entrée/sortie

Entrée/SortieAuthor(s): Mathias FuchsSource: Leonardo Music Journal, Vol. 1, No. 1 (1991), pp. 105-106Published by: The MIT PressStable URL: http://www.jstor.org/stable/1513131 .

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Mathias Fuchs (radio artist), Kliebergasse 8/3/20, A-1050 Wien, Austria.

Received 18 September 1990.

Mathias Fuchs (radio artist), Kliebergasse 8/3/20, A-1050 Wien, Austria.

Received 18 September 1990.

contact Craig Latta via e-mail at <netjam-requestWxcf.Berkeley.EDU>, with the words 'request for info' on the subject line. To receive information on NetJam via the U.S. postal sys- tem, write to Craig Latta at the mail- ing address at the beginning of this article. Persons interested in helping

contact Craig Latta via e-mail at <netjam-requestWxcf.Berkeley.EDU>, with the words 'request for info' on the subject line. To receive information on NetJam via the U.S. postal sys- tem, write to Craig Latta at the mail- ing address at the beginning of this article. Persons interested in helping

with the operation of NetJam are also encouraged to volunteer [4].

References and Notes

1. I do notation, mixing and mastering of Net- Jam-created compositions, as well as assist with distribution and copyright issues.

2. See software review in Current Literature sec- tion of this issue-ED.

with the operation of NetJam are also encouraged to volunteer [4].

References and Notes

1. I do notation, mixing and mastering of Net- Jam-created compositions, as well as assist with distribution and copyright issues.

2. See software review in Current Literature sec- tion of this issue-ED.

3. The currently supported formats are UNIX, Macintosh, Amiga, Atari, and IBM-compatible sys- tems. Most required software may be obtained via anonymous ftp from scam.Berkeley.EDU, in the /src/utils directory.

4. While some parts of the operation are best centralized at the Experimental Computing Facil- ity (XCF), some tasks, such as producing hard- copy notation, collecting software, and convert- ing files, might be efficiently handled elsewhere.

3. The currently supported formats are UNIX, Macintosh, Amiga, Atari, and IBM-compatible sys- tems. Most required software may be obtained via anonymous ftp from scam.Berkeley.EDU, in the /src/utils directory.

4. While some parts of the operation are best centralized at the Experimental Computing Facil- ity (XCF), some tasks, such as producing hard- copy notation, collecting software, and convert- ing files, might be efficiently handled elsewhere.

Entree/Sartie Entree/Sartie

Mathias Fuchs

Entree/Sortie is a project in which a number of composers worked inde- pendently with the same acoustic material: a sequence of 26 sound recordings of doors. These doors ranging from seventeenth-century palace doors to car doors were opened, closed and knocked at during the recordings (Figs 1-3). A booklet containing photographs of all the doors recorded was produced by Austrian artist Sylvia Eckermann. The booklet and an audiocassette containing the sounds recorded were sent to about 50 musicians in Europe, North- ern America, Australia and the Near East. Computer networks [1] and con- ventional mail were used to distribute the sound material even farther. The composers were encouraged to 'decompose' [2] the sounds freely in whatever stylistic manner they chose and to make use of any technology available to them.

I received compositions ranging from 'garage rock' to 'musique con- crete', from 'computer funk' to 'algo- rithmic music'. Despite the differ- ences in style, the pieces were linked by the acoustical base material a common sound vocabulary.

The Entree/Sortie project features compositions by Simon Waters (United Kingdom), Rik Rue (Australia), Igor Linz-Maues (Brazil), Elisabeth Schimana (Austria), Lisa Sirois (U.S.A.), Edwin Pfanzagl

Mathias Fuchs

Entree/Sortie is a project in which a number of composers worked inde- pendently with the same acoustic material: a sequence of 26 sound recordings of doors. These doors ranging from seventeenth-century palace doors to car doors were opened, closed and knocked at during the recordings (Figs 1-3). A booklet containing photographs of all the doors recorded was produced by Austrian artist Sylvia Eckermann. The booklet and an audiocassette containing the sounds recorded were sent to about 50 musicians in Europe, North- ern America, Australia and the Near East. Computer networks [1] and con- ventional mail were used to distribute the sound material even farther. The composers were encouraged to 'decompose' [2] the sounds freely in whatever stylistic manner they chose and to make use of any technology available to them.

I received compositions ranging from 'garage rock' to 'musique con- crete', from 'computer funk' to 'algo- rithmic music'. Despite the differ- ences in style, the pieces were linked by the acoustical base material a common sound vocabulary.

The Entree/Sortie project features compositions by Simon Waters (United Kingdom), Rik Rue (Australia), Igor Linz-Maues (Brazil), Elisabeth Schimana (Austria), Lisa Sirois (U.S.A.), Edwin Pfanzagl

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Fig. 1. Glass and steel door, entrance to the Umversity Librawy. (Photo: Sylvia Eckennann) Fig. 1. Glass and steel door, entrance to the Umversity Librawy. (Photo: Sylvia Eckennann)

(Austria), Zorah-Mari Bauer (Ger- many), Gunter Schneider (Austria), Martin Ebner (Austria) and Mathias Fuchs (Austria). All compositions were done in the spring and summer of 1990. A compilation of these compositions was broadcast by Osterreich- ischer Rundfunk", Austria's largest radio station, in the Kunstradio" pro- gram hosted by Heidi Grundmann.

To keep the work in progress, I am now asking for second{>rder compositions for the Entree/Sortie project, based on the first series of compositions. I will send you an audiocassette recording of the musical pieces al- ready received, which you may use as the basis for your second-order compositions. In this way the process can begin again (and again, and again. . .). The process of communication and composition could trigger a perfect circle of musical recycling. Please

(Austria), Zorah-Mari Bauer (Ger- many), Gunter Schneider (Austria), Martin Ebner (Austria) and Mathias Fuchs (Austria). All compositions were done in the spring and summer of 1990. A compilation of these compositions was broadcast by Osterreich- ischer Rundfunk", Austria's largest radio station, in the Kunstradio" pro- gram hosted by Heidi Grundmann.

To keep the work in progress, I am now asking for second{>rder compositions for the Entree/Sortie project, based on the first series of compositions. I will send you an audiocassette recording of the musical pieces al- ready received, which you may use as the basis for your second-order compositions. In this way the process can begin again (and again, and again. . .). The process of communication and composition could trigger a perfect circle of musical recycling. Please

Fig. 2. Plastic refrigerator door. (Photo: Sylwa Eckennann) Fig. 2. Plastic refrigerator door. (Photo: Sylwa Eckennann)

Music/Science Forum 105 Music/Science Forum 105



write to Mathias Fuchs/Entree-Sortie, Kliebergasse 8/3/20, A-1050 Wien, Austria.

References and Notes 1. Sounds were digitized, compressed and en- coded on a small computer for distribution of the sound material to musicians linked to global computer networks. The files were then fed into the international networks EARN and BITNET and were sent to a large number of musicians in Europe and North America.

2. The process of rearranging a complex piece of sonic material, selecting tiny parts or even aspects of a large structure in order to change the meaning of the prior material might be called 'decomposition'. This term refers to French philosopherJacques Derrida's concept of deconstruction.

Fig. 3. Swinpng wooden door at the Academy of Fine Arts. (Photo: Sylvia Eckennann)

106 Music/Science Forum



entrée/sortie

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