Eric Cordier, Digitalis Purpurea - 51m 2s

Tracks & Durations

1. Digitalis Purpurea	15:15
2. Dactyle Aglomeree	10:42
3. Les os Longs	15:32
4. Postface	9:29

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Review

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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