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01. VIVENZA - Partie 1 -Réalité De L'Automation Directe
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02. VIVENZA - Partie 2 -Réalité De L'Automation Directe
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ARTIST
VIVENZA
TITLE
Réalité De L'Automation Directe
FORMAT
CD
LABEL
ROTORELIEF
CATALOG #
ROTOR 026CD
ROTOR 026CD
GENRE
ELECTRONIC
RELEASE DATE
4/29/2016
Originally released in 1983. "
Bruitism
is the representation of a living, biological body, not unrelated but on the contrary intimate to the substance. The nature/technique gap is totally, in
The Art of Noises
, the most accomplished form of a reconciliation with industrial mechanization. By highlighting the autonomy of the dialectical movement in its inaugural tension,
bruitism
reestablishes this relationship with the pure objectivity of the substance, which is the cornerstone of the program of futurism and remains more than ever valid for the future of all futures. The sonorous world, the noises of life, are not just a simple residual environment but the material of a new art, The Art of Noises!
Luigi Russolo
declares: 'In a few years the engines of our industrial cities can all be skilfully sounded so as to make from each factory an exhilarating orchestra of noises'. The futurist objective is 'a will for a back to original forces', it finds in
bruitism
the most intense form of a participation to the universal energy of the being of the world" --extract from
L'art des bruits futuristes
(
The Art of Futurist Noises
),
Vivenza
, 1982. Since his first works in the mid-'70s, Jean-Marc Vivenza has theoretically and politically linked himself with the Italian Futurists and Russian Constructivists, and qualifies his music as "bruitist futurist" rather than "industrial." He enacts the re-appropriation of noise as a formal plastic aid. He explores the field of perspectives that the plastic-acoustic material offers and works on a concept that he calls "the objective materiality of noise," basing his work on the Futurist thesis of Luigi Russolo proclaimed in his 1913 manifesto
The Art of Noises
. He is then the first, between 1976 (with the band
Glace
) and 1979, to build a bridge between the thesis of Luigi Russolo and our time. The originality of Vivenza lies in his use of sonorous industrial material in the literal sense of the word (machines, workers in action, factories). Noises and machines recorded and mixed by Vivenza in Grenoble, France, 1982. Mastered by
Hervé de Keroullas
, 2011. Graphic design by
Matthieu David
, 2011. Photography from Vivenza's personal archives. CD in six-panel digipak.
Other releases on ROTORELIEF
Other releases by VIVENZA