Conserving Rainforest 4: aural geographies and ephemerality
Conserving Rainforest 4: aural geographies and ephemerality
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DOI：
10.1080/14649360601055847
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发表时间：
2006-12-01
影响因子：
2.5
通讯作者：
Rogalsky, Matt
中科院分区：
文献类型：
--
作者：
Cameron, Laura;Rogalsky, Matt
装置声音艺术作品本质上是空间性的。这种形式的记录可以追溯到 20 世纪 50 年代，涉及不同的地理知识历史和口述历史方法。大卫·都铎 (David Tudor) 的《雨林 4》（Rainforest 4，1973）是一件表演雕塑声音装置，至今仍是他最著名的作品。它的持久性——当他的大多数其他作品仍然没有被表演时，部分原因是它们太封闭而无法破译或依赖于不可用的技术——掩盖了它的“分数”，它由一个简单的图表和几个单词组成。口述历史，无论是正式的还是非正式的，不仅是理解作品历史的关键，而且是其表演不可或缺的一部分。本文探讨了 Rainforest 4 的一些历史地理和现场电子音乐中短暂的美学，其中表演记录是次要的。在审视《雨林 4》保护的悖论时，我们探讨了都铎对自然和灵性的特定概念的参与，以及使该作品保持活力的社会等级制度和保守冲动。
Works of installation sound art are inherently spatial. Documentation of this form, which dates from the 1950s, involves an engagement with diverse histories of geographical knowledge and oral-historical methodology. David Tudor's Rainforest 4 (1973) is a performed sculptural sound installation which remains the best-known of his pieces. Its durability-when most other of his works remain unperformed, partly because they are too hermetic to decipher or depend on unavailable technologies-belies its "score" which consists of a simple diagram and a few words. Oral history, formal and informal, is not only key to understanding the history of the piece, but is integral to its performance. This paper explores some historical geographies of Rainforest 4 and the aesthetic of ephemerality in live electronic music, for which documentation of performance is secondary. In examining the paradoxes of Rainforest 4's conservation, we explore Tudor's engagement with particular notions of nature and spirituality as well as the social hierarchies and conservative impulse which keep the piece alive.