No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 29 April 2025
This article considers Éliane Radigue and her use of the modular synthesiser, the ARP 2500, as a conduit for musical expression. It examines her seminal work Trilogie de la Mort (1988–93) and considers current reconnections to her work, including tribute concerts at the Electronic Music Education and Preservation Project, Philadelphia; Kali Malone’s 2022 album, Living Touch, which uses Radigue’s ARP 2500; and the author’s own experience of recording on the machine. As the article points out, these reconnections complement both electronic music compositional methodologies and their future direction. Radigue’s tactile and collaborative approach with the ARP 2500 is an interaction that embodies both the past and future.
1 John Tresch and Emily Dolan, ‘Toward a New Organology: Instruments of Music and Science’, Osiris 28, no. 1, Music, Sound, and the Laboratory from 1750–1980 (Chicago: Chicago University Press, 2013), pp. 278–98.
2 Matthew Kirschenbaum, Mechanisms: New Media and Forensic Imagination (Cambridge, MA: MIT Press, 2008), pp. 122–23.
3 Martin Heidegger, The Question Concerning Technology (New York: Garland Press, 1954), p. 289.
4 Curtis Roads, Microsound (Cambridge, MA: MIT Press, 2001), p. 40.
5 David Keane, ‘At the Threshold of an Aesthetic’, in Simon Emmerson (ed.), The Language of Electroacoustic Music (London: Palgrave Macmillan, 1986), p. 99.
6 Herbert Eimert, ‘What Is Electronic Music’, Die Reihe 1 – Electronic Music (1955), p. 60.
7 Lukas Foss, ‘The Changing Composer-Performer Relationship: A Monologue and a Dialogue’, Perspectives of New Music 1, no. 2 (1963), p. 45.
8 Radigue in Julia Eckhardt, Éliane Radigue: Intermediary Spaces (Brussels: Les presses du réel, 2024), pp. 111–12.
9 Radigue in Eckhardt, Éliane Radigue, p. 136.
10 Attributed to the fourteenth-century friar William of Ockham.
11 Radigue in Eckhardt, Eliane Radigue, p. 111.
12 Radigue in Eckhardt, Eliane Radigue, p. 143.
13 Radigue in Eckhardt, Eliane Radigue, p. 143.
14 Radigue in Eckhardt, Eliane Radigue, p. 143.
15 Kyle Gann, ‘Trilogie de la Mort (Review)’, Village Voice Magazine, 1 September 1998: https://www.kylegann.com/VV-ConsumerGuide-9-98.pdf (accessed 2 July 2024).
16 Herbert Marcuse, One-Dimensional Man (Boston: Beacon Press, 1964), p. 111.
17 Marcuse quoted in T. K Luke, ‘One-Dimensional Man: A Systematic Critique of Human Domination and Nature-Society Relations’, Organization & Environment 13 (2000), 95–101.
18 Allen Dafoe, ‘On Technological Determinism: A Typology, Scope Conditions, and a Mechanism’, Science, Technology, & Human Values 40, no. 6 (2015), p. 1048.
19 Erasmus Mayr, Understanding Human Agency (Oxford: Oxford University Press, 2007), p. 153.
20 Norbert Wiener, Cybernetics: Or Control and Communication in the Animal and the Machine (Boston: Da Capo Press, 1954), pp. 46–7.
21 Stafford Beer, The Brain of the Firm (London: Allen Lane, 1972), p. 69.
22 Brian Eno, A Year with Swollen Appendices (London: Faber & Faber, 1996), p. 394.
23 Radigue in Julia Eckhardt, Eliane Radigue, p. 111.
24 Martin Heidegger, The Question Concerning Technology, and Other Essays, 1st ed., trans. William Lovitt, (New York: Harper & Row, 1977), p. 331.
25 Paul Virilio, Art and Fear, trans. Julie Rose (London and New York: Continuum, 2003), p. 222.