O2 workspace in Brussels, for which she conceptualized various thematic research projects. As a performer of composed and improvised music she has collaborated with numerous artists, and extensively with Eliane Radigue. She has performed internationally, and released a number of recordings. She has been lecturing about topics such as sound, gender and public space, and is (co-)author of The Second Sound, Conversation on Gender and Music, Grounds for Possible Music, and The Middle Matter, Sound as Interstice.
原文摘录
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“I would take off the attack from different sounds, but I was much more interested in what remained, the bit left aside, all the sounds that developed afterwards without their attack. The time I cut the attack from the sound of a bell, I was very inspired. There were all these magnificent resonances remaining. Like in the mountains when the bells stop ringing and the whole mountain vibrates with the echoing harmonics.”
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“A recording is made on track A on tape recorder 1. The playback of this track played on tape recorder 2 is returned to track B on tape recorder 1 and is re-recorded, with the offset depending on the distance between the tape recorders. Then, the playback of track B on tape recorder 2 is returned to track A on tape recorder 1—this is the ‘reinjection.’ …… In reinjection, it’s preferabel that the base sound be recorded in advance; it’s already quite complicated controlling the recording and playback levels of the two reinjected tape recorders, especially for one person, and even for several. ”
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0 有用 A 2020-06-06 00:14:11
在时间的维度里，你且让她瓦解，弥散和演变…… takes time... all.. everything..