|
IN STOCK
|
|
|
|
ARTIST
TITLE
Veriti Plastici (Red Vinyl)
FORMAT
LP
LABEL
CATALOG #
ROTOR 029RED-LP
ROTOR 029RED-LP
GENRE
RELEASE DATE
4/29/2016
|
Red LP version in deluxe heavy-duty sleeve. Limited numbered edition of 333. Veriti Plastici, the third part of the first works of Vivenza, was recorded and completed in 1983 and represents a fundamental step in the definitive formalization of the bruitist perspective. Made of objective industrial atmospheres, this recording is the bridge between the pure experimental approach and the rigorous structuring of the works that would follow (including Fondements Bruitistes in 1984 (ROTOR 033CD/AB-LP/ABRED/DC-LP/DCRED) and Réalités Servomécaniques in 1985 (ROTOR 014CD/RED-LP)). The release of Veriti Plastici was accompanied by a text, Le Programme Futuriste De Retour A La Realite Materielle, which describes Vivenza's theory of bruitism as follows: "The futurist objective, which is 'a will to a return to the original forces', will thus find in bruitism the most intense form of a participation to the universal energy of the being of the world. Bruitism is a radical attempt of the carrying out of the futurist project in its will of participative communion to the dialective future sensed in the mechanical power of industry. The attentive examination of bruitism on each machine generating a noise-sound, reveals an organic vision of the industrial and urban network: 'the large and fabulous breathing of a sleeping town is so strange, wonderful, fascinating. . . . a breathing only interrupted now and then by the whistle of a train; a breathing which is the result of all different industries (electric power stations, gas factories, train stations, printings, etc.) continuing their activities in the quiet nightlife' [Luigi Russolo, The Art of Noises, 1913]. The transfigurative wave of the dialectic movement of the Vortex, 'the point of the highest energy' [Ezra Pound, Blast, 1914], expresses the vertiginous transparency of the abyss; only the knowledge-contact through the exercise of the decentering of the subject can offer the possibility of a uniting participation to this abysmal reality." Noises and machines recorded and mixed by Vivenza in Grenoble, France, 1983. Mastered by Hervé de Keroullas. Layout by Matthieu David, from pictures, logo, and text from Vivenza's personal archives.
|
|
|