Teresa Rampazzi ‎// Immagini Per Diana Baylon LP ‎

Teresa Rampazzi ‎// Immagini Per Diana Baylon LP ‎

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John Cageの影響下、電子音楽とコンピュータ音楽の先駆者の一人として地位を確率したイタリア人作家Teresa Rampazzi が、1972年にフィレンツェの現代美術ギャラリー「Il Fiore」で開催されたDiana Baylon展覧会のために作曲した楽曲を同国Die Schachtelが発掘プレス化しました。15分前後の楽曲2曲を収録。Giuseppe Ielashiマスタリング。

レーベルその他作品はこちら /// Click here to see more Die Schachtel releases available at Tobira.

artist : Teresa Rampazzi

label : Die Schachtel

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レーベルその他作品はこちら /// Click here to see more Die Schachtel releases available at Tobira.

artist : Teresa Rampazzi

label : Die Schachtel

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data-mce-fragment=\"1\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/die-schachtel%20\"\u003eこちら\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/die-schachtel%20\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/die-schachtel%20\"\u003ehere\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e to see more \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDie Schachtel releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist : Marino Zuccheri \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eLabel : \u003cmeta charset=\"utf-8\"\u003eDie Schachtel\u003c\/span\u003e\u003c\/p\u003e","published_at":"2020-10-24T12:56:21+09:00","created_at":"2020-10-21T07:51:34+09:00","vendor":"Tobira 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即興団体Nuova Consonanzaや現音ピアニストとしての活動で知られている哲学者Mario Bertonciniが自身では初となるLPをイタリア発掘音源専門レーベルDIE SCHACHTELよりリリース。70年代初頭から制作を開始した音響彫刻・エオリアンハープの録音物を収録。作曲家や音楽家が介入できない自然の音を感じてみてください。4ページブックレット付属。

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Quickview {"id":5817690423461,"title":"Vértice \/\/ Decay Music n. 1: Besoch Trauma LP","handle":"vertice-decay-music-n-1-besoch-trauma-lp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eM.BことMaurizio Bianchi、Saverio Evangelista、Juan Manuel Cidrónによるトリオ\u003c\/span\u003eVérticeの2曲入りLP。250部限定、残りわずかです。180g仕様。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=726797185\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/dieschachtelrecords.bandcamp.com\/album\/decay-music-n-1-besoch-trauma\"\u003eDecay Music n. 1: Besoch Trauma by Vértice\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlmost all great music is bridge - spanning geography and time, defying easy definition. 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Milan based Die Schachtel is proud to present Besoch Trauma, this remarkable project’s first recorded outing, years in the making and now marking the launch of a new series from the imprint - Decay Music, highlighting inspired contemporary experimental efforts in the ambient, ethereal, and\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eemotively\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan class=\"peekaboo-text\" id=\"package_description_0\" data-mce-fragment=\"1\"\u003eabstract.\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan class=\"lightweightBreak\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003eEach member of Vértice comes from a luminous and historic musical pedigree. Maurizio Bianchi is one of Italy’s earliest and most important figures in Industrial music, beginning to issue a wild series of visionary releases during the late 1970s. Saverio Evangelista is well known for his decades longs efforts within the seminal outfits, Esplendor Geométrico and M.S.B., while Juan Manuel Cidrón is one of the great cult figures of Spanish electronic music. Together they shed skin, reforming as one, diving into uncharted waters, while remaining unrecognizable within.\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan class=\"lightweightBreak\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003eSlow, sophisticated, and a deeply meditative, minimalist wonder, Besoch Trauma progresses like a melancholic dream - the slow wilting of sounds, pondering their own rebirth. Repetitive and restrained piano lines rise among drifting synthesiser tones and textural ambiances, fall away and return, fracture, break, stagger, and distort across the entirety of the albums first side, while murky, implacable sounds breed with flirting electronics and piano, sculpting the vast expanse of abstraction which emerges across the entirety of the second - clattering and droning, filled with air, fading melodies, and rippling tones - the inorganic rising as a synthetic vision of the natural world, and a music which entirely refuses to say what it is.\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan class=\"lightweightBreak\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003eTwo slow burning sides, unfolding with greater depth at every turn, across Besoch Trauma Bianchi, Evangelista, and Cidrón, joined as Vértice, build rich tapestry of creatively challenging sound - a hypothetical imagining of historic minimalism and ambient music, bred with industrial and punk. 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Quickview {"id":5817541918885,"title":"Alvin Lucier \/\/ Vespers LP","handle":"alvin-lucier-vespers-lp","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e1950年代後半から1960年代にかけて誕生した戦後前衛第2世代の中でもとりわけ過激で影響力のあったAlvin Lucier。彼が1969年に制作したVespersは、\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e演奏者とその空間という2つの対等な存在によって生み出された作品で、\u003cmeta charset=\"utf-8\"\u003e短く鋭いパルス音を壁にぶつけ、そのエコーの変化を観賞するというもの。\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eイタリア\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eDie Schachtelの現代音楽部門傘下Blumeが2020年5月にLPで出版しました。\u003c\/span\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2132599228\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/editionsblume.bandcamp.com\/album\/vespers\"\u003eVespers by Alvin Lucier\u003c\/a\u003e\u003c\/iframe\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003eSince its advent within the broader of movement of modernism during the early years of the 20th century, avant-garde music has almost always struggled to reach the audience for which it was conceived. It is a diverse creative territory, forward thinking and radical by nature, that pursues the unknown, attempting to create new forms of organized sound that are more democratic, accessible, and open than those of the past. Emerging during the late 1950s and across the 1960s, the second generation of the post-war avant-garde can be regarded as a representational return to the ideologies that define the practice. As a result, they collectively created what is arguably the most revolutionary body of thought and action within 20th century music. Despite the persistence of the definitions and perceptions cemented by their predecessors, these artists and their work —Éliane Radigue, Pauline Oliveros, Alvin Curran, Takehisa Kosugi, Frederic Rzewski, David Behrman, Terry Riley, Robert Ashley, Steve Reich, La Monte Young, Tony Conrad, Gordon Mumma, and\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecountless others have yielded unparalleled influence.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAmong the most important, influential, and radical of this generation is Alvin Lucier, a towering figure in the field. Already active on the scene for a number of years, Lucier’s entrance into the public and creative consciousness occurred in 1966 at the now legendary ONCE Festival, in Ann Arbor, Michigan, where, as a member of the newly formed Sonic Arts Union, a collective founded with fellow composers, David Behrman, Gordon Mumma, and Robert Ashley, he performed his groundbreaking work, Music for a Solo Performer, composed the year before.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"Vespers\" (1969) and \"Chambers\" (1968), the two works featured on this LP, witness Lucier rethinking the material and conceptual possibilities of music at every turn. First released as Lucier's contribution to the Sonic Arts Union's lone LP, Electronic Sound, in 1972, \"Vespers\" is a work generated by two equal actors —the performers and the space that they occupy. Conceived following a chance encounter with hand-held echolocation technology —the Sondol™, a pulse oscillator that emits short, sharp pulses at variable repetition speeds, producing echoes from the reflecting walls of a space to register relative location and orientation— it stands as one of the first works in history within which the decisions made during the performance are solely based on acoustics, allowing sound to be equally the content and structural determiner.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWritten as a poetic \"prose score\", for the realization of \"Vespers\", each performer is equipped with a Sondol™ and asked to move blindfolded within a defined space, moving from one point to the next using only echolocation, taking what Lucier describes as \"sound photographs\" that reveal discrete details of the given area. As the recording unfolds, the aptitude of this image becomes increasingly clear. While an aesthetic relationship to the movement of musical minimalism, embarked upon by a number of his peers, has often presented itself within Lucier's work, of all of them this is arguably most present within \"Vespers\". Despite the radical leap it presented within the history of the sonic arts, \"Vespers\" was not the first of Lucier's works that began to specifically address the relation between sound, perception, and space. Notably \"Chambers\", composed the year before in 1968 and embedded with the wry humor which lingers below much of the composer’s output, explored the theme on a brilliantly miniature scale.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs a total work, \"Chambers\" contends with the relationship between the knowing and understanding of what we hear, our perception of the source of a sound, and its relation to space. When viewed in the immediate context of \"Vespers\", as it is here, it presents as an unexpected inversion of what was to come. While it plays on the relation of sight and the sonic actor, here what is seen and unseen takes on a dynamically different role. Equally, there is not one space to perceive, but many. For the realization of \"Chambers\", battery-operated radios, tape recorders, and various kinds of electric toys are hidden in paper bags, shoes, kettles, a suitcase, and other small resonant spaces, which not only limit the perception of these object to their sounds alone, but take on the role of acoustic actors on the sounds within, each space becoming as individual and distinct as the object it contains. Taking it one step further, rather than being static, these \"\"Chambers\"\" are carried by performers into larger ones —those in which the work is performed— further altering the sounds which occupy them, drawing the ear, once again, to the action of that which contains a body of sound.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBecause the works of Alvin Lucier have occupied a seminal place in the landscape of avant-garde sound for more than half a century, their materiality forming the bedrock on which so many have subsequently built, there can be a natural tendency to focus on their immediate forms, each springing from a radical and forward thinking approach to the generation of sound —what the sounds are and what makes them, rather than how they operate and why they were made. This, at least in some part, underscores the importance of this reissue of the two works before us now. Like most of Lucier's efforts from the 1960s, there is a purity to discover them in recorded form that draws the ear toward the remarkable territories of conceptualism and ideology that lay at their core. Not only are they a crucial window into Lucier's early years and less acknowledged efforts, but they activate a more dynamic awareness, philosophically, of the broad creative paradigm and context in which he has continuously worked. These are works which belong to a movement which sought to rejoin the avant-garde with the society it was conceived to serve. A human music of expanded consciousness, to be occupied, tapping the fundamental need to communicate and understand through sound.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eartist : Alvin Lucier\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003elabel : \u003c\/span\u003e\u003c\/div\u003e","published_at":"2020-10-22T11:12:21+09:00","created_at":"2020-10-22T11:12:13+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","Die Schachtel","lp","monooto","strange beats"],"price":327800,"price_min":327800,"price_max":327800,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":36834620539045,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Alvin Lucier \/\/ Vespers LP","public_title":null,"options":["Default Title"],"price":327800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0020093482_10.jpg?v=1603332734"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0020093482_10.jpg?v=1603332734","options":["Title"],"media":[{"alt":null,"id":12562984599717,"position":1,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0020093482_10.jpg?v=1603332734"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0020093482_10.jpg?v=1603332734","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e1950年代後半から1960年代にかけて誕生した戦後前衛第2世代の中でもとりわけ過激で影響力のあったAlvin Lucier。彼が1969年に制作したVespersは、\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e演奏者とその空間という2つの対等な存在によって生み出された作品で、\u003cmeta charset=\"utf-8\"\u003e短く鋭いパルス音を壁にぶつけ、そのエコーの変化を観賞するというもの。\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eイタリア\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eDie Schachtelの現代音楽部門傘下Blumeが2020年5月にLPで出版しました。\u003c\/span\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2132599228\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/editionsblume.bandcamp.com\/album\/vespers\"\u003eVespers by Alvin Lucier\u003c\/a\u003e\u003c\/iframe\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003eSince its advent within the broader of movement of modernism during the early years of the 20th century, avant-garde music has almost always struggled to reach the audience for which it was conceived. It is a diverse creative territory, forward thinking and radical by nature, that pursues the unknown, attempting to create new forms of organized sound that are more democratic, accessible, and open than those of the past. Emerging during the late 1950s and across the 1960s, the second generation of the post-war avant-garde can be regarded as a representational return to the ideologies that define the practice. As a result, they collectively created what is arguably the most revolutionary body of thought and action within 20th century music. Despite the persistence of the definitions and perceptions cemented by their predecessors, these artists and their work —Éliane Radigue, Pauline Oliveros, Alvin Curran, Takehisa Kosugi, Frederic Rzewski, David Behrman, Terry Riley, Robert Ashley, Steve Reich, La Monte Young, Tony Conrad, Gordon Mumma, and\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecountless others have yielded unparalleled influence.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAmong the most important, influential, and radical of this generation is Alvin Lucier, a towering figure in the field. Already active on the scene for a number of years, Lucier’s entrance into the public and creative consciousness occurred in 1966 at the now legendary ONCE Festival, in Ann Arbor, Michigan, where, as a member of the newly formed Sonic Arts Union, a collective founded with fellow composers, David Behrman, Gordon Mumma, and Robert Ashley, he performed his groundbreaking work, Music for a Solo Performer, composed the year before.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"Vespers\" (1969) and \"Chambers\" (1968), the two works featured on this LP, witness Lucier rethinking the material and conceptual possibilities of music at every turn. First released as Lucier's contribution to the Sonic Arts Union's lone LP, Electronic Sound, in 1972, \"Vespers\" is a work generated by two equal actors —the performers and the space that they occupy. Conceived following a chance encounter with hand-held echolocation technology —the Sondol™, a pulse oscillator that emits short, sharp pulses at variable repetition speeds, producing echoes from the reflecting walls of a space to register relative location and orientation— it stands as one of the first works in history within which the decisions made during the performance are solely based on acoustics, allowing sound to be equally the content and structural determiner.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWritten as a poetic \"prose score\", for the realization of \"Vespers\", each performer is equipped with a Sondol™ and asked to move blindfolded within a defined space, moving from one point to the next using only echolocation, taking what Lucier describes as \"sound photographs\" that reveal discrete details of the given area. As the recording unfolds, the aptitude of this image becomes increasingly clear. While an aesthetic relationship to the movement of musical minimalism, embarked upon by a number of his peers, has often presented itself within Lucier's work, of all of them this is arguably most present within \"Vespers\". Despite the radical leap it presented within the history of the sonic arts, \"Vespers\" was not the first of Lucier's works that began to specifically address the relation between sound, perception, and space. Notably \"Chambers\", composed the year before in 1968 and embedded with the wry humor which lingers below much of the composer’s output, explored the theme on a brilliantly miniature scale.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs a total work, \"Chambers\" contends with the relationship between the knowing and understanding of what we hear, our perception of the source of a sound, and its relation to space. When viewed in the immediate context of \"Vespers\", as it is here, it presents as an unexpected inversion of what was to come. While it plays on the relation of sight and the sonic actor, here what is seen and unseen takes on a dynamically different role. Equally, there is not one space to perceive, but many. For the realization of \"Chambers\", battery-operated radios, tape recorders, and various kinds of electric toys are hidden in paper bags, shoes, kettles, a suitcase, and other small resonant spaces, which not only limit the perception of these object to their sounds alone, but take on the role of acoustic actors on the sounds within, each space becoming as individual and distinct as the object it contains. Taking it one step further, rather than being static, these \"\"Chambers\"\" are carried by performers into larger ones —those in which the work is performed— further altering the sounds which occupy them, drawing the ear, once again, to the action of that which contains a body of sound.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBecause the works of Alvin Lucier have occupied a seminal place in the landscape of avant-garde sound for more than half a century, their materiality forming the bedrock on which so many have subsequently built, there can be a natural tendency to focus on their immediate forms, each springing from a radical and forward thinking approach to the generation of sound —what the sounds are and what makes them, rather than how they operate and why they were made. This, at least in some part, underscores the importance of this reissue of the two works before us now. Like most of Lucier's efforts from the 1960s, there is a purity to discover them in recorded form that draws the ear toward the remarkable territories of conceptualism and ideology that lay at their core. Not only are they a crucial window into Lucier's early years and less acknowledged efforts, but they activate a more dynamic awareness, philosophically, of the broad creative paradigm and context in which he has continuously worked. These are works which belong to a movement which sought to rejoin the avant-garde with the society it was conceived to serve. A human music of expanded consciousness, to be occupied, tapping the fundamental need to communicate and understand through sound.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eartist : Alvin Lucier\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003elabel : \u003c\/span\u003e\u003c\/div\u003e"}