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From his first works in the middle of the 70s, Jean-Marc Vivenza places himself in the field of the theorico-political link attached to the Italian Futurists and Russian Constructivists trends whose bruitist-plastic propositions are the only theorical sources having ever been developped with consistency, and qualifies his music as « bruitist futurist » rather than industrial.
It is the re-appropriation of noise as a formal plastic aid. He explores the field of perspectives that the acoustico-plastic material offers and works on a concept that he calls « the objective materiality of noise », basing himself on the futuristic thesis of Luigi Russolo, exposed in « The Art of Noises » edited in 1913, constituting the working guide for Vivenza and remaining the base of any authentic bruitism. He is then the first, between 1976 (with the band Glace) and 1979, to build a bridge between the thesis of Luigi Russolo and our time.
The originality of Vivenza is to use industrial sonorous material in the literal sense of the word (machines, workers in action, factories) and records real industrial sonorities in factories : reality is the subject of futurist research.
«Modes réels collectifs», for the first time remastered and presented in vynil and CD format, is the first work published in 1981 under the unique banner Vivenza, after he performed in the bands Glace (1976) and Mécanique Populaire (1979). It must be seen as a kind of genuine «Manifesto» that will then become emblematic of all his work.
By suggesting to us, on a philosophical as well as sonorous point of view, an idea of opening to the real directly inspired from the futuristic theories, Vivenza was then presenting to us what he brought from his relationship with the machines and with the sound of the factories, to make us penetrate the brutal concrete of the heavy industry
world, that’s to say according to his «Modes réels collectifs» of existence. This album, by virtue of its initial founder characteristic from 1981, shows this concern about participating to the interaction of the energy of the future, to the
reciprocal mediation linked to the productive activity of the world. Like Vivenza will say: «By working and through the strengths of work, in the sonorous magma of the industrial society, at the heart of the forges and weirs, of the rolling mills and power stations, reactors and artificial intelligence, nature reveals its dynamic characteristic. The power of machines, and of industry in general, are the truth of the world.» Thus, industry and technique are what we could call the principle of any reality, because, like the futurists said accurately: «the machine is indeed the richest symbol of the mysterious human creator strength».
1. PRAMPOLINI, PANAGGI, PALADINI, Manifesto of Mechanical Art, 1923.
PARTIE 1 – Modes Réels Collectifs
PARTIE 2 – Modes Réels Collectifs
Noises and machines recorded and mixed by Vivenza, Grenoble 1981
Mechanism and Production Electro Institut, Grenoble 1983
Phonographic Production & Edition led by Christophe Louis, 2011
Mas tering by Hervé de Keroullas , 2010
Graphic Design by Eric Collet, 2010
Photography from personal archives of Vivenza