#alvinlucier

[alanlicht]

Double release date: Three Chords and a Sword & The Golem Rescored

Two new releases officially out today: Three Chords and a Sword: Solo Cover Versions 1988-2021(Family Vineyard) and The Golem Rescored (Reboot), a soundtrack compilation I contributed to as a part of Threshing Floor (with Rebecca Odes, Gretchen Gonzalez-Davidson, Nate Young, and Johnny Olson). Three Chords and a Sword originally came out as digital-only on my bandcamp page, with versions of “Heart of Darkness” (Pere Ubu), “Jump” (Van Halen), “Stable Will” (Palace/Bonnie ‘Prince’ Billy), “Rocket USA” (Suicide), “Tom Violence” (Sonic Youth), “Everybody’s Talking” (Fred Neil), and “Last Thoughts on Woody Guthrie” (Bob Dylan), but Family Vineyard has made an expanded reissue on CD and digital, with a bonus track of a full-band version of the Stooges’ “1970″ from the No Fun Festival in 2004 and an insert with my A.I.-generated textual version of Alvin Lucier’s “I Am Sitting in a Room,” not to mention revised cover art by Robert Beatty. The Golem Rescored also has tracks by Meg Baird, Universal Eyes, Michael Morley, Sharon Gal, Marika Hughes and Shazad Ismaily, Eye from the Boredoms, and Scott Amendola, all inspired by the Jewish mystic folk story/silent horror film that is a precursor to Frankenstein  Find the Golem Rescored here, and Three Chords here or here

[abelkia]

Alvin Lucier « I Am Sitting in a Room » (Lovely Music/Vital Records/1981) #alvinlucier #iamsittinginaroom #lovelymusic #vitalrecords #bobbielecki #marylucier #forvoiceontape #newyork #lp #recordcollection #vinyl #soundart #spokenword #electroacoustic #drone #tapemusic #jesuisassisdansunepiece #minimalmusic https://www.instagram.com/p/CDJ3uX4grT8/?igshid=xmk0x9jua3hc

[iamfloatinginaworlddifferen-blog]

View this post on Instagram

A post shared by IAMFLOATING (@iamfloatinginaspace)

• 27 / 600 I am floating in a world different from the one you are in now. I am producing data that you can see and hear of a virtual speaking voice and I am going to upload it on Instagram, rip it from Instagram, upload back into this virtual compression algorithm again and again until the artefacts of the algorithm reinforce themselves so that any semblance of myself is destroyed. What you will perceive, then, are the artefacts inherent in the video codec of the compression algorithm. I regard this activity not so much as a demonstration of a digital fact, but more as a way to destroy any initial data this file might have. - - - - - - - #imsitting #iamsitting #alvinlucier #iamfloating | #algorithm #video #art #artist #paradigm #compression #live #creative #artist #artoftheday #artsy #art #visual #abstract #artwork #javascript #inspiration #glitch #minimal #experiment #installation #photooftheday #bestoftheday #picoftheday #geometry #sketch https://www.instagram.com/p/B0t3B7iIpJv/?igshid=143sis758z39x

[sexy-sexy-boy]

So sad to hear , experimental music composer Alvin Lucier passed away at the age of 90 . RIP Alvin Lucier ( 1931 - 2021 ) #alvinlucier #experimental #soundinstallation #avantgarde #electroacoustic #musiqueconcrete #soundart https://www.instagram.com/p/CW847plPuAu5iz20jXpznhnvmAOnVnTom3qWvk0/?utm_medium=tumblr

[cliggomusic]

Listen to Alvin Lucier for free: https://music.cliggo.com/artist/9297-Alvin_Lucier

[fuck-im-only-dancing]

En menos de 10 minutos la repetición mecánica de voces superpuestas alcanzará su propia destrucción.

I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. 

[blittman]

#alvinlucier @spencertopel #resonantsound #fivegravestocairo @hoodmuseum (at Dartmouth)

[mazzswift]

Deadline is officially extended. Get your application in today! :) #Repost @clairechaseflute . ・・・ ahoy! #ensembleevolution @banffcentre has extended the application deadline to jan 30! apply apply apply 🏔 ! . . . faculty includes @iceensemble #georgelewis @lizalimcomposer @miya.masaoka @yvettejaninejackson #alvinlucier @rania.writes @matanarobertsstudio @mazzmuse #peterevans #wilfridoterrazas @tyshawnsorey #wuwei and more! JOIN US: https://www.banffcentre.ca/programs/ensemble-evolution https://www.instagram.com/p/Bsv-7Z3j0Db/?utm_source=ig_tumblr_share&igshid=18hrwq1k1afr4

[yusukekumano]

4/1日 Alvin LUCIER Ever Present Orchestra 京都大学 西部講堂にて 暗闇に少しずつ踏み入れていく 響く音と対峙して、これは、、エイプリルフールかと思い 目を閉じていたら、何かこう別の世界へ置いてけぼりにされ、 目を開くと、時間と感覚を混ぜていく様を、目の前で見せられてるような体験だった。 その後色々あり、、 「言葉にならないもの」に興味や関心があるから、音楽を聴くのが好きなんやろな、と少し確信した日。 #AlvinLUCIER #EverPresentOrchestra #music #現代音楽

[alexmalism]

It’s really my utmost pleasure to meet and talk to Alvin Lucier, one of the most legendary living composer of experimental music and sound installations at present. His works and stories are not only remarkable in the history of music and sound art but also inspirational to generations of composers and sound artists. Unless I have done enough good things in my previous life, otherwise I’m just plain lucky. #alvinlucier #taikwun

[masteraudio-security-blog]

MFM-8-31-12

[alanlicht]

In Memoriam Alvin Lucier: A textual realization of “I Am Sitting in a Room”

Utilizing A.I. software which generates text when another text is typed into it as a prompt, I created this realization of “I Am Siting in a Room” by typing in the original text in the score, then sending the resulting text as a prompt over and over again, just as Alvin re-recorded his recording over and over again, but in virtual space, not a room. Thanks to Cory Arcangel and Howie Chen for technical assistance.

I am sitting in a room different from the one you are in now. This room is a little bit bigger and a lot more colorful. I am a bit older than you, though you would not know it by looking at me. I am wearing a business suit and I am sitting in a high-backed wooden chair. I am wearing the same jewelry I wore yesterday. I am writing a letter to a friend and I am doing it on the computer in this room. You are sitting on a bed in a room of your own, or at least you have a bed and a room. It is a big room, but not as big as this one. You are in a room that is yours.

I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. This is called an acoustic experiment. The room is a rectangular box, built in the seventeenth century, that I am standing in front of. It is painted yellow. I am standing on a carpet, the same colour as the walls. The walls are lined with books. The books are the ones that I have read. The books that I have not read are piled up on the floor. The carpet is brown. It is worn down. It has a few holes in it. The carpet is new. The carpet is in my head. The carpet is in my eyes. The carpet is in my heart.

What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but, more as a way to smooth out any irregularities my speech might have. When I speak, I know that my voice is being distorted by the acoustics of the room, by the wall, and by the way in which my vocal cords vibrate. This is why it is often necessary to record a speech, so that I can play it back in the room to make sure that it sounds as I intend it to sound. An early recording studio was the parlor of a large house, and it was the parlor in which I recorded my first talk. I had just come out of the army and was looking for a job. One evening, my friend, the owner of the house, brought out a gramophone and asked me if I could record a talk. I had no idea what to say. I simply began to speak. Now, the parlor was small, and the acoustics were such that the recorded speech was not as clear as it would be in a large room. Also, there was an armchair in the room, which was not there when I spoke. But I had spoken in this room so often that I knew the room very well. As I spoke, I kept hearing a little buzz in my ears. When the record was played, I heard the buzz. When I replayed the record, I could hear the buzz even louder. It was then that I realized that the buzz was the sound of the microphone picking up the sound of the armchair. The microphone, in fact, was sitting on the arm of the chair. The chair was vibrating and that was what the microphone was picking up. I immediately turned off the record and, for the next several months, I would listen to the record again and again, playing it in the parlor. The sound was very clear, and I was able to hear the buzz in the recordings. I was able to hear it in the room.

I could hear it in my head. The buzz became so familiar that I did not have to turn the record off to hear it. I could hear it in my heart. I am not saying that your experience is like mine. You do not have a microphone in your head, but that is what the recording studio is. It is a room in which you sit, and it is in which I sit. When I speak, I know that my voice is being distorted by the acoustics of the room, by the wall, and by the way in which my vocal cords vibrate. This is why it is often necessary to record a speech, so that I can play it back in the room to make sure that it sounds as I intend it to sound. The microphone is in your room, and the speaker is in the recording studio. You are sitting in a room, and I am sitting in a room. You are in a room that is yours. I have been sitting here for a long time. I have been writing this letter for some time. I have been sitting here for many years. I have been writing this letter for many years. It is not a letter I wrote yesterday, or a letter I wrote last month, or a letter I wrote two years ago. It is a letter I wrote a long time ago, when I was a child. It is a letter I wrote when I was a child, and when I was a child, I was a very small child. The letters I wrote then were always long, and they were always filled with the anticipation of things to come. Now that I have reached the point in my life when I am sitting in a room that is my room, and that is where I am going to stay, I am writing a letter to a friend who is going to move into a room that is his room. The room is his room. He is going to move into a room that is his room. The letters I wrote when I was a child were filled with hope and with anticipation of things to come. Now, that I have reached the point in my life when I am sitting in a room that is my room, and that is where I am going to stay, I am writing a letter to a friend who is going to move into a room that is his room. The room is his room. He is going to move into a room that is his room. It is the end of the day. It is the end of a day. It is the end of a day. It is the end of a day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end of the day. It is the end

[iamfloatinginaworlddifferen-blog]

View this post on Instagram

A post shared by IAMFLOATING (@iamfloatinginaspace)

• 25 / 600 I am floating in a world different from the one you are in now. I am producing data that you can see and hear of a virtual speaking voice and I am going to upload it on Instagram, rip it from Instagram, upload back into this virtual compression algorithm again and again until the artefacts of the algorithm reinforce themselves so that any semblance of myself is destroyed. What you will perceive, then, are the artefacts inherent in the video codec of the compression algorithm. I regard this activity not so much as a demonstration of a digital fact, but more as a way to destroy any initial data this file might have. - - - - - - - #imsitting #iamsitting #alvinlucier #iamfloating | #algorithm #video #art #artist #paradigm #compression #live #creative #artist #artoftheday #artsy #art #visual #abstract #artwork #javascript #inspiration #glitch #minimal #experiment #installation #photooftheday #bestoftheday #picoftheday #geometry #sketch https://www.instagram.com/p/B0orTuqIr6B/?igshid=19m6cy8kwmb5i

[oshimatakurodailywork]

吃音症から見たAlvin Lucierの「I Am Sitting in a Room」

2019/02/25(Mon.)

今日は京都市内でお買い物をしました。途中でパララックスレコードという実験音楽やノイズを扱うレコード屋さんに寄りました。高校３年生のときに店のオーナー・森さんにAlvin Lucierの「I Am Sitting in a Room」を紹介していただき、工学的なアプローチから音の美しい表現を可能にするサウンドアートの世界へ入って行きました。その後はサウンドアートの繋がりで当時IAMASの講師だった城一裕さんの元へ行きました。 昨年4月にはAlvin Lucierが来日して京都で公演しました※１。京都でLucierを知った僕が、京都でLucierを目にするとは思いもしませんでした。なんにしてもパララックスレコードは僕をAlvin Lucierに繋いでくれたかけがえのない存在なのです。今日は森さんにそのエピソードをお伝えすることができました。これからも若者たちを少し変な音楽の世界へ誘う入り口として、パララックスレコードが活躍することを祈っています。

とりあえずAlvin Lucierの「I Am Sitting in a Room」を載せます。この作品は、最初に作品のコンセプトをLucierが読み上げ、部屋に響く声をマイクで集音してテープに録音します。次に録音した音声を同じ空間内に置かれたスピーカーで再生して、部屋に反響した音声をさらに別のテープに録音します。この録音と再生の作業を繰り返すことで、最初に録音されたLucierの言葉は部屋の残響によって声としての輪郭を失い、最後にはその部屋に固有の共鳴周波数に近い音響となります。

この作品はサイトスペシフィックなサウンドアートとして語られたり、録音再生メディアを用いた表現おいて同じプロセスを繰り返すことでメディアの固有性を強調する手法の例として引用されます。ただ、ここではLucierが読み上げるコンセプト文の最後に注目して、「I Am Sitting in a Room」と吃音症の関係を考えます※１。

I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. 拙訳：わたしはこの作品を物理現象のデモンストレーションというより、わたしのスピーチに生じたかもしれない不規則な音（＝吃音）を滑らかにする手段として捉える。

実際に作品を聴くと、Lucierがテキストを読み上げるなかで何度か言葉につまるところがあり、Alvin Lucierが吃音症を持つ��とがわかります。

コンセプト文の終わりに、物理現象のデモンストレーションではないことが強調されているように、「I Am Sitting in a Room」は吃音症の観点から語ることが大事になります。それにも関わらず、Lucierの活動や作品に対する言論は音響工学的な観点で語られることが多い印象です（※要根拠）。Alvin Lucierの有名な言葉に「No Ideas But in Things （事象の中以外に観念は存在しない）」という言葉があるのですが、Alvin Lucierが科学的な視点をベースに考えていることをよく表した言葉です。僕はこの言葉を「目の前の事象だけを見れば良い・考えれば良い」という意味ではなくて「目の前の事象の観察を通して、目には見えない観念を思考せよ」という意味だと捉えています。Alvin Lucierは「I Am Sitting in a Room」で生じる音響的な現象を通して何を考えていたのでしょうか。 まずパフォーマンスとして「I Am Sitting in a Room」を行う時はポエトリーリーディングの形式を引用して、部屋の中央に椅子を置いて本を開いてテキストを読み上げます。Lucierはテキストを読み上げた後に目を閉じて、プロセスが繰り返されるなかで吃音を含んだスピーチが言葉としての意味を失い、音響として現れるまで待ち続けます。作品の中で言葉が認識として音響へと変わる時、吃音も言葉と一緒にどこかへ消えていく感覚があります。スピーチが言葉として認識できる時は吃音も認識できて、スピーチが音響として認識された時は吃音は認識できなくなるのです（※なぜだろう）。どの瞬間にスピーチが言葉（または吃音）としての機能を失い、どの瞬間から音響として現れるのか、その境界線は非常に曖昧であり、この作品を聴く際のポイントのひとつとなるでしょう。 吃音症を抱える人にとって自分の吃音が録音された音声を聴くことは苦痛を伴うことです。言葉が音響へと変わるまでの間、目を閉じて耳を澄ますAlvin Lucierは痛みに耐えながら祈っているように見えます。音楽が祈りの行為であるならば、Alvin Lucierは作品の中だけでも吃音が自分の体から離れていくことを祈っているのではないでしょうか。もしくは作品のプロセスを通して、身体と分かれるはずのない吃音症が離れていく感覚を擬似的に体験しているのかもしれません。このように考えれば、作品の工学的なプロセスが儀式的な行為のように捉えられ、「I Am Sitting in a Room」が救済を祈る音楽のように聴こえるのです。終

・PS I Am Sitting in a RoomのMAX/MSPパッチが公開されています。触ってみてよければ来年のワークショップで再演してみます。 https://cycling74.com/forums/alvin-lucier-i-am-sitting-in-a-room-maxmsp-version/

１．ANTIBODIES Presents ALVIN LUCIER & Ever Present Orchestra https://antibo.org/blog/2018/02/03/2018-4-1-antibo-alvinlucier/

２．ガーディアン誌でのAlvin Lucierのインタビューより https://www.theguardian.com/music/musicblog/2014/jun/25/sitting-in-a-room-with-alvin-lucier

[cco-staff]

【CCO置きチラシ】4/1(日）17:00-『ANTIBODIES Presents ALVIN LUCIER & Ever Present Orchestra』@京都大学西部講堂

これは面白そう！！

http://antibo.org/blog/2018/02/03/2018-4-1-antibo-alvinlucier/

[ruseg]

via Twitter https://twitter.com/ruse