"Dreaming of Inscriptions on Skin"
"Parasites, Influences and TRansformations 2 / Parasitic Electronic Seance IV"
"Undirected / Entbildung"
"Frozen Water"
"Tokyo Circle"
"Matrix (for an anechoic room)
"Finding of a State of Light: Distribution of Luminous Intensity and Its Fluctuation"
"Monitor Unit for Solid Vibration"
"Placed or Replaced"
"Topophony of the Text"
Participation Artist's
Related Events

Artists Talks
Jan.28 (Friday)
Jan.29 (Saturday)
Jan.30 (Sunday)
Feb.6 (Sunday)
Feb.11 (Friday)
Special Events : "Phase of Post Music"

Jan.28 (Friday) - Mar.12 (Sunday), 2000 [Finished]


"Topophony of the Text"
Brandon Labelle

Brandon LaBelle's works treat language and its enunciation, the act of vocalization, language and speech, and the relationship between the meaning of words and their function as sounds. Typical of his approach is his 1998 piece <Writing Aloud> in which he recorded the sounds of a pencil transcribing Roland Barthes' "Le plaisir du texte. " In his works the text-as-object is written, spoken, vocalized under difficult conditions, or typed in order to defamiliarize and disassemble it. He has also done many readings, performances, and installations inspired by literary works in poetry or prose. The range of his work goes well beyond sound art to include more properly musical activities as well as critical writing in art journals.

His contribution to this exhibition, entitled <Topophony of the Text> takes as its sound source a reading of the last chapter of Le plaisir du texte with all of the consonants removed to leave only vowel sounds. The five vowels A, I, U, E, and O are all recorded separately in different situations, grouped according to the five colors Rimbaud suggested correspond to the vowels in his poem "Voyelle," and broadcast from five speakers. The text is thus separated from its original form and suspended far from its meaning to be converted into an abstract sound. LaBelle's work is an operation in reducing words, meaning, and sound to the material of the body. As such, it is Barthes' pleasure put into practice.

I benefited in the writing of this text from many conversations with the artists as well as direct and indirect communications via E-mail and other means. I would also like to express my gratitude to the music critic Mr. Sasaki Atsushi, who has worked to introduce the work of these sound artists to Japan and also runs his own record label "meme." Without their suggestions and guidance, this exhibition would never have been possible.

(HATANAKA Minoru / Assistant Curator, ICC)