VIOLIN FACTORY
an interactive new media performance from Jon Rose
Jon Rose ... concept, interactive conductor, samples
Kaffe Mathews....live sampling,
Tom Demeyer ...live interactive video
The Orchestra of Ancient Guts, Vienna.
Jim Munro and others, Vancouver.
In the 1970's I was very busy constructing violin hybrid
instruments....violins joined together like siamese twins, violins with
extra necks, aeolian violins with sails, a tromba marina, violin mobiles,
a violin on a frame with 19 strings, a microtonal long neck violin with
16 strings, violins with fm radio broadcast systems built inside, violins
with megaphones and internal amplification, etc.
I spent a lot of time looking through junk shops in Sydney buying the
cheapest violins that little money could buy....violins in really bad
condition would often be given to me. I became aware that most of these
instruments had been made in China (notably the ´Skylark´models) and I
started to imagine the factories, full of massed labouring violin makers,
where these instruments were produced. Although the average professional
western violin player found these instruments to be unplayable and (tone
wise) unlistenable to, I took the opposite view. With their shrill tone
production, they sounded closer to the er-hu (the traditional chinese
two string violin) than to our model of beauty and perfection - the strad.
They were in effect, the sound of Asia, the new string sound of our century!
Also because of their price, I had no qualms about hacking into them with
saw &drill to experiment with my own mutations and deconstructions.
By invitation from The International Jazz Festival Beijing, I´ve had the
opportunity twice in the 1990´s to investigate this phenomena further.
On the first visit in 1994, full of optimism, I managed to visit a large
instrument factory on the outskirts of Beijing...they made just about
every instrument under the sun....but tragically no violins. On the second
visit last year I took no chances; with help from film maker Ying Li Ma
we researched the whole country looking for the violin mass production
centres of the world.
A tale of woe met our enquiries. The two biggest violin factories (employer
of thousands) had gone to the wall leaving behind just a few small family
firms struggling to maintain the tradition. But, we were told, a brave
new world of automation had recently taken over the chinese violin industry.
A visit to a brand new violin factory was arranged. Imagine our excitement
as we were told by the manager that they used a specially designed german
steam press to ´stamp out´the belly and back plates of violins, violas,
cellos, and double basses en masse... ten at a time in one hit.. Special
machines were available throughout the violin process. They even had a
machine that haired and tightened up the violin bow in one go....one bow
finished every 5 seconds. In the factory they made absolutely everything
that goes into a violin case, including the case itself. He refused categorically
to tell us how many violins the factory produced every hour. But we were
clearly talking serious production here, the like of which had never been
seen before. We asked, naturally enough, if we could shoot some video
of this futuristic world.
Dear reader, this was a once in a lifetime chance and I tried by every
means available to persuade Mr. Jin Yun Guo (the Korean boss) to indulge
us. The answer was No. In fact the answer was ´No´ some three times from
him, twice from central office in Korea where I sent a hurried fax explaining
our humble interest, and three more times from Mrs.Kim (the general manager)
to whom I sent an exhaustive letter and rang personally over the following
weeks. Realising their absolute paranoia, that I was some kind of international
spy determined to steal their secrets of automated violin mass production,
I tried to allay their fears with the most crawling entreating letter
I´ve ever written in my entire life. To no effect. I display an extract
from this pitiful artifact below for your perusal. Alas our honesty and
naivete had left us no possibility to prepare a hidden camera once we
were on the factory premises.
.........
So what video material will actually be shown tonight?
Full credit must go to Ying Li Ma. After dealing with months of post rejective
depression, she found her way to what remains of the original chinese
violin making factories. In the vast ruined premises of these earlier
paradigms of socialist productivity, the camera finds poignant reminders
of a by gone age. Where once 100´s of workers sat, labouring away in disciplined
harmony to the rousing broadcasts of revolutionary songs, now only a few
dozen of the still employed struggle to keep the factory open. We thank
their managements for the consideration shown to comrade Ying Li as she
filmed the scattered remnants of former production glory. Yes, the new
automated violins sound a lot better . Yes, we have to have enough violins
for the rapidly increasing world population of violin players. Yes, they
have to be made in China (everything else is these days) but No... nothing
will ever replace the sheer minimalist beauty of massed RSI (repetitive
strain injury). We salute the agony and ecstasy of the former thousands
of violin makers in The People´s Republic of China! In the words of Mao
Zedong
"The masses have a potentially inexhaustible enthusiasm
for the violin. Those who can only follow the old tunes in a revolutionary
period are utterly incapable of hearing this enthusiasm. They are deaf
and all is silence ahead of them. Haven't we come across enough of these
kinds of reactionary bureaucrats in music? Those who simply follow the
status quo invariably underestimate the people's enthusiasm for the new
functional violin music. Let something new appear and they always disapprove
and rush to oppose it. Such people are always passively deaf, always fail
to move forward at the critical moment and always have to be given a kick
in the backside before they move a step." (Introductory note to 'This
Township went co-operative in two years' (1955) from The Socialist Upsurge
in China's Countryside ed. volume 2.)
VIOLIN FACTORY.
Some (older) notes to the performance.
1. components
chamber orchestra plays repetetive 4 bar phrases like a huge human sampler
(each phrase can be manipulated by Kaffe Mathews once set in motion);
live feed from internet of Suzuki class and soloist from
Canada, they are mixed into the vienna performance and sampled & manipulated
in real time by Kaffe mathews (they should not hear what's going on in
Vienna though....too confusing);
live interactive video of members of the kammer orch on
screen behind orch position, video manipulated by Tom Demeyer Steim; (
Interactive midi control of video effects from Jon, Kaffe and/or Tom)
It would be great to have a video feed from Vancouver (as well as the
sound) ...so all the video components are 1. live portraits of orchestra
members
2. hard disk loops of chinese workers in violin factory
3. internet images of canadian suzuki class & occasional soloist
4. maybe separate monitor runs the whole footage of Ying Li Ma's original
violin factory video without sound (almost like a documentary)
interactive conductor with midi bow & pedals (controls
midi string sounds, looped images of chinese workers in violin factory,
and sounds of the chinese violin factory) Jon Rose; He will also direct
the start and stops of the chamber orchestra 'samples'.
interactive sampling & mixing by Kaffe Mathews.
2. performance
should run for about 2 hours. There will be plenty of space/time for many
inter reactive possibilities, solos, etc. VIOLIN FACTORY is more an event
than a concert, the public are more witnesses than an audience. (The earlier
pieces in the evening however are definitely 'concert' in concept)