Various – De Appel N°3 / 1984 MC



Published by Stichting De Appel, Netherlands, 1984

Edition without the outter box

“Many of the artists De Appel has worked, or will work in the future, are involved with sound. This time we have invited seventeen artists to contribute to a cassette. The idea was, originally, to compile the cassette like a sort of magazine, and to alternate pieces of texts with artists’ contributions. However, the artists’ contributions proved to be self-contained works, so that interspresing them with texts would turn them into illustrations. We have therefore decided to let the sound speak for itself.

Johan Cornelissen [NL] spent a few weeks on the small island of Grimsey, north of Iceland. In the quiet that reigned there he recorded the sounds of the environment: ice breaking and the sound of sliding over an ice-covered lake.

Katrien Gottlieb & Floris van Manen [NL] aim to break through the pattern of expectancy, and so the recognition of sounds, in order thus to gently
shift the border-lines. By giving a subtle twist to what is presumed to be reality, removing sounds from their familiar contexts and making them reproduceable, it must be possible to listen to the same environment through different ears.
Christopher Williams [USA] uses the loop of an answering machine.

Peter Zegveld [NL] has tune a piano in the quint AE; the instrument is played crescendo and smorzando. The crescendo is reinforced by a compressed-air-driven sousaphone.

Dick Raaymakers [NL]. The sound invented by Dick Raaymakers originated during a game of pingpong played by Louis Andriessen and Cornelis de Bont. Contact microphones attached to the bats and the table record the sounds of the game. The tones of the two bats differ by half a tone. In the course of the game the players move closer together in time, towards the end of the game the strikes are almost simultaneous, eventually they coincide exactly and the game is over.

Larry Miller [USA] ‘Accord’ is the title of a piece performed by Larry Miller in collaboration with De Appel. It is a composition in which people are orchestrated as personified instruments. The work consists of five parts: Prelude, Attune, Entity, Machine and Refrain. Through the mediation of a spiritist Larry Miller selected four players, each of whom were invited to choose a tone from his score to sing.

Relly Tarlo [NL] has for some time been concerned with exploring the tonal possibilities of tubes and pipes. The length, diameter and material of the pipes determine the kind of sounds that are produced. The tubes and pipes are suspended horizontally and are played with different materials. The sound on this tape is made with five PVC tubes and played with boxing gloves.

Mark Stahl’s [USA] sound is a recording of a mass of people before and after hearing a symphony orchestra.

Rod Summers [NL] uses his own voice to play the parts of different characters in his story.

Michael Brewster [USA] presents his acoustic sculpture, which was set up in the “Artists Space”, NYC, in June 1984.

Harrie de Kroon [NL]. His piece ‘Chinese Butterfly’ is based on a poem of the same name. The poem expresses wonder and bliss verbally, in the sound-piece they are expressed by means of sound.

Peter Gordon [USA]. Near Castello Rivoli [Turin] Peter Gordon came across the sound of a braying donkey, to which he gives an instrumental reply.

Terry Fox’ [USA] sound originates from a 10 m. long piano string attached to the Berlin Wall which is twisted taut with a thin metal rod. The sound is acoustic and is not amplified.

Stuart Brisley [USA]. By recording his voice on different tracks a soundsymphony is created.

Franziska Lingg [Swiss] produces her sounds with sheet metal. along which she moves a speaker. The frequency – which is adjustable – brings about a certain vibration between the metal sheet and speaker. The sound changes depending on the distance between speaker and metal, and the shape of the metal sheet.

Moniek Toebosch [NL] the sound of her voice leaves no room for doubt.

Remko Scha [NL] plays on the instruments of Z’ev, thereby producing new sounds with his machines – electric guitars set in a frame, across which a number of strings are stretched; the strings are actuated by electric drills. The sound is mixed on a mixing console.