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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Érudit Article "Visualizing Acoustic Space" Gascia Ouzounian Circuit : musiques contemporaines, vol. 17, n° 3, 2007, p. 45-56. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/017589ar DOI: 10.7202/017589ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 10 février 2017 02:16 Visualizing Acoustic Space Gascia Ouzounian Prendre possession de l’espace est le geste premier des vivants, des hommes et des bêtes, des plantes et des nuages, manifestation fondamentale d’équilibre et de durée. La preuve première d’existence, c’est d’occuper l’espace. –Le Corbusier In the decade following the Second World War, “taking possession of space” became an increasingly pressing concern within the Western musical avant- garde. Traditional musical considerations, such as the organization of pitch, rhythm, harmony, and form, were supplanted by spatial considerations, such as the arrangement of performers inside an auditorium, and the abil- ity to channel sound electronically to and between multiple loudspeakers. A vocabulary of space emerged in relation to musical forms and processes, one that was inextricably tied to languages of control and territorialization. Efforts to spatialize sound – to determine the location and movement of sounds within architectural space – often communicated larger concerns over the “place” of music within Western societies, and the ability of music to produce and accumulate cultural capital. Inquiry into the realm of acoustic space during the postwar era, how- ever, was not reserved to musical fi elds of production. In the mid-1950s, the Canadian media theorists Marshall McLuhan and Edmund Carpenter proposed the binary concepts of “acoustic space” and “visual space” to 1. Carpenter and McLuhan co-authored the article “Acoustic Space,” originally describe the perceptual structures governing, respectively, “the mentality published in Carpenter’s journal of the pre-literate” and the Western imagination (McLuhan, 1960, p. 207).1 Explorations in Communication in 1953. They revisited concepts developed They conceived of acoustic space as a dark, chaotic foil to an enlightened in “Acoustic Space” in a co-written and orderly visual space that had dominated Western thought since Greek introduction to an anthology of articles phonetic literacy. While visual space was defi nite and linear, acoustic space from the journal (Carpenter and McLuhan, 1960), and explored these gascia ouzounian was “boundless, directionless, horizonless, the dark of the mind, the world of ideas independently (McLuhan, 1960 ; emotion, primordial intuition, terror” (McLuhan, 1960, p. 207). McLuhan McLuhan and Powers, 1989). 45 and Carpenter posited that the proliferation of non-literary electronic media (TV and radio) would return the Western imagination to the realm of acous- tic space, “where the Eskimo now lives” (McLuhan, 1960, p. 207). They cele- brated this reinvigorated acoustic sensibility as a re-tribalization of Western civilization within a common “global village” (Carpenter and McLuhan, 1960, p. xi). While reductive and essentializing, McLuhan’s and Carpenter’s theories provide a unique lens through which to consider early spatial music com- position, which often confl ated concepts of acoustic space with sensorial immersion, ritual practice, and primitivism. This paper revisits an iconic sound-and-light installation, the Philips Pavilion at the 1958 Brussels World Fair, examining the ways in which concepts of acoustic and visual space were negotiated within it. The Philips Pavilion was an eight-minute long multi- media spectacle conceived of by the architect Le Corbusier as combining “sound, light, color, rhythm” in the form of an electronic poem (Petit, 1958, p.23). Le Corbusier acted as the pavilion’s artistic director and provided the conceptual framework for the poem. The French-born, N.Y.C.-based com- poser Edgard Varèse contributed Poème électronique, the spatial music pro- jected over hundreds of loudspeakers and multiple “sound routes” during the spectacle’s main portion. Le Corbusier’s assistant Iannis Xenakis designed and implemented the pavilion’s exterior architecture and composed a two- minute interlude, Concret PH, during which time audiences were ushered in and out of the pavilion. The pavilion also featured a fi lm prepared by the Italian fi lmmakers Jean Petit and Philippe Agnostini according to Le Corbusier’s directions, as well as an elaborate lighting scheme, color projec- tions, and hanging sculptures. The following discussion of the Philips Pavilion focuses on the multimedia interactions that took place within it, and the story behind them: a literal nar- rative that was fi gured in all the different elements of the pavilion, including, I argue, its music. Conceived of by Le Corbusier as a “story of all human- kind,” this narrative fi t within the Brussels World Fair’s modernist theme of “Man and Progress.” It depicted the evolution of humankind from so-called primitive societies to the Nuclear Age through a series of juxtapositions that contrasted the intuitive with the rational, the emotional with the logical, and the primitive with the advanced. Like so many stories dreamed up for the volume 17 numéro 3 numéro 17 volume utopian, celebratory atmospheres of World Fairs, this story had a happy end- ing. In its fi nal moments, it predicted something akin to McLuhan’s global circuit village: a one-nation world in which an enlightened and unifi ed humankind 46 had transcended its primitive desires and nuclear ambitions. In tying Varèse’s music to this larger narrative scheme, my discussion of Poème électronique diverges in important ways from existing accounts, which frame it as an independent composition related only in structural ways to the rest of the Philips Pavilion. Conversely, I suggest that Varèse’s music was an integral part of the multimedia scheme, that it performed the “story of all humankind” as coherently as the other media. Using McLuhan’s and Carpenter’s conceptual polarities, I argue that Poème électronique was not merely an abstract sequence of sound geometries, but instead a calculated negotiation of acoustic and visual space, locating the acoustic in the fi eld of the sensual, the primitive, and the illegible. This negotiation spoke volumes about the historical moment in which it was born, and its terms were much more urgent than merely determining the physical location of sounds. Spatial Music and Espace acoustique I am a musician by heart. –Le Corbusier When magnetic tape became commercially available after the Second World War, it became newly possible to create a “spatial music.” Tape suggested 2. For example, Schaeffer suggested an an equivalency between time and space in the medium of sound, since écoute reduite with respect to musique musical time could now be measured in terms of distance (the length of concrète, a method of “reduced tape). Composers sought to exploit this newfound plasticity of sonic materi- listening” in which listeners were supposed to mentally abstract sonorous als, and many reconfi gured their practice within a language and aesthetics of objects from their real-world sources in sculpture. Pierre Schaeffer, the director of the electronic music studio at the order to hear them as abstract musical Radiodiffusion Française in Paris, introduced the term “musique concrète” in forms. 3. Schaeffer’s technical assistant Jacques 1948 in order to describe music that resides in a fi xed medium like disc or Poullin developed the pupitre d’espace tape. He designated “l’objet sonore” (the sonorous object) the basic element in 1951, a device which could route of musique concrète, and developed a compositional vocabulary that took into sound from fi ve-track tape to fi ve loudspeakers. The sound routes of 2 account this newfound “object-hood” of sound. Concurrently, composer- four of the tracks were predetermined, engineers at his studio developed new technological devices which could while that of the fi fth was improvised locate and route sonorous objects, like other objects, within architectural by a performer who played the pupitre d’espace in concert. space.3 4. Schaeffer invited Varèse to Paris Edgard Varèse, who undertook a residency at the Radiodiffusion Française to create the tape parts for his in 1954, made critical contributions to this emerging object-based, spatial- composition Déserts (1952-1954), which had the distinction of being the fi rst ized musical aesthetics.4 Since the 1930s, Varèse had dreamt of “new devices composition to be broadcast live that would make spatial music possible” (Alcopley, 1968, p. 195), and his in stereophonic sound over French efforts are widely considered to have “provided the inspiration for the idea radio. Listeners at home acquired two radio sets and tuned-in to two gascia ouzounian of sound in motion, comparatively rare as a compositional element in pre- different stations in order to hear the Varèsian music” (Strawn, 1978, p. 141). Varèse understood space in scientifi c stereophonic effects. 47 and rational terms, and sought to confer these dimensions to a disorderly and chaotic acoustic space, imagining that acoustical structures could operate as abstract geometrical forms within a defi nite, Euclidean space. This pro- posed rationalization of sound space would, among other things, assure the status of music as an “art-science” (cf.
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