Editorial Reviews References : Festival Tramway Rouen, Aéronef Lille, CREDAC Ivry, Traffics NantesS Member of the team of programation of festival Tramway 95-96 : K. Brotzmann/Massaker, Alboth, Painting, Denis Colin trio, Berthet/Le Junter, Deux fois rien (Spirli), Hint, Prohibition, Kinobits (Noetinger/Tanaka/Zetel/Le Quan), Thierry Robin. Radio producer at the national French radio France Culture : Tentative première/Clair de nuit, Nuits Magnétiques 1991, "La Lisière de Forêt" & various Atelier de Création Radiophonique. Iin 2002 Eric has earned a PhD in Ethnology/Religious Science in analysing the popular culture of the peasants of the Normandy during the XIXth century. Some articles are available in French on werewolf, fairies, elves, goblins, imps, bee honey, and the opposition between wild and domestic animals. He actually try to do recordings of popular music : Lu Sheng dance and songs in a Thai minority of China, the Dong, where his girlfriend is doing ethnology.
Digitalis Purpurea, Music, Eric Cordier
About the Artist
Eric Cordier has studied fine arts, body-art & music. He began body-art performances/tape music between 1986 and 1994 under the name of Nadir, with Jean Luc Guionnet and Cécile Maupoux (21 performances in France, Germany and Nederland). Actually this work is done in duet with Cédric Peyronnet/Toy bizarre under the name of La Compagnie Pordurière. He was a sound engineer on the Industrial-EBM band The Grief during tours in 1990 and 1991: Nederland : Nijmegen, Utrecht, Hoorn, Amsterdam; France : Paris, Montpelier, Saint-Malo, Portugal : Coimbra, Funchal (Madera). He was also sound engineer for contemporary music concerts as M. Kagel and theatre tour since 1989. He plays hurdy-gurdy in various improves, free-rock or industrial bands : UNACD, Schams, Phéromone, Tore, Enkidu. He is credited with introducing Keiji Hayno to the hurdy-gurdy (November 92), as well as Jim o'Rourke (October 95). He has played in the Duet with Dominique Regef (Malicorne). His interest in plastic arts and music is conjugated in sound environments exhibitions. There has been around twenty exhibits in 10 years:
Album Description
Digitalis Purpurea is the Siamese twin of Houlque released on Grande Fabrique (Dieppe -F) in 1996. It's tape music composed for sound environments. Between 1989 and 1997, I built approximately twenty sound environments with hundreds of loudspeakers. The installation is still unchanged after all these years : Each loudspeaker is mounted on a wall at the average height of an ear. The loudspeakers are spaced 50cm between each other. What has changed is the place, the space, the rooms where they have been exhibited. These environments were built with the idea to submerge the listener, by the quantity of the loudspeakers. The music has been composed in 8 tracks to spacialize the sound. One track is sent to 5 neighboring loudspeakers. If possible, 4 tracks are on the left and four others on the right, and so, one track can be found in one of every 20 loudspeakers. However, each loudspeaker is a different type, brand, quality and impedance, so the same track send to various groups of loudspeakers don¹t produce the same resulting sound. A group of 5 neighboring loudspeakers receiving the same electric flux, the sound was different by the function of the impedance and the state of the loudspeaker. Even if the music was built in 8 tracks, the experience was giving the impression of a sound different on each loudspeaker. Knowing that, the music has been built to explore sound mass phenomenon, mass music or quiet and continuous sound (as track 4) to hear the variations. An excess of very low frequencies (track 1) or of high frequencies (track 2) are used to push the loudspeakers to their limits. Both tittles of the CDs in addition to most of the names of the tracks are names of plants because there is a similarity between what happens between the loudspeakers and how the plants interact in nature. A long time ago I used to study archaeology, especially experimental archaeology. We tried to build new methonds of finding remains without digging;! just watching the ground and the plants. This is the reason why I have studied the interaction between plants. They grow in groups of different species relating to the nature of the ground. So while doing this kind of archaeology I've spent many days with friends walking in a big forest trying to read the vegetation and the ground. Several years after I began to build these sound environments. The similarities were obvious. The connection of the loudspeakers were creating clusters, but creating variations in function of the kind of matter where was spread on the loudspeakers. The resulting sound was not the same with a loudspeakers spread on concrete, wood, metal or glass. Little by little, in these sound environments the music has disappeared to let place to these resulting sound, but that is another story and will be shown on another record soon to be available on Edition...
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Digitalis Purpurea
Eric Cordier Manufacturer: Ground Fault Recordings ProductGroup: Music Binding: Audio CD  General
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ASIN: B0000DK3B7 Release Date: 2003-08-01 |
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Album Description
Digitalis Purpurea is the Siamese twin of Houlque released on Grande Fabrique (Dieppe -F) in 1996. It's tape music composed for sound environments. Between 1989 and 1997, I built approximately twenty sound environments with hundreds of loudspeakers. The installation is still unchanged after all these years : Each loudspeaker is mounted on a wall at the average height of an ear. The loudspeakers are spaced 50cm between each other. What has changed is the place, the space, the rooms where they have been exhibited. These environments were built with the idea to submerge the listener, by the quantity of the loudspeakers. The music has been composed in 8 tracks to spacialize the sound. One track is sent to 5 neighboring loudspeakers. If possible, 4 tracks are on the left and four others on the right, and so, one track can be found in one of every 20 loudspeakers. However, each loudspeaker is a different type, brand, quality and impedance, so the same track send to various groups of loudspeakers don¹t produce the same resulting sound. A group of 5 neighboring loudspeakers receiving the same electric flux, the sound was different by the function of the impedance and the state of the loudspeaker. Even if the music was built in 8 tracks, the experience was giving the impression of a sound different on each loudspeaker. Knowing that, the music has been built to explore sound mass phenomenon, mass music or quiet and continuous sound (as track 4) to hear the variations. An excess of very low frequencies (track 1) or of high frequencies (track 2) are used to push the loudspeakers to their limits. Both tittles of the CDs in addition to most of the names of the tracks are names of plants because there is a similarity between what happens between the loudspeakers and how the plants interact in nature. A long time ago I used to study archaeology, especially experimental archaeology. We tried to build new methonds of finding remains without digging;! just watching the ground and the plants. This is the reason why I have studied the interaction between plants. They grow in groups of different species relating to the nature of the ground. So while doing this kind of archaeology I've spent many days with friends walking in a big forest trying to read the vegetation and the ground. Several years after I began to build these sound environments. The similarities were obvious. The connection of the loudspeakers were creating clusters, but creating variations in function of the kind of matter where was spread on the loudspeakers. The resulting sound was not the same with a loudspeakers spread on concrete, wood, metal or glass. Little by little, in these sound environments the music has disappeared to let place to these resulting sound, but that is another story and will be shown on another record soon to be available on Edition...
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