John Driscoll: We’ve got plastic planters here, wagon wheel rims, a copper still.
We’ve got an old oil barrel.
So you’re literally in a different world.
Ana Janevski: Hi everyone!
John and children: Hi Ana.
Ana: Hi, so, my name is Ana, and this is my friend and colleague Martha
Martha Joseph: Hi everyone!
Ana: And this is John, and this is Phil.
And before we start playing, I think it would be nice if you all tell us your name, so we
know, we can meet each other better.
Want to start, Maya?
Maya: My name is Maya.
Child: I have a friend named Maya!
Ana: Good.
Maya: And I’m nine years old.
Ana: You’re nine years old.
Nina: My name is Nina and I’m six years old.
Child: Me too!
Child: My name is Liv and I'm six.
Child: Me too.
Ana: Clementine, hi.
Hi, this is Clementine.
Ana: You can move all around, and listen to all the objects you want.
Child: Can we pretend we’re pirates?
Ana: You can pretend you’re pirates, yeah.
Pirates who are listening to the objects.
John: The idea is that you drive sound into the middle of this object up here, and that
radiates through all of these rods, out to the floats.
Each of the floats, because of the length of the rod, and the type of the material,
will have a different sonic property, even though the signal that comes into it is completely the same.
Phil Edelstein: We come in to an empty room and essentially start figuring out the placement
of the larger of the objects.
We then start filling in and creating these paths and listening positions, and then start figuring
out how to get the objects to frame each other in the most inviting way.
Phil: If that comes this way, I’m much better with this here than there.
John: Yeah.
Phil: And I’m okay taking this-
John: Taking this out.
Yeah.
Phil: Hey, do we have someone in the grid?
Um, I’m going to want some slack pulled in on this.
Let’s see how that looks, because that solves another problem.
John: Well, but they’re related.
Voice of David Tudor: I guess it’s my regard for, for materials and how they each have their own sound.
Here, you put sound through it, you observe how it works, and then you find out, oh, it likes this.
John: This actually is a very historic, you know, video, in the sense that David never really
spoke much in public about his work.
Voice of David Tudor: People come in and they, they see it only as sculpture.
Other people come in and they want to experience every little bit of it.
You find people are, for instance...
if there’s a ring like this, they’ll be all over it.
John: He was a very quiet man.
Phil: Except for when it came to making sound.
John: Right.