Английская Википедия:A (For 100 Cars)

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Шаблон:Good article Шаблон:Short description Шаблон:Correct title Шаблон:Use British English Шаблон:Use dmy dates

Шаблон:Infobox musical composition

A [For 100 Cars] was a site-specific project created by Ryoji Ikeda. It took the form of a piece of minimalist music, composed in 2017 as part of a Red Bull Music Academy festival held in Los Angeles. The piece is part of Ikeda's series of installations exploring the musical note A and was written for an "orchestra" of 100 cars, which produce sound using sine wave synthesisers created by Tatsuya Takahashi and Masimillian Rest. Each synthesiser was tuned to a different pitch that has been associated with A throughout history, creating beating patterns as the sine waves interacted. During the course of the composition, performers modulated the octave and volume of the sine wave tones according to a score.

A [For 100 Cars] was performed on 15 October 2017 on top of a multi-storey car park opposite the Walt Disney Concert Hall. Approximately 1,000 people attended the performance, which lasted around 27–28 minutes. Journalists had a largely positive reception to A [For 100 Cars], and commented on the unusual nature of the work and the creativity behind it. Mixmag included the piece's performance on their list of the best performances of the festival. As part of the project, local film makers Van Alpert and Estevan Oriol created a short film named LA: Cars + Music to show the influence of music on the car culture of Los Angeles.

Composition

Ryoji Ikeda is a Japanese audiovisual artist and composer. His earliest solo installation is A, which he created because he was curious about the various frequencies associated with the musical note A.[1] A has been used as tuning standard throughout history but was associated with many different frequencies before being standardised to 440 Hz by the International Organization for Standardization in 1975.[2][3] Since starting the project in 2000, Ikeda has exhibited several versions of A at various venues, including the Hayward Gallery (A, 2000), Minnesota Street Project (A [4ch version], 2018) and Centre Pompidou (A [continuum], 2018).[4]

Ikeda composed a new version of the project, A [For 100 Cars], as part of a Red Bull Music Academy (RBMA) festival held in Los Angeles.[5][6] The use of cars in the composition was conceptualised six months prior to its performance[7] during a conversation between Ikeda and the co-founder of the RBMA, Torsten Schmidt. While talking about cars, they considered making an "automobile orchestra".[5] They decided to use synthesisers to create the sounds emitted by the cars. The synthesisers used for the performance at the festival were designed by Tatsuya Takahashi, the synthesiser designer who formerly worked as chief engineer at the Japanese music technology company Korg.[5] The project was the first Takahashi had worked on since leaving Korg.[8] Takahashi partnered with Masimillian Rest of E-RM Erfindungsbüro, a Berlin-based musical instrument maker, to create the synthesisers over a period of around three months.[8][9]Шаблон:Sfn

Ikeda viewed the composition as a collaboration between himself and the car drivers. When asked by LA Weekly, he was reluctant to take credit for the piece, saying:[2] Шаблон:Block quote

LA: Cars + Music

As part of the project's creation, a short film titled LA: Cars + Music was made by Van Alpert and Estevan Oriol, a Los Angeles-based photographer, in collaboration with the Red Bull Music Academy.[10][11] The film includes interviews with Oriol; Bella Doña, a Los Angeles car club; Guadalupe Rosales, a visual artist interested in Los Angeles' car culture; Rod Emory, a creator of "Outlaw Porsches" at Emory Motersports; and Dorian Valenzuela, a former Jet Propulsion Laboratory engineer who refurbishes Alfa Romeos.[10] The film documented the influence of music in the city's car culture;[11] each interviewee was asked what type of music they listen to while driving.[10]

Music

Файл:2013-06-08 Projekt Heißlufftballon DSCF7592.jpg
A [For 100 Cars] is scored for a group of 100 cars.

A [For 100 Cars] was performed by a group of 100 cars.[2] This arrangement was called "the world's largest synth orchestra" by Mixmag and Vice.[12][13] The full performance of the piece lasted for around 27–28 minutes.[5][14] Each performer was given a coloured score to read which dictated when to play the synthesiser, as well as the volume and octave (from A1 to A8).Шаблон:Sfn[2][11]

Each car had a sine wave synthesiser created for the event connected to its sound system, which constantly output a drone at a frequency that has been associated with concert pitch A at some point in history.[2][14] These frequencies ranged from 376.3 to 506.9 Hz,[15] covering a timespan from 1361 to 1936.[5][16] The sine waves were generated using the "Magic Circle" algorithm,[17] a digital sinusoid generator which is often used in computer graphics to draw ellipses.[18] The sine waves interfered with each other, creating beat patterns that changed depending on the listener's positioning relative to each sound system.[4] To coordinate the piece, each synthesiser was synchronised together.[17] The synthesisers featured displays for the frequency being output and timing in the performance, as well as knobs for volume and octave. Their design was created from a piece of aluminium, inspired by the Monoliths of Arthur C. Clark's Space Odyssey series[17] and likened to the work of Dieter Rams.[8]

Selected frequencies chosen by Ikeda
Frequency Source Audio Шаблон:Abbr
376.3 Hz Organ of l'Hospice Comtesse (dated Шаблон:Circa) in Lille Файл:376.3 Hz sine wave.wav [8]
419.6 Hz Organ of Seville Cathedral Файл:419.6 Hz sine wave.wav [16]
421.6 Hz Tuning fork of George Frideric Handel Файл:421.6 Hz sine wave.wav [19]
422.7 Hz Tuning fork of John Broadwood and Sons, London (17th century) Файл:422.7 Hz sine wave.wav [7]
427 Hz Paris Grand Opera (1811) Файл:427 Hz sine wave.wav [7]
430 Hz Tuning fork of Henry Lemoine (1810) Файл:430 Hz sine wave.wav [16]
437 Hz Chamber tone of the Italian Opera, Paris (1823) Файл:437 Hz sine wave.wav [19]
457.2 Hz Tuning fork of Steinway and Sons (1879) Файл:457.2 Hz sine wave.wav [7][13]

Performance

Файл:Image-Disney Concert Hall by Carol Highsmith edit.jpg
The premiere of A [For 100 Cars] took place opposite the Walt Disney Concert Hall.

As the composition was loud (reaching almost 160 dB),[2] a safety test (using Max, a visual programming language, to create the sine waves) was completed in Cologne before the performance in Los Angeles.[9] To make sure that it was a safe experience for the driver, Ikeda personally took part in the test.[2] In the final performance, all drivers were given a large pair of headphones.[15]

The performance of A [For 100 Cars] took place on 15 October 2017 at a multi-storey car park at 131 South Olive Street, Los Angeles,[2] opposite the Walt Disney Concert Hall.[5] The 100 cars used for the performance were lined up in rows on top of the car park.[7] The performance began at dusk at 6:17Шаблон:Nbsppm[7] in front of an audience of around 1000 people.Шаблон:Sfn At the start of the performance, the drivers started their engines and created a grumbling sound by revving them: a sound some likened to an orchestra tuning.[7]

The performers were from Los Angeles and were chosen by Ikeda for their car's modified stereos. Some performers were members of Los Angeles-based car clubs, but no performer was a professional musician.[5][11] The car's designs were varied and included sedans, SUVs and Los Angeles' signature lowriders.[13] During the performance, some cars used their horns and headlights or had open doors.[15] The performers included some notable residents of the area including Estevan Oriol, who was driving his blue Chevrolet Impala SS.[15][19]

Reception

On the whole, A [For 100 Cars] was well-received by reporters and audiences. It was widely seen as unusual: Selim Bulut of Dazed commented that the sound produced was an "unusual but calming ambient tone".[5] Writing in Vice, Emily Manning suggested an extraterrestrial sound, saying that "the A notes sounded a bit like what you might expect to hear when UFOs land, but more peaceful".[13] In the Los Angeles Times, Randall Roberts commented on the community aspect of the performance and how it "felt like a feat not only of bringing imagination to life".[7] Jon Caramanica wrote in The New York Times that A [For 100 Cars] "turned negative space in the centre of downtown Los Angeles into a sublime womb [and] felt like a meditation".[15] Mixmag put the event on their list of the best performances of the festival, and praised the "depth of thinking and originality behind the piece [which] made it a breathtaking experience for those in attendance".[12] Other listeners were not as impressed. In Autoweek, Mark Vaughn wrote that "most of it sounded, frankly, kind of bland" but conceded that "it was kind of cool to experience".[16]

References

Шаблон:Reflist

Sources

External links

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  1. ↑ Шаблон:Cite web
  2. ↑ 2,0 2,1 2,2 2,3 2,4 2,5 2,6 2,7 Шаблон:Cite news
  3. ↑ Шаблон:Cite web
  4. ↑ 4,0 4,1 Шаблон:Cite web
  5. ↑ 5,0 5,1 5,2 5,3 5,4 5,5 5,6 5,7 Шаблон:Cite web
  6. ↑ Шаблон:Cite web
  7. ↑ 7,0 7,1 7,2 7,3 7,4 7,5 7,6 7,7 Шаблон:Cite news
  8. ↑ 8,0 8,1 8,2 8,3 Шаблон:Cite web
  9. ↑ 9,0 9,1 Шаблон:Cite web
  10. ↑ 10,0 10,1 10,2 Шаблон:Cite web
  11. ↑ 11,0 11,1 11,2 11,3 Шаблон:Cite web
  12. ↑ 12,0 12,1 Шаблон:Cite web
  13. ↑ 13,0 13,1 13,2 13,3 Шаблон:Cite web
  14. ↑ 14,0 14,1 Шаблон:Cite web
  15. ↑ 15,0 15,1 15,2 15,3 15,4 Шаблон:Cite news
  16. ↑ 16,0 16,1 16,2 16,3 Шаблон:Cite web
  17. ↑ 17,0 17,1 17,2 Шаблон:Cite web
  18. ↑ Шаблон:Cite web
  19. ↑ 19,0 19,1 19,2 Шаблон:Cite news
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