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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.
Veriti Plastici, the third part of the first works of Vivenza, recorded and completed in 1983, represents a fundamental step in the definitive formalisation of the bruitist sonorous views. Made of very objective industrial atmospheres, this recording will be the bridge between the pure experimental approach, and the rigorous structuring of the works that will be produced later (Fondements Bruitistes - 1984, Réalités Servomécaniques - 1985, Machines - 1985, etc.).
The release of Veriti Plastici was accompanied by a text : LE PROGRAMME FUTURISTE DE RETOUR A LA REALITE MATERIELLE, clearly describing the principles defining the theory of bruitism. It was declared : « Luigi Russolo will advocate the use of real noises to take us in the organic participation of existential dynamism, and to do so had to be developped : « the understanding, the taste and the passion for noises » ; and moving from the eye which presided at the expression of the futurist idea through painting that riveted the mind on a reductive image on a space point of view, to the ear offering a scope of sonorous expansion open on the infinite : « our multiplied sensibility, after using futurist eyes, will have futurist ears ». 
The futurist objective, which is « a will to a return to the original forces », will thus find in bruitism the most intense form of a participation to the universal energy of the being of the world. Bruitism is a radical attempt of the carrying out of the futurist project in its will of participative communion to the dialective future sensed in the mechanical power of industry.
The attentive examination of bruitism on each machine generating a noise-sound, reveals an organic vision of the industrial and urban network : « the large and fabulous breathing of a sleeping town is so strange, wonderful, fascinating (…) a breathing only interrupted now and then by the whistle of a train ; a breathing which is the result of all different industries (electric power stations, gas factories, train stations, printings, etc.) continuing their activities in the quiet nightlife » .
The transfigurative wave of the dialectic movement of the Vortex, « the point of the highest energy » , expresses the vertiginous transparency of the abyss ; only the knowledge-contact through the exercise of the decentring of the subject can offer the possibility of a uniting participation to this abysmal reality. »
1. L. RUSSOLO, l'Art des bruits, Milan, 1913.
3. E. POUND, Blast, 1914
Noises and machines recorded and mixed by Vivenza, Grenoble 1983
Mechanism and Production Electro Institut, Grenoble 1983
Collection led by Christophe Louis
Mastering by Hervé de Keroullas
Layout by Matthieu David
from pictures, logo, and text of Vivenza's personal archives