 2000-2002 |Fabien VANDAMME | Anthony KEYEUX | La musique électronique in et hors arts plastiques | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Stéréomission | Liens | Bibliographie | Doc.txt.1 | Doc.txt.2 | Doc.txt.3 | |
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2000-2002 | Fabien VANDAMME | Anthony KEYEUX | La musique électronique in et hors arts plastiques | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Stéréomission | Liens | Bibliographie | Doc.txt.1 | Doc.txt.2 | Doc.txt.3 | |
| Doc.txt.2 Interview de kirsten reynolds (project dark) | réalisée par Anthony KEYEUX via e-mail le 20 juin 2000.  Do you try to be irreverant with the record object ? do you criticise it ?I think there is a certain irreverance in what we do but this is more directed towards the way people normally deal with records. They are collected and treated with utmost care and reverance. We play physical hard, sharp, rough objects on equipment that is designed to play the tiny delicate vinyl groove.However simultaneously I think that the actual discs are actually celebratory of the form. They are an expanded version of an ordinary disc, it is given new possibilities and is allowed to 'speak' for itself. Rather than imposing or recording a groove onto the record we are allowing the actual material to become part of an instrument with the deck and generate it own natural sound, a sound that has a totally integrated visual aspect. The nature of the substance that is creating a sound can be seen, A direct translation of a visual object can be heard. Do you think that you talk more about music ? about sound ? or about records ? All of these things are inter-related and are involved in what we do. The sounds generated are a raw material, the building blocks of a sonic language which when articulated becomes music of a sort. It is organised has stucture, duration and tonal qualities. It is also presented, either as the records or as a live show with the records used as instruments. The use of them has similarities with DJing, their existance as a series with titles, catalogue numbers and sleeves describes the importance of their being actual records, even if most of them aren't vinyl.They also exist as a record in the original sense of being a record of a time, a moment or an idea. Would you be interested in working with CDs ? Do you think you could find a way to do something similar with the digital support or is your work only an analog art ? I am not interested in working with CDs because they do not have the physical possibilities associated with objects and turntables. The 7" singles play by being a physical shape, the CD is only a set of coded information, there is no object, they are all the same. What I am interested in looking into is playing the objects with an optical stylus, this would 'look' at the surface and translate it into sound. I suppose some CD type laser technology may be relevant here. We already use a lot of digital support for this work, the images and sound are all digitally recorded, as audio and video. This gives us the ability to manipulate the source sounds and allow them to suggest natural sequences and rhythms. Video footage of certain aspects of playing the discs enables us to show things that are not visible to the naked eye, either things that are too small which can be magnified with video. We also have filmed the exploding record plyer at 1000 frames per second on 16mm film which means we can play video of a slow motion explosion that in reality is over too quickly to see properly. All this video is midi triggered and live mixed with monitor cameras over the decks in a live show situation. How do you perceive the relations between the material you use to make your 7"s and their sound when you play them ? do you think that the sound is a translation of what they're made of ? I think I have already answered this earlier, but it may be interesting to note that some materials or objects are chosen for their visual qualities, but can be quite surprising in the sounds that they produce. Other artifacts are selected because the surface texture seems that it would make a good sound. In the end everything looks like something and has a sound that is directly related to this physical property. How important is the spectacular dimension in your live act ? The large explosions and the 10,000 volt spark generating record player are parts that have a spectacular aspect but in the main I think that we are dealing with giant curiosities, things which have their small fascinating aspects magnified to highlight their particular qualities, this applies to the image and the sounds too. Do you prefer being called a visal artist or a musician ? I prefer being called an artist in the company of musicians and a musician in the company of artists, that way people think you have less in common and you can avoid the same boring circular conversation about one area or the other. Then there is a chance of talking about real life! How do you perceive the growing multimedia scene these years ? according to you, why do people are more and more interested in finding bridges between music and visual arts ? To me it is a very natural thing to be working in both these areas together as I think they are two sides of the same thing. Traditionally they have been seen as different and therefore it was not possible to do both. Also advancing technology means that it is possible for people to afford and operate equipment that allows manipulation on both these areas. Some people have always done this and the activity itself need not be equipment based, there's just more people doing it now. liens project dark : project dark http://www.projectdark.demon.co.uk/ project dark http://www.backspace.org/dark/decks.html project dark http://www.lastsigh.com/interviews99/projectdark.htm sonic boom http://www.projectdark.demon.co.uk/hayward.htm ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| |