Arbeitstitel: Figuren der Fügsamkeit
Lorem ipsum: hier kommt ein Text über den Titel für die gesamte Reihe, mit einem sehr klugen Zitat und interessante Einsichten über die Kulturtechniken der Fügsamkeit.
Das Stück ist als Tryptichon konzipiert. Jedes Teil ist ein eigenständiges Stück. Die drei Panele können, aber müssen nicht, ohne Unterbrechung hintereinander gespielt werden. Die Reihenfolge ist festgelegt. Alle Texte und Titeln sind nicht endgültig, dienen nur zur Orientierung.
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I. 3 bit fanfare / Apocalypsis
The setup is based on vocal-tract models developed by Takayuki Arai (Sophia University, Tokyo, 2015). These models consist of acrylic tubes which, when subjected to an acoustic excitation, act as formant filters delivering sounds with unambiguous vocal features. In one model each tube is fixed to a specific vocal. A second model allows, via a sliding apparatus, the morphing between different configurations.
Each brass instrument is modified by inserting one formant filter in series with the tubings of each of its three valves. When a valve is depressed, vibrations traverse the filter and generate the corresponding vocal sound. T II. ResiLienztraining
Six turntables are placed facing the audience. The corresponding six loudspeakers are placed around the hall. Each turntable has the same ad-hoc pressed disc: a constant sine tone. The motors in these turntables are of best quality: they keep their pace in spite of the fierest attacks. But if the load excedes a certain limit, they bend their back. Its speed decreases, the pitch drops. The difference in frequency between the turntables is small (between 0 and 4 Hz). Interference patterns emerge, audible as rhythmic structures. These acoustical moiré shifts evolve in time. Most importantly, they are different for each point in the room. This map constitutes a signature of the applied pressure.
III. L'homme qui rit
A purely instrumental study on the phonology of laughter/cry. A series of online videos depicting situations of people either laughing or crying is shown on a screen. The ensemble performs in sync, resynthesizing the original audio through varying acoustical means.
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