Various – Régénération - Dégénérescence
In cardboard sleeve with metal plate on the front.
"There is, in the Limoges (France) area, a number of neglected industrial sites. If one's walking in these sites he would be able to experience their past activities - more or less recent; it would be revealed by characteristic material or by the site's layout itself. One of these places has hold our attention : an industrial complex of 10 hectares was created at the end of the 19th century on the banks of a river. Its goal was to regenerate hevea's sap in order to manufacture tires, tennis balls, soles, gloves, teats... It helped the just born latex civilization to grow... This decaying factory, disused since some years, was ruined by many fires due to the numerous flammable and polluting materials located on site. Despite the fact that the place is disused, it has got a strong sound identity, a rich sound spectrum.
It was very important for us to introduce this area to you. The interest was to combine the place's discovery with the discovery of the works of numerous artists - working with field recordings made on specific sites. The recording of sound atmospheres of a place could be considered as fixing a fragment of time, space, history (Quite like a photograph).
Representative matters (wood, stone, rubber) of the factory were taken, then sent to the artists. The parcel also contains photographs of the place and a representative sound sample of 15 mn, a kind of sound plotting. This field recording was made by TOY BIZARRE in January and February 1996 and edited by Bruno MOREIGNE. We decided to avoid human sound sources in order to let the place "express itself". With these 15 minutes of sound and the various samples of the place, each artist was able to give its own sound interpretation of the place. The one and only restraints were: to use ONLY the sounds we gave (to do a sound regeneration) and to record a track of 4 mn 30 maximum. All the sound treatment/composition methods were authorized. [You can listen to the original sounds by playing the uneven tracks.]
We can draw a parallel between the rubber regeneration (past activity of the factory) and the regeneration of the factory's actual sound (the result of the decay of the place); that's the core of this project. This parallel also allows us to apprehend the sensibilities, the place's visions of each artist - because they all worked on the same sound basis."
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