around the sounds
Transcription
around the sounds
around the sounds Sound and visual Exhibition A4 CONTEMPORARY ARTS CENTER Chengdu – 14 JUNE / 14 SEPTEMBER 2014 Curator / commissaire: James Giroudon Art Director: Sunny Sun Ingenierie : Christophe Lebreton Production: Grame, Centre National de Création Musicale Organizer: A4 Contemporary Arts Center Co- organizers: « Around the Sounds » is an “Event organized as part of France-China 50— www.france-chine50.com”, with the support of French Institute and Festival Croisements Modular path with sound and visual installations Thierry de Mey Top Shot TRAFIK & YANN ORLAREY Sonik Cube iuan hau chiang & chRistian rizzo fom 1 Pierre-Alain Jaffrennou Musica mobile ZOE BENOIT Archisony Thomas Leon Glass House (location scouting) PIERRE SCHAEFFER Documents WILLIAM ANASTASI Coleslaw Denys Vinzant D’Ore et d’Espace Vincent Carinola / Random (lab)–ESADSE Monolith Opening Party: 15:00 p.m.(Sat.)14th June, 2014 Time: From 14th June, 2014 to 14th September, 2014 Venue: Luxetown, 18# Section 2 LuxehillBoulevard, Shuangliu, Chengdu, China grame cncm 11 cours verdun gensoul 69002 lyon www.grame.fr T. +33 (0)4 72 07 37 00 F. +33 (0)4 72 07 37 01 DOC .MARCH, 20 14 around the sounds Musical works are more and more multidimensional. The sounds are spread from several sources and create new vibratory forces. The concept of space «was imposed during the twentieth century as an essential parameter of musical thought. It is a system of traditional references, and often isolated, which has evolved and mutated. The visual arts have included the sound dimension as a composition element; the production of moving images increases this incursion of duration in the visual arts ; so, they form a part of a spatio-temporal dimension. In “Les Fleurs du Mal” (1861), Charles Baudelaire wrote that « perfumes, colors and sounds answer each other ». A century later, in times of intermediality and digital technologies, if creation can simultaneously unite various sensorial states, it can reveal their tension as well : visual, sonic or literal forms of expression can strengthen, enhance or cancel each other. Mobility, which meddles in between various artistic expressions, and the shift from a perception to another, both create a multitude of in-between states, just like an architecture made out of invisible threads : from confrontation to synesthesia, from head-to-head to immersion… Nowadays, within digital territories, the sonic and the visual gained this closeness that “total art” protagonists were dreaming of, “living right into the unconscious aesthetics of modernity”(2). They became indivisible and constitute a same art project: new technologies have speeded up this process, first of rapprochement, and self-generation in a dynamic continuity and switching between several means of expression. The artistic work, as an installation, has became polymorphic, and can be both tactile, immersive, interactive, mobile... Music was the first art that started using computers, so the sound can be fully or partly the spine of this interdisciplinarity Space, sound in motion The created sound architectures are sustained by forms and images as determined paths, play with these circular lines, cubic or various convolutions. Some installations invite the public to come close to them, reacting to the visitor’s contact or voice, other installations explore the principles of rotation: they make the idea of mobility and listening the point of interest of the exhibition. Movements are created and amplified by multiple sound trajectories, depending on their speed and location. Visual material, constant change, comes under various states of transparency, luminescence, sometimes until erasing. Listening, “the sound object” «Around the Sounds» is focused on the audible and his materiality, although invisible, as by sound projections surrounding the public or through the object itself in a state of vibrations. So, the exhibition induces a reference to the concept of «sound object» concept born with the «musique concrète» in 1948 in French studios Maison de la Radio et Television Française (RTF). This «musical revolution» is characterized by the first « Etudes de bruits » produced by Pierre Schaeffer and his team. What is a «sound object»? The basic experience of the «closed slot», ie the looping and repetition of a same segment from a event or from a musical phrase, reveals an infinite wealth of qualities, dynamics and textures of the material thus collected ... the sound fixed on tape becomes «sound object». This recording as the the microphone is the magnifying glass that reveals the sound in countless ways: so, the musician or sound engineer turns around it, and auscultates it. Sound, intangible and abstract substance becomes apprehensible, formable, transformable material. The important work under the direction of Pierre Schaeffer, in the 60s, under the name of the«Traité des objets musicaux » (3) compiled a sound morphotypology and highlighted, in addition to its intrinsic qualities, its «relative» and multidimensional dimension. Considered as a micro-structure, the sound can be entered in its various configurations, listened and seen through different intentions: rather than its acoustic principles, his reality is deeply linked to the visitor’s perception. In the same way, the Cubist painting had also decomposed and questioned figurative elements, to rebuild new realities, the intensive use of collage methods in arts in the early 20th century has also open the way for creation of more diverse sound assemblages (4). Around, shapes and sounds «Top Shot,» writes in white sand the path of dance, filmed diving: his contour, made visible, is emerging as a mandalashaped rosette. «Fom» de Iuan Hau Chiang et Christian Rizzo explores the qualities of absorption, with an environment made of steam, smoke, material and immaterial : the dancing characters become evanescent, as a last traces of the bodies. With «Sonic Cube», these are the sounds produced by visitors, by their gestures or by their voices, causing a continuous variation of light elements. The documents of the INA on the birth of “musique concrete” invite us to consider only the sound, but throughout its extent : a kind of “lecture” about the sonic phenomenon. The notion of “écoute réduite” (literally “restrained listening”) was a dear one to Pierre Schaeffer, philosopher, researcher, experimentalist and musician, used to say: his “Etudes de bruit” and “Etudes d’objets sonores” (1948/1960), upsetting codes and musical uses, position «sound object» through its syntax and poetic. around the sounds “Gaze the sound”, it is also the proposal of «Archisony» by Zoe Benoit: she presents two recordings of places built by the architect Le Corbusier, through some of its uses and speech of its inhabitants. William Anastasi’s “Coleslaw” video is based on a sonic object/a fragment of Cole Porter’s music, self-reflecting infinitely. As some kind of echo to this fluidity, and prelude to transparencies from « D’Ore et d’espace,», «Glass House» by Thomas Léon, stands a powerful glass building, kind of hybrid architectural monster with countless reflections and halos, surrounded by organ tones of Crystal. As day dreaming, golden leafs sound writings runoff of Denys Vinzant on glass plates create a space of lines, light and sound intersections, while mixing with visitors silhouettes and halos. It is invited to hold an attitude of listening, being attentive to the sound of glass vibrations, and, indeed, to be part of the visual device. On beginning and end of exhibition, the principle of interaction is at the heart of two installations, «Sonik Cube» and «Monolith». «Sonik Cube» creates an intangible space that surrounds a luminous cube with which the audience can interact through sensors such as microphones. The work represents the vibratory space where infinite combinatorial light square resonate from the sounds produced by visitors through a process of capturing and «feedback». The relation of cause and effect gets complex and fades in an accumulation of interactions; but the «live» spectator sensation remains clear in its active ingredient and acquires a playful aspect. «Monolith» invites the visitor to another approach: in a relation with interactivity as well, the «obscure» object vibrates within, emanating an internal force, mysterious, reflected by a matrix of 3D LEDs which is into a vertical structure shaped like a triangular prism and covered by Drak Grey glass plates. It seems to breathe then reacts to touch: a singular dialogue can then start. As «Sonik Cube», «Monolith» is a work that suggests wait and becomes, thanks to the action of the public, a meta-instrument: gestures caressing its surface make it just like a harp. «Around the sounds» offers a staged itinerary as a form of poetic fluidity, a meeting of visual and audio forms, which, most often, are intertwined. Immersion, face to face or in interaction, to the ear and the eye, into one sonic plastic, «Around the sounds» is an appeal to the senses ... and to concept, certainly. James Giroudon Grame , national center for musical creation Several pieces of the exhibition were produced by Grame, national center for musical creation and multimedia of Lyon. Fully involved in the development of computer tools, Grame, for years, has been producing pieces of work, concerts, performances, installations within the field of digital creation, exploring the relationships between music and visual arts, interactive and immersive processes, the creation of distance... The hybridization that characterizes the field of contemporary creation is a complex landscape that associates artistic contents, languages and technologies, where the digital is now ubiquitous. The Grame research department contributes to the advancement of these digital technologies. The department is particularly interested in tools and languages supporting the emergence of new forms of writing, ranging from computer-assisted musical composition for interactive works in real-time, to the writing of timbre and space. (1) Comme de longs échos qui de loin se confondent Dans une ténébreuse et profonde unité, Vaste comme la nuit et comme la clarté, Les parfums, les couleurs et les sons se répondent » Charles Baudelaire, Les Fleurs du Mal - Spleen et Idéal - IV. Correspondances 1861, GF Flammarion, 1991-2006, pages 63 (2) Les apories de l’art total : artiste, société, temporalités - Université Paris I-HiCSA et INHA - Janvier 2012 (Sous la direction de Julie Ramos et de Maria Stavrinaki) The combination of the arts is far beyond modernity and goes through every period of History and probably through every geographical area too. However, the wording of the draft of its «restoration» indeed coincides with the birth of total art and occurs as such in the modern era : design and build an art that can meet the arts, an art that knows how to unite men. The project of a “total art” would be originally based on a lack , a defect, an aporia. Following the ideals of the Enlightenment , forged in the crucible of German romanticism , the idea of total art is claimed, denied, hidden or repressed. If Wagner gave it its name in 1849 ( Gesamtkunstwerk ), the idea appeared around 1800 and survived the creation of Bayreuth. The union of the arts and artistic cooperation are not sufficient to qualify the total art . The ideology that underlies it , this ideology of the aesthetic unity of art , of an ontological and political unity of man and the community , of story full of meaning, deserves to be questioned in their tensions and paradoxes . (3) Traité des objets musicaux – Pierre Schaeffer Editions du Seuil 1966 (4) During the twentieth century, particularly in the 50s, a number of composers have given up the instruments to explore the world of sound in all its configurations. If the United States, John Cage and La Monte Young helped shift the scope of intervention of the composer and broke agreements between music, dance and visual arts, Pierre Schaeffer, in France in 1948, raised the founding act of the « concret » approach: it is the extension of the music to all the world of sound. A few years later, the studio WDR Radio Cologne with Karlheinz Stockhausen, electroacoustic music stood for mixing acoustic sound sources to those from electronic sound generators. However this experimental dimension and the idea of the establishment of a «material» are present throughout the twentieth century, especially in the first half of the century, at a time when the technology was still in its infancy. The historical reference is obvious on the side of «futuristic» movement, but it is equally relevant on the the side of the optical image, in the Soviet experimental cinema for instance... and many other artistic movements. The imagination of artists, the search for new language, the impregnation of machines, industrial society, the birth of telecommunications ... gave birth to highly inventive forms, premises of contemporary digital practices. around the sounds Les oeuvres musicales sont devenues multidimensionnelles, les sons se projettent en plusieurs points et créent des univers vibratoires inédits. La notion d’ « espace » s’est imposée au cours du XXème siècle comme un paramètre incontournable de la pensée musicale. C’est tout un système de références traditionnelles, et souvent cloisonnées, qui a évolué et muté. Les arts visuels ont intégré le matériau sonore comme un élément d’écriture ; la création d’images en mouvement renforce cette incursion de la durée dans les arts plastiques qui s’inscrivent ainsi dans une dimension spatio-temporelle. « Les parfums, les couleurs et les sons se répondent » écrivait Charles Baudelaire en 1861 dans « Les Fleurs du mal » (1). Si un siècle plus tard, la création, à l’heure de l’intermédialité et des technologies numériques, réunit en simultanéité différents états sensoriels, elle peut en révéler autant leurs tensions que leurs unicités : les expressions, visuel, sonore, textuel… peuvent tout à la fois se renforcer, « s’augmenter » ou s’effacer l’une par l’autre. La mobilité qui s’immisce entre plusieurs expressions artistiques, le glissement d’une perception à l’autre, créent une multitudes d’états intermédiaires, à l’image d’une architecture de fils invisibles : de la confrontation à la synesthésie, du face à face à l’immersion … Aujourd’hui, au sein des territoires numériques, le sonore et le visuel ont acquis cette grande proximité dont rêvaient les protagonistes de l’« art total », une idée qui n’a cessé de vibrer au cœur de l’inconscient esthétique de la modernité(2). Sonore et visuel sont devenus inséparables et constitutifs d’un même projet artistique : les nouvelles technologies ont accéléré ces processus, d’abord de rapprochement, puis d’autogénération dans une dynamique de continuité et de permutation entre plusieurs moyens d’expression. L’oeuvre, sous forme d’installation, est devenue polymorphe, pouvant être à la fois tactile, immersive, interactive, mobile... le « musical » qui a été le premier art utilisant l’ordinateur, peut en être, en tout ou partie, la colonne vertébrale. L’espace, le son en mouvement Les architectures sonores créées pour ce parcours prennent appui sur des formes, des objets et des images aux tracés déterminés, elles jouent avec ces lignes circulaires, cubiques ou de circonvolutions variées. Certaines installations incitent à l’approche, réagissant au toucher, au bruit ou à la voix du visiteur, d’autres recourent à l’exploration de principes de rotation : elles font de l’idée de mobilité et de l’écoute les points de convergence de l’exposition. Ces mouvements sont induits et amplifiés par les multiples trajectoires sonores, leurs vitesses et leurs configurations spatiales. Le matériau visuel, en constante variation, se décline selon divers états de transparence, de luminescence, parfois jusqu’à l’effacement. L’écoute, l’objet sonore « Autour des sons » est focalisée sur l’audible et sa matérialité, même peu visible, tant par les projections sonores environnementales que par l’objet, lui-même, en état de vibrations. L’exposition induit ainsi une référence à la notion d’ « objet sonore », concept né avec la « musique concrète » en 1948, dans les studios de la Maison de la Radio et Télévision Française (RTF). Cette « révolution musicale » se caractérise par les premières « Etudes de bruits » réalisées par Pierre Schaeffer et son équipe. Qu’est ce que l’« objet sonore » ? L’expérience fondatrice du « sillon fermé », c’est à dire la mise en boucle et répétition d’un même segment provenant d’un événement ou d’une phrase musicale, révèle l’insondable richesse en qualités, dynamiques et textures du matériau ainsi prélevé. Le son fixé sur bande magnétique devient « objet sonore ». Cet enregistrement, tout comme le microphone, est cette loupe qui dévoile le son sous d’innombrables aspects. Le musicien ou l’ingénieur du son « tourne autour du son », l’ausculte. Le son, substance immatérielle et abstraite, devient matériau appréhendable, façonnable, transformable... Les importants travaux menés sous la direction de Pierre Schaeffer, dans les années 60, sous le nom du Traité des objets musicaux (TOM) (3) ont dressé une morpho-typologie du son et ont fait ressortir, outre ses qualités intrinsèques, sa dimension « relative » et pluridimensionnelle. Considéré comme une micro-structure, le son peut être saisi à travers différentes configurations, être perçu selon diverses intentions : le son ne peut se réduire à des principes d’acoustique, sa réalité est au contraire profondément liée à la perception de l’auditeur. La peinture cubiste avait, à sa manière, décomposé et « relativisé » l’élément figuratif pour reconstruire de nouvelles réalités, le recours intensif aux procédés du collage dans les arts, au début du XXème, ont également ouvert la voie à la constitution d’assemblages de sons les plus variés (4). Autour, de formes et de sons « Top Shot » inscrit dans du sable blanc le trajet de la danse, filmé en plongée : son déroulé, rendu visible, se dessine comme un mandala en forme de rosace . «Fom» de Iuau Hau Chiang et Christian Rizzo explore les qualités d’absorption, d’impression à l’environnement fait de vapeurs, fumée, de matières insondables et immatérielles : les personnages dansants deviennent évanescents, comme d’ultimes traces visibles des corps. Avec « Sonik Cube », ce sont les sons produits par les visiteurs, par leurs gestes ou par leurs voix, qui provoquent une variation ininterrompue d’éléments lumineux. Les documents de l’INA sur la naissance de la musique concrète nous invitent à ne considérer que le son, mais à travers toute son étendue : une sorte de « leçon de choses » à propos du phénomène sonore. La notion d’« écoute réduite » est un terme cher à Pierre Schaeffer, philosophe, chercheur, expérimentateur et musicien : les « Etudes de bruits» et «Etudes d’objets sonores» (1948/1960), en rupture avec les codes et les usages musicaux, positionnent l’ « objet sonore » dans sa syntaxe et sa poétique. « Guetter le son », c’est aussi ce que propose, « Archisony » de Zoé Benoit qui présente deux captations de lieux d’architecture conçus par l’architecte Le Corbusier, à travers certains de ses usages et la parole de ses habitants. La vidéo « Coleslaw » de William Anastasi joue d’un objet sonore/fragment d’une musique de Cole Porter, se reflétant sans cesse sur lui même. around the sounds En une sorte d’écho à cette fluidité et en prélude aux transparences de « D’Ore et d’espace », « Glass House » de Thomas Léon dresse, de manière puissante, un bâtiment de verre, sorte de monstre architectural hybride aux innombrables réflections et halos, environné de sonorités d’orgue de cristal. Comme un rêve éveillé, les ruissellements sonores des écritures à la feuille d’or de Denys Vinzant sur des plaques de verre créent un espace d’entrecroisements de lignes, de sons et de lumières, tout en se mêlant aux silhouettes et halos du visiteur. Celui-ci est invité à se mettre à l’écoute, à capter le son du verre en vibrations, à tendre l’oreille et, de fait, à s’insérer dans le dispositif visuel. En début et fin de parcours, le principe d’interaction est au cœur de deux installations, « Sonik Cube » et « Monolithe ». « Sonik Cube » crée un espace immatériel qui entoure un cube lumineux et avec lequel le public peut interagir par le biais de capteurs et microphones. L’oeuvre incarne cet espace vibratoire où les combinatoires infinies des carrés de lumières résonnent des bruits produits par les visiteurs selon un processus de captation et de « feedback ». La relation de cause à effet se complexifie et s’efface dans une accumulation d’interactions ; mais la sensation « live » du spectateur demeure lisible dans son principe actif et acquiert un aspect ludique. «Monolithe» invite le visiteur à une autre approche : l’objet «obscur» vibre de l’intérieur, il en émane une force interne, mystérieuse, que nous renvoie une matrice de leds tridimensionnelle à l’intérieur d’une structure verticale en forme de prisme triangulaire recouverte de plaques de verre de type Drak Grey. Il semble respirer, puis réagit en fonction du toucher : un dialogue singulier peut alors s’installer. Comme « Sonik Cube », « Monolith » est une oeuvre qui suggère l’attente et qui devient, par l’action du public, un méta-instrument : les gestes caressant sa surface le font réagir à la manière d’une harpe. « Around the Sounds » propose un itinéraire scénographié qui se décline en une poétique de la fluidité, en un parcours de formes visuelles et sonores, le plus souvent entrelacées. En immersion, en face à face ou en interaction, pour l’œil et l’écoute, en une plastique sonore, « Around the Sounds » est un appel aux sens... autant qu’au concept, assurément James Giroudon Grame, centre national de création musicale à Lyon (France) Plusieurs des installations réunies pour l’exposition ont été produites au Grame, centre national de création musicale et multimedia à Lyon. Impliqué à part entière dans le développement des outils informatiques, Grame produit depuis plusieurs années des œuvres de concerts, des spectacles, des installations qui s’inscrivent dans le champ de la création numérique, en explorant notamment les relations musiques et arts plastiques, les processus interactifs et immersifs, la création à distance... L’hybridation qui caractérise le champ de la création contemporaine est un paysage complexe qui recouvre, à la fois, des contenus artistiques, des langages et des technologies, et où le numérique est désormais omniprésent. Le département recherche de Grame contribue à l’avancée de ces technologies numériques. Il s’intéresse tout particulièrement aux outils et langages favorisant l’émergence de nouvelles formes d’écritures allant de la composition musicale assistée par ordinateur aux œuvres interactives en temps-réel, en passant par l’écriture du timbre ou de l’espace. (1) ) Comme de longs échos qui de loin se confondent Dans une ténébreuse et profonde unité, Vaste comme la nuit et comme la clarté, Les parfums, les couleurs et les sons se répondent » Charles Baudelaire, Les Fleurs du Mal - Spleen et Idéal - IV. Correspondances 1861, GF Flammarion, 1991-2006, pages 63 (2) Les apories de l’art total : artiste, société, temporalités - Université Paris I-HiCSA et INHA - Janvier 2012 (Sous la direction de Julie Ramos et de Maria Stavrinaki) La conjonction des arts est loin de se limiter à la modernité et traverse toutes les époques historiques et, probablement, les aires géographiques. Pour autant, la formulation du projet de sa « restauration » coïncide bel et bien avec l’acte de naissance de l’art total et survient, en tant que tel, à l’ère moderne : concevoir et réaliser un Art qui puisse réunir les arts ; un Art qui sache réunir les hommes. Le projet d’un art total serait donc, dès l’origine, fondé sur un manque, un défaut, une aporie. Issue des idéaux des Lumières, forgée dans le creuset du romantisme allemand, l’idée d’art total, revendiquée, refusée, occultée, voire refoulée, Si Wagner lui donne son nom en 1849 (Gesamtkunstwerk), l’idée apparaît autour de 1800 et survit à la création de Bayreuth. L’union des arts et les collaboration artistiques ne suffisent toutefois pas à qualifier l’art total. L’idéologie qui le sous-tend, celle d’une unité esthétique de l’art, d’une unité ontologique et politique de l’homme et de la communauté, celle, enfin, d’une histoire dotée de sens, méritent d’être interrogées dans leurs tensions et leurs apories. (3) Traité des objets musicaux – Pierre Schaeffer Editions du Seuil 1966 (4) Au cours du XXème siècle, et particulièrement dans les années 50, un certain nombre de compositeurs ont délaissé les instruments pour explorer le monde sonore dans toutes ses configurations. Si aux Etats-Unis, John Cage ou La Monte Young ont contribué à déplacer le champ d’intervention du compositeur et brisé les conventions entre la musique, la danse et les arts visuels, Pierre Schaeffer, en France à partir de 1948, pose l’acte fondateur de la démarche concrète : c’est l’extension du musical à l’ensemble du “donné à entendre”. Quelques années plus tard, au studio WDR de Radio-Cologne avec Karlheinz Stockhausen, la musique électroacoustique prône le mélange des sources sonores acoustiques à celles provenant des générateurs de sons électroniques. Cependant cette dimension expérimentale et l’idée de la constitution d’un « matériau » sont présentes tout au long du XXème siècle, et notamment dans la première moitié du siècle, où les technologies étaient balbutiantes, artisanales. La référence historique est évidente, du côté du mouvement « futuriste », mais elle est tout aussi pertinente du côté de l’image optique, du cinéma expérimental soviétique… et bien d’autres mouvements artistiques. L’imaginaire des artistes, la recherche de nouveaux langages, l’imprégnation de la machine, de la société industrielle, la naissance des moyens de télécommunications … ont donné lieu à une grande inventivité de formes, prémisses des pratiques numériques contemporaines. A4 CONTEMPORARY ARTS CENTER / AROUND THE SOUNDS HALL N° 1 Top Shot Video, music and installation Thierry De Mey Sonik Cube Video, sound and interactive installation Trafik et Yann Orlarey fom 1 video Iuan Hau Chiang & Christian Rizzo music,video & Installation, top shot thierry de mey Top Shot on Violin Phase (2002) concept / film : Thierry De Mey choreography / dance : Anna Teresa De Keersmaeker music : Steve Reich / violon : George Alexander van Dam production : Rosas 2001 Anne Teresa De Keersmaeker’s solo to music by Steve Reich (Violin Phase) was one of her first pieces as a choreographer. This wild dance matches the music’s twists and turns and its sequence of infinitesimal shifts. The trajectory of the dance, filmed from a high angle, can be seen in white sand on a black floor: its course is made visible, drawn like a mandala in the form of a rosace. For the Top Shot installation, this footage is projected onto the floor, covered with white sand, of the exhibition room. Shown as part of the XX jaar Rosas exhibition at the Brussels Centre for Fine Arts, 20 October 2002–05 January 2003. Le solo d’Anne Teresa De Keersmaeker sur la musique de Steve Reich (Violin Phase) est l’une des premières pièces de la chorégraphe. Cette danse hallucinée épouse les volutes et les processus de décalages infinitésimaux de la musique. Le trajet de la danse, filmé en plongée, s’inscrit dans du sable blanc sur sol noir : son trajet rendu visible, dessine comme un mandala en forme de rosace. Production: Rosas music, video & Installation : TOP SHOT thierry de mey composer, Filmmaker Born in 1956, composer and filmmaker. An instinctive feel for movement guides his entire work, allowing him to tackle and integrate a variety of disciplines. The premise behind his musical and filmic writing is the desire for rhythm to be experienced in the body or bodies, revealing the musical meaning for the author, performer and audience. He has developed a system of musical writing for movement used in pieces where the visual and choreographic aspects are just as important as the gesture producing the sound, such as in Musique de tables (1987), Silence must be! (2002) and Light Music, which premiered at Lyon’s Musiques en Scène biennial festival in 2004. A large part of his music production is intended for dance and cinema. He has often been more than a composer for the choreographers Anne Teresa De Keersmaeker, Wim Vandekeybus and his sister Michèle Anne De Mey, offering his precious collaboration in the invention of «formal strategies» – to use a favourite expression of his. He participated in the foundation of Maximalist! and the Ictus ensemble which created several of his pieces (dir. G E Octors). His music has been performed by major ensembles such as the Arditti Quartet, the Hilliard Ensemble, London Sinfonietta, Ensemble Modern, Muzikfabrik and the Orchestre Symphonique de Lille. Thierry De Mey’s installations, in which music, dance, video and interactive processes work together, have been presented in events such as the Venice and Lyon biennials as well as in many museums. His work has received national and international awards (Bessie Awards, Eve du Spectacle, Forum des compositeurs de l’Unesco, FIPA, etc). The film/installation Deep in the wood (2002-2004) involved more than 70 dancers/ choreographers. For the film Counter Phrases(2003-2004), nine composers answered his dance/film invitation: S. Reich, F. Romitelli, M. Lindberg, T. Hosokawa, G. Aperghis, J. Harvey, L. Francesconi, R. De Raaf and S. Van Eycken. In 2003, the working process with ATDK for April mewas the subject of a documentary entitled Corps accord, produced by ARTE which has also broadcast and co-produced most of his films. In 2006, he realised an installation adapted from Perrault’s tale, Barbe Bleue(Bluebeard), plus a film, One Flat Thing, reproduced based on the choreography by William Forsythe and broadcast by Arte in October. In 2007 he made From Inside for the Charleroi/ Danses Biennale, an interactive installation in the form of a triptych. For the 2009 Charleroi Danses Biennale, he created Equi Voci, a polyptych of dance films accompanied by orchestral music and which includesPrélude à la mer, a film based on one of Anne Teresa De Keersmaeker’s most beautiful choreographies which he shot by the Aral Sea in October 2009. His latest film – La Valse, choreographed by Thomas Hauert and the ZOO dance company – completes and closes this project. Finally, his latest installation, Rémanences, is being made with a thermal camera in Belgium and France in March 2010 as part of the VIA and EXIT festivals. Thierry De Mey is now associate artist at Charleroi Danses, the Choreographic Centre of the Wallonia-Brussels Federation. video, sound and interactive Installation sonik cube trafik & yann orlarey Sonik Cube, Video, Sound and Interactive Installation Trafik & Yann Orlarey © C. Ganet © M. Grefferat © DR Sonik Cube, Video, Sound and Interactive Installation Trafik, design and visual installation Yann Orlarey, Sound design Realization: Trafik and Grame World premiere: 25th February 2006/Parc d’aventures scientifiques (PASS), Frameries/Belgium . Co-production: Trafik, Le CAC-La Ferme du Buisson, Grame, national center of contemporary music-Lyon, National School of Fine Arts-Lyon, Scène Nationale- Marne-La-Vallée, asbl Gang des Lunettes and le Pass (Belgium). Sonik Cube L’installation Sonik Cube crée un espace visuel et sonore basé sur la résonance et le recyclage des sons produits par les spectateurs. Parfaitement noire et silencieuse en l’absence de spectateurs, l’installation s’anime avec les sons produits par les visiteurs. © C. Ganet © M. Grefferat © DR Performance L’espace sonore et visuel de Sonik Cube est aussi un lieu de performances, avec l’invitation de musiciens/improvisateurs. Le dispositif, dans une nouvelle configuration de captation du son de l’instrument, permet à un musicien de jouer dans et avec cet espace. Les phénomènes de résonance, de boucles et de spatialisations sonores créés par le jeux du musicien dans le dispositif font émerger des structures musicales et graphiques envoutantes qui suscitent chez les spectateurs une intense sensation d’immersion hypnotique à l’intérieur même de l’œuvre. It is a logical space, immaterial includes on an illuminated cube on which it is possible to interact by the means of captors like microphones. On the cube’s facets the sound spatialization can be visualized thanks to the production of sound actions which can bent,marked, dent or distort the surface. The prints of the interactions made in real time shade off in the duration but can also resurface in order to state their history. trafik www.lavitrinedetrafik.com Trafik, est un bureau de développement graphique et multimédia. Du papier au pixel, nos réalisations s’inscrivent dans les champs culturels, institutionnels et industriels ; — à grande comme à petite échelle — sous la forme de documents imprimés, d’écrans, projections, d’installations… Le croisement d’expérimentations visuelles, plastiques et graphiques ou les expériences artistiques interactives nous fascine. Cette démarche intégrant certains codes de la culture numérique comme la convivialité, la collectivité, l’échange et la participation nous entraîne vers des projets singuliers, joyeux et décomplexés. Trafik is a French creative studio based in Lyon. Our team specializes in punchy graphic and multimedia development, making our mark with our signature interactive work. From paper to pixels, we have successfully worked for cultural, institutional, and industrial clients, both big and small, creating printed documents, screens, projections and installations… Our singularity comes from our unique series of visual and graphic art creations and interactive artistic experiences which are, for the most part, designed in a participatory way. This initiative, integrating certain codes of numeric culture such as userfriendliness, community, exchange and transmission, enables us to create uninhibited, fun, and unique projects.and transmission, enables us to create uninhibited, fun, and unique projects. yann orlarey Pierre Rodière (Trafik) Graphic designer and artist. He graduated from the École nationale supérieure des Arts Décoratifs of Strasbourg (France). Pierre is co-founder of the Trafik studio, alongside with his brother Joel (developer). They still work together to imagine projects. Trafik is specialized in visual and graphic experimentation alongside with making interactive art experiences. Joël Rodière (Trafik) Multimedia developer. Co-founder of the Trafik studio. Self-educated. Fascinated by computers and the images they produce, Joel Rodière started learning programming languages early on . First with the Basic programing language on a ZX81 and assembler on an Amiga and Commodore 64 in the 80s. He acquired his first Windows computer in mid 90s to learn more advanced languages such as Java, C and C++. In 1997 when his brother Pierre suggests to start the graphic and digital design studio Trafik, he ceases the opportunity to continue learning languages and multimedia technologies, through unique and exciting projects. Programming related graphic design becomes for him a true means of expression. Parallèlement à des études universitaires en sciences économiques et en informatique, Yann Orlarey a suivi la classe de musique électroacoustique du Conservatoire de Saint-Étienne. Membre du Grame depuis 1983, il est actuellement responsable du département recherche de cet organisme. Ses travaux portent principalement sur les langages formels pour la composition musicale et les systèmes d’exploitation musicaux temps-réel. Il est auteur et coauteur de différents systèmes et logiciels musicaux. Son répertoire musical comporte des pièces sur bande, des pièces interactives et des pièces instrumentales pour solistes, petites formations et orchestres. Pour la plupart, ses oeuvres font appel à des moyens informatiques, soit au niveau des situations de jeu instrumental proposées aux interprètes, soit au niveau de la composition musicale proprement dite. Plusieurs pièces sont le résultat d’un travail de co-écriture réalisé dans le cadre de Grame comme cela a été le cas avec le clarinettiste et compositeur Jérôme Dorival. Nombre de ses œuvres ont été jouées en Europe, mais aussi aux Etats Unis, au Canada, en Chine... Yann Orlarey was born in 1959. While studying economics and computer science at Lyon’s university, he also attended electroacoustic music classes at the conservatory in SaintEtienne. He has been a member of Grame since 1983, and is currently the scientific director of this organization. His own research is concerned mainly with real-time operatig systems and formal languages for musical composition and signal processing. He has created, alone or as part of a team, a number of musical systems and software, in particular the Faust programming language. His repertoire includes music on tape, interactive pieces, instrumental pieces for soloists, small groups and orchestras, and sound installations. Most of his works bring in computing techniques, either for the performers’ instrumental playing situations or in the compositional process as such. Works by him have been played in Europe (both eastern and western), USA, Canada and China. © M. Grefferat Video (projet tourcoing -taipei - tokyo) fom 1 IUAN HAU chiang/Christian Rizzo Fom 1 Video (Project tourcoing - taipei - tokyo) Iuan Hau Chiang/Christian Rizzo Production : l’association fragile Created in Tokyo’s Institut français’ garden on 16 September, 2011 Conception and realization : Christian Rizzo/ Iuan-Hau Chiang Production: l’association fragile Coproduction: French Institutes of Tokyo and Taipei, Fresnoy studio national des arts contemporains of Tourcoing , Digital Education Institute & Institute for Information Industry (Taiwan), French Institute of Paris, Les Subsistances – Lyon. With the support of Ministry of Culture Taiwan and bureau de représentation économique et culturel de Taiwan in Japan. Special thanks to Emmanuelle de Montgazon who impulse the project. l’association fragile is supported by French Ministry of Culture / Drac Nord-Pas de Calais (agreement in the context of dance company), Conseil régional Nord-Pas de Calais, City of Lille and French Institute. From september 2007 to june 2012, l’association fragile / Christian Rizzo was in résidence at Opera of Lille. fom 1 Dans fom1, la silhouette du danseur est par moments reconnaissable dans une volute de fumée mais elle se dissipe lorsque le corps est en mouvement. Choix paradoxal pour un chorégraphe, ce que Christian Rizzo souligne lui -même : « En tant que danseur chorégraphe, j’ai la sensation d’être apparu par le mouvement. [Dans fom1], le mouvement devient l’élément qui me fait disparaître...». Au premier regard, on remarque essentiellement l’instabilité du dessin, le caractère insaisissable de la figure, l’absence de contexte. Mais la précision de la motion capture révèle la densité du corps : même s’il n’est pas tracé, le sol existe par le poids du pied qui s’y pose. On devine aussi la présence de Christian Rizzo dans paysage , une avancée en perspective au milieu d’arbres en 3D qui s’avèrent, à notre approche, n’être que des images. Leur contour, parfois tracé, sert de cadre au dessin. A la fin de la traversée du paysage, il ne reste que des cadres vides, dont l’ensemble forme une architecture abstraite, une sorte de paysage urbain générique. Surgit alors une silhouette qui semble éclore, esquisse quelques pas, puis disparaît. Né d’une réflexion sur la perspective et sur la représentation de l’espace dans les cultures orientale et occidentale, le film nous rappelle qu’il n’y a pas de paysage sans être humain. Pas de paysage non plus sans point de vue. fom 1 In fom1, the outline of the dancer is momentarily recognizable in a plume of smoke, but it dissipates when he begins moving again. A paradoxical choice for a choreographer, which Christian Rizzo himself highlights: “As a choreographer-dancer, I feel like I am being made to appear by the movement. [In fom1], movement becomes the element that causes me to disappear...” At first glance, the instability of the design, the elusive character of the figure, the absence of context are what we immediately notice. But the precision of motion capture reveals the body’s density: even if the ground is not visible, it exists through the weight of the foot pressing down upon it.... Out of this, a silhouette bursts forth and appears to blossom, sketching out a few dance steps, then disappears. Born out of a reflection on perspective and representing a space in Eastern and Western cultures, the film reminds us that there is no landscape without a human being. And, there is no landscape without a point of view. iuan hau chiang After returning to Taiwan, I continued to try new ways of expressions. I exhibited digital art works and at the same time, I hoped to work with those in performing art and to create new form of multimedia performance. In 2006, I met Christian Rizzo at the Taipei Artist Village. In 2008, Christian Rizzo and I worked together (as choreographer and digital artist), with a dance group Dance Forum and presented « How to say here? », a dance performance combined 3D digital animation. After this, my creative work entered a new domain. Currently interested in applying 3D animation into multi-media artwork, Iuan- Hau Chiang has been committed to exploring human issues since his graduation from National Lyon School of Beaux-Arts (France) in 2003. This is the year that Chiang had an opportunity to work in a 3D animation company, and since then, he switched his concentration from creating traditional sculptures to researching virtual 3D animation based artworks. While devoting himself to the work of virtual world, he discovered he could better understand the virtual world and its many relationships with the human world in the reality, which literally leads him to a new path toward his art creation. “ I was born in a diverse artistic family, with artists in the fields of painting, music, and Chinese calligraphy. I have been in touch with art and studied painting as a small child, which influenced my future as a creative artist. During high school, my work focused on I continued to work with Christian Rizzo for several years, in terms of creative works and exhibitions including: the 2009 digital audiovisual work «il», the 2010 Digital Image Joint Exhibition «Here we are now», the 2011 digital audiovisual product «Paysage» and «Fom-1». In 2011, I worked with dancer Shuhan Jan on the dance performance combining interactive images and digital music «Over the Cloud», which was presented at the Taipei Digital Art Center. In 2012, I once again worked with Dance Forum on the technological art dance show «A Beautiful New World - Window». Not being satisfied with performing with single medium, in 2014, with the opportunity of artist residence in France, hosted by Grame centre national de création musicale (Lyon, France) and Digital Art Center (Taipei, Taiwan), I tried to use the ‘automatic control technology’ in my artwork « TIME ∙ PASSING THROUGH ∙ TRAVEL». During the residence, a dancer, Maëliss Bozon, was invited to work me and performed in the opening performance. This artwork broadened my ways of expression and I discovered the unlimited possibilities of multimedia applied in performing art”. CHRISTIAN RIZZO Born in 1965 in Cannes, Christian Rizzo took his first steps as an artist in Toulouse, where he started a rock band and created a line of clothing before studying visual arts at the Villa Arson in Nice. Serendipitous encounters led him to the stage. In the 1990s, he performed with numerous contemporary choreographers, sometimes re s p on sible for the i r soundtracks or costume creation, for instance with Mathilde Monnier, Hervé Robbe, Mark Tompkins, Georges Appaix, and then with Vera Mantero, Catherine Contour, Emmanuelle Huynh, and Rachid Ouramdane. In 1996, he created the “l’association fragile” and presented performances, dance pieces, alternating with other projects or commissions for fashion and visual arts. Since then, over thirty productions have come to fruition. Christian Rizzo regularly teaches in art schools in France and abroad, as well as in institutions dedicated to contemporary dance. From 2007 to 2012, he has been artist in residency at lʼOpéra de Lille. He created there mon amour and comment dire « ici »? in 2008, lʼoubli, toucher du bois in 2010 then le bénéfice du doute in 2012. In 2009, Christian Rizzo directed a play for the Ballet de l’Opéra de Lyon, entitled ni cap, ni grand canyon, and curated with Bernard Blistène the exhibition, Le sort probable de l’homme qui avait avalé le fantôme, in Paris at the Conciergerie as part of the In 2010, he directed three operas: Erwartung and Pierrot lunaire by A. Schoenberg and La Voix humaine by F. Poulenc, a production of the Capitole Theater in Toulouse. In Japan, he was responsible for the exhibition as me as a dog as… a series of photos presented as part of the Yokohama-France Video Collection 2010 (at the Red Brick Warehouse, curated by Stephen Sarrazin). For the 2010–2011 season, he is the associated artist at deSingel - Antwerp - Belgium – and is proposing exhibitions, events, and performances as part of his residency. He is the invited artist/professor at the Fresnoy (National Studio for Contemporary Art, in Tourcoing, France) and also conducts workshops with the company, l’Oiseau Mouche, in Roubaix, France. For the 2011 – 2012 season, he creates the installation / performance Tourcoing - Taipei - Tokyo presented at institut Franco - Japonais de Tokyo, le bénéfice du doute as well as the solo sakınan göze çöp batar and direct the opera Tannhäuser by R. Wagner, a production of Capitole de Toulouse. He created also with Sophie Laly an installation / concert néo-fiction for the festival On the boards at Seattle. In 2013, Christian Rizzo creates de quoi tenir jusqu’à l’ombre a piece of company lʼOiseau Mouche - Roubaix and creates d’après une histoire vraie for Avignon Festival in July. Christian Rizzo is rewarded with the prize of Choreography 2013 by the SACD. A4 CONTEMPORARY ARTS CENTER / AROUND THE SOUNDS HALL N° 2 Musica Mobile Video and sound installation Pierre-Alain Jaffrennou Archisony Baguettes - Paraboles Sound works Zoé Benoit Glass House (location scouting) Video and sound installation Thomas Leon Around Pierre Schaeffer Documents INA Coleslaw Installation William Anastasi video and sound Installation musica mobile p-a- jaffrennou Pierre-Alain Jaffrennou Video and sound Installation Pierre-Alain Jaffrennou Musica Mobile 1: Seventh sky (16’40”) Pierre-Alain Jaffrennou: Concept music and video Support for realization: Christophe Lebreton, Grame Production and musical realization : Grame, national center for contemporary music Musica Mobile is a musical concept implemented from an electroacoustic diffusion set up of eight loudspeakers surrounding the public. It brings into play a space-time vision of the sound events which is expressed at the same time by a dynamic in the space generated by the diffusion set up, extreme swiftness in the trajectories of the sound and by amazing effects of sound transmutations. Musica Mobile is not based on rigid writings, but is calculated in real time starting from algorithms largely calling upon random procedures. Thus, if the musical structure itself is well defined by a program, a great number of musical parameters varies from an execution with another, then leaving an important place given at “random”. In that sense Musica Mobile is presented in the form of an intermediary between an installation and a piece of concert. Musica Mobile 2 plays with sounds borrowed from the techno music, in some ways itself affiliated to the concrete music and Musica Mobile 1 is incarnated in eight microtonaux virtual pianos. Musica Mobile is written by using CLCE “Common Lisp Compositional Environment”, environment of programming developed in Grame starting from the data-processing programming language Lisp which was founded on Midishare, system of exploitation real time also developed in Grame and prize-winning on several occasions. Musica Mobile is a sound installation which unfolds like a movie by one showing of a total duration of approximately 25’ divided into two parts: Musica Mobile 1: Seventh sky (16’40”), Musica Mobile 2: TesKnockOut (8’ 29”) PIERRE-alain jaffrennou composer Ex-Teacher in “Arts and techniques of Representation” at the School of Architecture in Lyon While studying sciences at the University of Strasbourg, Besançon and Lyon, Pierre-Alain Jaffrennou followed music studies at the conservatory and with private lessons, and in the electroacoustic class of Pierre Schaeffer at the National Superior Conservatory of Music in Paris. After these music studies, he became researcher for the Group of Music Research - ORTF - INA (GRM) where he created the computer music research laboratory. In 1981, with James Giroudon, he created Grame, national music creation center supported by the French Cultural Ministry. He is also professor with tenure in Arts and Techniques of Representation at the School of Architecture in Lyon, where he leads several research works about “Architecture and Computer Science”. His music works are varied : electroacoustic music, music with live electronic, instrumental music. His production is strongly marked by the contribution of computer in the process of music composition. He is also concerned with the space setting of the music in his work and its stagecraft. Particularly, he realizes important outdoor music shows with lot of means, and he creates sound and visual installations. His pieces are regularly played in France and abroad. Some of his works were commissionned by public and private organizations, and Pierre-Alain Jaffrennou received the Award of the French Record Academy for the collective record “Grame-Musiques numériques” in 1989, The First Price for the national competition PUCE with the conception of SINFONIE, a sound spatialization system in 1984, The Golden Faust for his show “L’homme qui vole” (The Flying Man) presented in toulouse in 1991, The Bronze Faust in 1993 for “Jumelles”, an opera co-writen with James Giroudon, and in 1995, The Silver Faust for his video-movie “A voix basse” (In a low voice). Production Grame, centre national de création musicale sound works ARCHISONY ZOÉ BENOIT Oeuvres sonores/Sound works Cooperation in the musical realization : Grame Depuis 2011, Zoé Benoit travaille sur le projet «Archisony». Il s’agit de capter le pouls d’un bâtiment, d’un quartier, d’espaces de partage. Par des captations sonores et plastiques, l’artiste fait résonner les matières des murs et paroles des habitants. Elle expose ensuite ce travail sous la forme d’une oeuvre documentaire renouvellant la lecture des lieux, incluant des photographies, des dessins, des sculptures et des diffusions sonores. Certaines de ces oeuvres sont à la fois sculpture et instrument : c’est le cas des «Baguettes», sculptées dans différentes essences de bois d’arbres, servant à percuter l’architecture. Ou encore de «Paraboles», des petites cloches en céramique ou en bronze que l’artiste active lors d’enregistrements sonores spécifiques. Dans ces expositions, Zoé Benoit présente les oeuvres sonores sous casque, ou encore sur enceintes, selon la scénographie d’exposition. Since 2011, Zoe Benoit works on the project called «Archisony». She’s trying to catch the energy of a building, a quarter or a collective space. The artist searchs to produce sounds of the wall’s materials. Then she exhibits this works as a documentary project including photographies, drawings, sculptures or sound diffusions. A part of these works are sculptures and also instruments: for example, the work «Baguettes», made in several different essences of wood, are also instruments to percute the architecture. «Paraboles» are small bells, made in ceramics or bronze, that the artist activates during in order to register specific sounds. In her exhibitions, Zoe Benoit has present the sound pieces with headphones or speakers, depending on the exhibit projects. « AUSCULPTER » I’m working about the idea of ’“Archisony” (Architecture/Sound) during my residencies where I capture sounds of a building or a quater. I focus on sounds of architectural materials (concrete, glass...). Then, I use this database as material to sculpt/work, producing pictures echoing these sound captures. My plastic work borrows formal languages of Sculpture, Architecture, Acoustic and Antropology. As an artist working on a specific field, I choose to live in quaters or buildings I want to take it pulse : by a captures work (sound, graphic and objects documents) I revisit our perception of these places, proposing a new lecture. It is not a question of listen to a given place’s chest, (in french, to « ausculter », medically, a place) but to listen attentively in order to create a new lecture of the place (in french, to « ausculpter » as aneologism gathering the idea of listen and sculpt in a same verb). During my residency in the Couvent de la Tourette in Eveux, France (2011), I’ve opereted sound captures of material vibrations (concrete, glass, wood…) and interviewed the unhabitants of the covent, about material silence. For my project in Firminy-Vert, France (2013), I’ve produced differents bells’ rings (“paraboles”) and meeting the unhabitants of the Unité d’habitation, questionning the idea of polyphony. Sound work produced in the framework of a state’s commission of the musée d’art moderne de Saint-Etienne for the ECHO(S) exhibition Baguettes (2012) sculptures, different essences of wood, approx. Sound works: -“Archisony#1, une visite au couvent” -“Archisony#4, Firminy-Vert, Bleu et ocre” Artworks: -Baguettes (2011) sculptures, different essences of wood, approx. 35x2cm each -Paraboles (2013) sculptures, ceramics, approx. 20x20cm each Archisony#1, une visite au couvent (2011) Sound work produced during the residency at le couvent de la Tourette, Eveux, France, with the support of the DRAC Rhône-Alpes (artothèque de la ville de Lyon’s contemporary art collection) TRACKS : 1. de la cellule à l’église (from cells to church) 2. cristal (cristal) 3. le fameux clac clac (the famous clac clac) 4. il faut avoir l’habitude (you have to be in the habit) 5. brise bise (wind break) 6. ça s’fait pas tout seul (it is not fulfilling easily) 7. dans un tumulte au silence pareil (in the tumult as a same silent) Archisony#4, Firminy-Vert, Bleu et ocre (2013) Sound work produced in the framework of a state’s commission of the musée d’art moderne de Saint-Etienne for the ECHO(S) exhibition . About Zoe Benoit’s approach TRACKS : 1. Paraboles dans l’église Saint-Pierre (Paraboles in the Saint Pierre’s Church) 2. Les habitants de l’unité (The unhabitants of the unité) 3. Train (train) 4. Les sons de l’unité (The sounds of the unité) 5. Enfants albanais (Albanian children) 6. Les autres (the others) 7. Train (train) 8. Forme de l’unité (unité shapes) 9. Train (train) 10. Alors toujours au Corbu? (So, still in the Corbu?) SOUNDWORKS : ARCHISONY Paraboles (2013) sculptures, ceramics, approx. 20x20 cm each Paraboles I and II (2013) serie of 4 sculptures, ceramics serie of 4 sculptures, bronze Realisation within the framework of Archisony#4 FirminyVert With the support of the Lyon fine art school ‘s volume department. These ceramics and bronze paraboles are both scupture and instrument to jingle. Their pyramidal irregular and decentered shapes are qualified as «esoteric» shapes by scientists. These shapes remember also the shape of the Saint Pierre Church’s pyramidal roof, (on the site of Firminy-Vert) where the artist has produced sounds when she hits the paraboles. These producted sounds can be listened in the sound work «Archisony#4 Firminy-Vert, Bleu et Ocre». Baguettes (2011) sculpted wood sticks (hawthorn, yew, box tree, maple tree) with the support of DRAC Rhône-Alpes These wood sticks are both sculpture and drumsticks to percute the architecture. They are sculpted in different wood essences, picked in the wood narrowing the Couvent de la Tourette during the Archisony#1 project. The artist produced them to percute the Iannis Xenakis « pan de verre ondulatoire » standing inside the covent. The producted sounds can be listened in the soundwork « Archisony#1-Une visite au Couvent ». ZOÉ BENOIT artiste plasticienNE Née en 1982, Zoé Benoit est diplômée des Beaux Arts de Lyon en 2007. Elle a travaillé dans le cadre de résidences d’artiste au Couvent de la Tourette, à l’Arteppes espace d’art contemporain d’Annecy, à la Bibliothèque-Artothèque de la Part-Dieu à Lyon, ainsi qu’ à FIRMINY-VERT. Son travail a été présenté au musée d’Art Moderne de Saint-Etienne ou encore au CAP de Saint-Fons. Born in 1982, Zoe Benoit is graduated of the Beaux Arts de Lyon’s School in 2007. She has worked about the Archisony project in different artists residencies’ contexts: in the Couvent de la Tourette (2001), in «l’Arteppes espace d’art contemporain» (Annecy, 2012), at the «Bibliothèque-Artothèque de la Part-Dieu» in Lyon (2012), and recently at FIRMINY-VERT and in Algier in 2013. Her work has been exhibited at the «musée d’Art Moderne de Saint- Etienne» or at the «CAP» in Saint-Fons. She’s currently preparing a new residency in Taïwan. video and sound installation glass house (location scouting) thomas léon Video and sound installation Thomas Léon Concept and video : Thomas Leon Cristal Baschet : Catherine Brisset Assistance for musical realization: Max Bruckert/Grame World premiere : Digital arts festival – Taipei – november 2011 French premiere: Biennale Musiques en Scène and La BF 15 - Lyon/ Lux Scène nationale de Valence – February 2012 © T. Leon Production, residence and realization : Grame, national center for music creation in Lyon, Digital Art Center Taipei (DAC), ENSBA-Lyon Co-production la Muse en Circuit, national center for music creation in Alfortville, with the support of French Institute (Taipei) Glass House : un film de repérage est un projet d’installation vidéo s’appuyant sur les notes de Sergueï Eisenstein pour un film non réalisé intitulé Glass House. L’installation consiste en une projection vidéo frontale de grand format et un dispositif sonore 5.1. La vidéo dure une quinzaine de minutes et est réalisée entièrement en images de synthèse. Elle explore les ambiguïtés du projet d’Eisenstein à travers la mise en image et l’investigation d’un décor possible de son film. L’élément principal de la vidéo est un bâtiment hybride, sorte de monstre architectural explorant les sources de Glass House, et dans la continuité de ces recherches, l’architecture contemporaine en verre. Les principaux éléments utilisés pour créer le bâtiment sont notamment : la Glashaus de Bruno Taut et les descriptions de Paul Scheerbart pour Glasarchitektur (1914) et certains projets architecturaux de Frank Lloyd Wright (essentiellement Glass House (location scouting) - 2011 • Blu-ray 1080i50, 5.1 sound • 15’ 52 minutes looped A sound and video installation inspired by Sergei Eisenstein’s notes for an unmade film called Glass House. The video explores the architectural sources of the Eisenstein project (both Expressionist and Modernist glass structures) while updating these sources through the introduction of contemporary or prospective architectural elements. The soundtrack evolves spatially, on six speakers, and is made from the recordings of a Cristal Baschet, an instrument developed in 1952, comprised of chromatically-tuned glass stems, rubbed by the interpreter and amplified by fiberglass and steel resonators. The soundtrack unfolds like a soundscape, finding resonance with the image and giving the viewer the impression of moving around within the sound, as if it were an architectural structure. la St. Mark’s in-the-Bouwerie tower, 1930). L’ensemble des éléments architecturaux sont modélisés dans un logiciel 3D. A ces éléments générés par ordinateurs viennent s’ajouter des sources filmées et photographiées à Paris et Taipei. La bande son de la vidéo est enregistrée à partir d’un cristal Baschet. Cet instrument mis au point en 1952 est composé de 54 tiges de verre accordées chromatiquement, frottées par les doigts de l’interprète. La vibration du verre est transmise à une plaque de métal par des tiges (métalliques également) de longueur variable qui déterminent la fréquence. L’amplification se fait au moyen de résonateurs en fibre de verre et en acier. La bande son est diffusée en 5.1 au sein d’un dispositif qui entoure le spectateur. Elle se déploie comme un paysage sonore qui entre en résonance avec l’image pour donner la sensation qu’on se déplace à l’intérieur du son, comme on se déplacerait dans une architecture. Glass House: Production et résidences : Grame, centre national de création musicale – Ecole Nationale des Beaux Arts de Lyon – Digital arts center de Taipei, avec le soutien du Bureau français de Taipei. thomas léon artiste plasticien Né en 1981, à Dijon. Vit et travaille à Paris. La plupart des travaux récents de Thomas Léon marquent une évolution sous la forme d’installations. Ses œuvres sont régulièrement montrées lors de projections et d’expositions en France et à l’étranger : Réalités confondues/BF15 - Lyon, France (2010) ; Les Rencontres Internationales Paris / Berlin / Madrid - Museo Nacional Centro de Arte Reina Sofía, Madrid, Espagne et the Haus der Kulturen der Welt, Berlin, Allemagne (2009); Le syndrome de Broadway/Parc Saint-Léger art center, Pougues-les-eaux, France (2007); Multipolaire/Halle 14, Leipzig, Allemagne (2006). Le travail de Thomas Léon se construit à partir des outils informatiques et plus particulièrement de l’image de synthèse. Il s’incarne dans des médiums allant de l’installation vidéo à l’impression numérique, en passant par l’installation sonore ou la conception de volumes assistée par ordinateur. Il puise ses sources dans la littérature (romans d’anticipation et littérature utopique) ou les projets des avant- gardes, dont il tire une partie de ses problématiques : les relations complexes qui se développent entre un projet, sa représentation et sa mise en œuvre (architecture, urbanisme, modèles de sociétés idéales) ; les liens entre les questions de forme et les enjeux de pouvoir. Ces problématiques s’articulent à des questionnements plus particulièrement esthétiques (rapport de l’art à la réalité, évaluation des apports de la modernité et des valeurs formelles inhérentes à chaque médium, mode et temps d’apparition de l’œuvre, action du spectateur) afin d’interroger la persistance de modèles, d’archétypes, et de produire des formes nouvelles. artiste plasticien Born 1981, Dijon (FR) Lives and works in Paris (FR) Much of Thomas Léon’s recent artwork has evolved through installations. His works are regularly shown at screenings and exhibitions in France and abroad : Réalités confondues, at the BF15 in Lyon, France (2010); Les Rencontres Internationales Paris / Berlin / Madrid, at the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain, and the Haus der Kulturen der Welt, Berlin, Germany (2009); Le syndrome de Broadway, at the Parc Saint-Léger art center, Pougues-les-eaux, France (2007); Multipolaire, at the Halle 14, Leipzig, Germany (2006). Except «Glass House (location scouting),» he recently realized, «Living in the Ice Age» (Conseil General of Seine-Saint-Denis, City of Pantin, The LAB) presented at “Slow Burn” organized by Fundament foundation, Tilburg (2013), “Rendez-vous 11” and “Rendez-vous 12” at The Institut Contemporary Art in Villeurbanne and the South African National Gallery in Cape Town (2011 and 2012). Thomas Léon’s artwork is based on computer tools, and more specifically, computer generated imagery. It takes shape in different mediums, from video art to digital prints, not to mention sound work or computer designed shapes. Thomas Léon finds inspiration in Literature (Science Fiction novels and utopian literature) or Avant- Garde projects, which provide some of the problems haunting his artwork: complex relations between a project, its picturing and implementation (architecture, urbanism, ideal society models); links between questions of form and power issues. These problems connect to questions that are more specifically aesthetic (relation between art and reality; valuation of modernism’s inputs and of formal values inherent in each medium; the mode and time of a piece of art’s first appearance; the viewer’s action) in order to question models’ and archetypes’ persistence, and to produce new forms. Documents AROUND PIERRE SCHAEFFER Three documents from INA Archives (Institut National de l’l’Audiovisuel/Paris) Musique concrète « Musique concrete » is a form of electroacoustic music that is made in part from acousmatic sound. In addition to sounds derived from musical instruments or voices, it may use other sources of sound such as electronic synthesizers or sounds recorded from nature. Also, compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre and so on. Originally contrasted with «pure» elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s. Cinq études de bruits : Étude aux chemins de fer (1948) Sonogramme (Ina) (1’40) Durée totale (Étude aux chemins de fer version 1948) : 2’50 Étude aux Chemins de fer, dite « Imposée». Le projet était ici de faire une étude à partir de sons de train. Des séances de prises de sons furent spécialement organisées gare des Batignolles en vue de cette composition. Le train entretient depuis longtemps un rapport privilégié à la musique. Nombreux sont les compositeurs qui ont tenté de rendre par l’écriture instrumentale le son du train (Arthur Honegger, Dimitri Chostakovitch, Steve Reich, etc.). Y-avait-il, à l’inverse, une possibilité à partir de « vrais trains « de faire de la musique ? Voici ce qu’en écrit Schaeffer : « Cette étude rude et naïve c’est le primitif par excellence où l’on sent percer l’audace essentielle de la découverte concrète. Selon la naturelle ambivalence des bruits d’un chemin de fer, on peut considérer, soit l’évocation sonore de l’objet (il s’agit alors d’un bruitage de caractère dramatique) soit l’objet sonore arraché à son contexte, coupé de toute allusion, par l’artifice de la déformation ou de la répétition (et c’est, à la limite, une musique). « Comme on voit, la pièce pose le problème de l’écoute. Y entend-on simplement un train ? Une image de vitesse et de Étude aux allures (1960) (5’26) Le service de la Recherche de la Radiodiffusion Télévision Française faisait se croiser de multiples créateurs... Ici une rencontre entre le peintre Raymond Hains et Pierre Schaeffer autour de l’Étude aux allures Cette oeuvre est née d’une rencontre fortuite entre deux études : l’une sonore : l’étude aux allures de Pierre Schaeffer, l’autre visuelle : des séquences tournées par le peintre Raymond Hains à l’aide de lentilles cannelées dont les mouvements multiplient et animent un graphisme coloré. Dans ces deux expériences parallèles se retrouve un phénomène équivalant, «l’allure». L’allure du son, c’est sa loi d’entretien, le rythme interne de sa structure, ce qui le fait vivre et changer du début à l’extinction, tout en sauvegardant sa permanence. Hains présente ainsi des objets visuels permanents mais qui vivent de rythmes caractéristiques, grâce aux vibrations optiques qui animent leurs formes et leurs couleurs. Utilisant la musique comme canevas de montage, Hains rend perceptible dans son film le dialogue sans parole qui s’établit de lui-même entre les événements son & image. mouvement ? Ou des valeurs musicales abstraites ? Ces questions seront plus tard pensées et développées par Schaeffer dans le Traité des Objets musicaux (cf. notamment la théorie des quatre écoutes). On remarquera également que, tant dans la musique ellemême que dans son commentaire, Schaeffer distingue les éléments dramatiques et évocateurs de ceux qui, à ses yeux, sont porteurs de véritables valeurs musicales. Il y a d’autant plus de musique que l’on s’éloigne de l’anecdotique, c’est-à-dire d’autant que l’on s’éloigne de l’image pittoresque pour aller vers l’objet sonore. Ainsi la musique passe-t-elle du « thème du chemin de fer « à un traitement du même matériau en séquences plus « purement musicales «. documents : around pierre schaeffer Étude aux chemins de fer (1948 (Study Railways), among cinq études de bruits (Five noise’s studies) : Sonogram (1’40) Production- RDF (Radio Diffusion Française) - Paris - 1948 Music : Pierre Schaeffer « Etudes aux Chemins de fer », « Study Railways », called «imposed» . The project here was to make a study from train sounds . Sessions of tap sounds were specially organized Batignolles station for this composition. The train has long a privileged relation to the music. Many composers have tried to make the instrumental writing the sound of the train ( Arthur Honegger, Shostakovich , Steve Reich , etc. . ) . Conversely, was it a possibility from «real « trains to make music? Here is what Schaeffer wrote : «This study hard and naive is the primary where one feels coming essential audacity of the concrete discovery . According to the natural ambivalence of sounds railroad, we can consider either sound evocation of the object ( it is then a sound effects with dramatic character ) or the hard sound object outside its context, cutting any allusion by the artifice of deformation or repetition (and we are at the limit of music) . As we see, this study establishes the problem of listening . Do we hear simply means a train ? an image of movement and speed? Or abstract musical values? » These issues will be later developed by Schaeffer in the « Treaty of musical objects » (see in particular the theory of four listenings). It also noted that, as in the music itself and in its comment, Schaeffer distinguished dramatic and evocative caracters of those who have musical values. There is even more music when we are distant from anecdote, that is to say, as much as one moves away from the picturesque image, we go to the sound object . So, the music passes from the «theme of the railway» to a treatment of the same material in more sequences «purely musical». Étude aux allures (1960) (5’26) Production : Radiodiffusion Télévision Française (RTF) - Paris - 1960 Realization: Raymon Hains Visual artists : Raymond Hains, Jacques Mahé de La Villeglé Music : Pierre Schaeffer Service Research of the French Broadcasting Television was cross multiple creators ... Here a meeting between the painter Raymond Hains and Pierre Schaeffer around the « Etudes aux allures ». This work is born of a chance meeting between two studies : one sound the « Etudes aux allures ». of Pierre Schaeffer, other visual study, a footage shot by the artist Raymond Hains using splined lenses whose movements multiply and animate a graphic colors . In these two parallel experiments finds a phenomenon equivalant « appearance ». The appearance is the speed of sound is its maintenance law, the internal rhythm of its structure , which makes it live and change from beginning to extinction, while preserving its permanence . Hains presents permanent visual objects but with features live rhythms , by optical vibrations that drive their shapes and colors. Using music as a canvas mounting Hains makes perceptible in his movie dialogue without words , which reads to himself between sounds events & picture. Pierre Schaeffer A French composer born in 1910 in Nancy who died in 1995. A composer, theoretician, researcher, essayist and novelist, Pierre Schaeffer is one of the fathers of experimental radiophony and of musique concrète, the latter being defined by him as a collage and an assemblage on tape of pre-recorded sounds based on sound material that is both varied and concrete. After gaining a diploma from the École Polytechnique in 1934 he became an engineer in telecommunications. In 1944 he set up a studio for radiophonic experimentation. In 1949 he was joined by Pierre Henry, with whom he wrote, notably, the Symphonie pour un homme seul. He then founded, in 1951, the Groupe de Musique Concrète, which in 1958 became the Groupe de Recherches Musicales (GRM). In 1960 he founded and subsequently directed the research department of the ORTF. Believing that music needed researchers, he abandoned composition, took charge of a seminar for experimental music at the Paris Conservatory and drew up the Traité des objets musicaux, a vast investigation of the nature and variety of the sound element. His compositions include Cinq études de bruits (1948), Orphée 53 (1953), Étude aux objets (1959), La trièdre fertile (1975). Pierre Schaeffer – Interviews Emission “Lectures pour tous” – Pierre Desgraupes with Pierre Schaeffer Production : Radiodiffusion Télévision Française (RTF) - Paris – 1959 Diffusion : 17th june 1959 / ORTF (Office R a d i o Té lév i s i o n France) Realization : Marc Chevillot Presenter / Reporter :Pierre Desgraupes Participant : Pierre Schaeffer Pierre Desgraupes receives Pierre Schaeffer about a special edition of the Musical Revue titled «Musical Experiences: music concrete electronic exot i c « . P i e rre Schaeffer tries to understand the research on the sounds used in c o n c r e t e m u s i c, applied music (background sound, cinema, radio, ballet) but it is becoming recognized that it can also be a pure music. Pierre Schaeffer explains the basics of musique concrete: recording, processing, editing, mixing. Comparison with cinematographic writing. Ten years after the beginning of the musique concrete Pierre Schaeffer testifies to its genesis and processus in the tv program « Lectures pour tous » animated by Pierre Desgraupes. Pierre Schaeffer – Entretiens Date de diffusion : 17 juin 1959 Pierre Schaeffer expose les basiques de la musique concrète : Enregistrement, transformations, m o n ta g e, m i xa g e. C o m p a ra i s o n avec l’écriture cinématographique. Dix ans après les débuts de la musique concrète Pierre Schaeffer témoigne de sa genèse dans l’émission Lectures pour tous animée par Pierre Desgraupes. INSTALLATION coleslaw William Anastasi Sound work William Anastasi Coleslaw was executed 2003 and is 1.57 min duration. DVD, Filmed by the artist, technical assistance by Paul Kuranko It shows William Anastasi and his partner Dove Bradshaw performing a daily ritual playing piano and singing, performing music piece by Cole Porter. William Anastasi filmed himself through a mirror. Collection of the artist – Galerie Jocelyn Wolff - Paris william Anastasi Born Philadelphia, PA, in 1933 Lives and works in New York, NY William Anastasi is one of the founders of both Conceptual and Minimal Art -- relevant works were made before the movements were named. These works, starting in 1961, include Relief and Microphone,among the earliest examples of Conceptual Art. Between 1963 and 1966, we haveSink -- a clear demonstration of entropy -- and Issue andTrespass -- important forerunners to an entire class of works involving deconstruction. Sink (which combines his Conceptual and Minimal approaches) and En Route, are among the earliest forays into Minimal Art. Holding that after Duchamp there was no earthly reason why a blind man could not be an artist, his unsighted drawings were also started in 1963. His 1966/67 Six Sites broke the ground for an entire genre of exhibitions under the rubric Site Specific. Underlying his practice is his sense that the only thing that interests him about taste is that it is always changing. A4 CONTEMPORARY ARTS CENTER / AROUND THE SOUNDS HALL N° 3 D’ore et d’espace Modular installation with sound glasses Denys Vinzant Monolith Interactive sound design Vincent Carinola Random (lab) – ESADSE SOUND AND VISUAL INSTALLATION D’ORE ET D’ESPACE DENYS VINZANT D’ore et d’espace, Denys Vinzant System design vibration plates: Michel Stievenard © M. Grefferat, © DR Modular installation consisting of glass plates sound with : Partitions Runes, Partitions Mandalas Partitions Ver-luisants Partitions Volutes Partitions Sphères Partitions Rosaces Partitions Lumière And Le Livre de Verre World premiere (first version) in the context of Biennale Musiques en Scène 2000, Atrium Cour des Loges de Lyon Commission version 2001: Amphithéâtre/national Opéra of Lyon Technical realization : Guillaume Blanc / Lights : Jean Cyrille Burdet Production : Grame, national center for new music D’Ore et d’Espace (D’ore ou d’ores, du latin “hoc hora”: “à cet instant”) est constituée de 74 plaques de verre dont 60 sont sonores. Ce sont des “haut-parleurs de verre” qui sont reliés à un ensemble de 16 platines CD par l’intermédiaire de 32 voix d’amplification. Le signal arrive à la capsule centrale fixée sur chaque plaque de verre par l’intermédiaire de fils électriques très fins (on peut les voir traverser les plaques horizontalement, verticalement ou en diagonale et courir sur la tranche des plaques). Cette capsule conçue pour faire vibrer la membrane d’un haut-parleur fait vibrer, ici, la plaque de verre. Il s’agit pour la plupart des modules de transducteurs piézo-électriques (cristaux). Ils sont utilisés en principe pour les fréquences aiguës mais leurs bandes passantes descendent néanmoins jusqu’à 80 Hertz. Chaque plaque de verre réagit à sa façon. Plus la surface de la plaque est grande, plus celle-ci laisse sonner les graves, les petites ne laissant passer que les aigus. Les nouveaux modules réalisés en 2001, où un moteur est fixé sur la plaque, se comportent comme de véritables haut-parleurs, les plaques jouant néanmoins le rôle de filtres amplifiant ou atténuant certaines fréquences. Partitions Runes, Partitions Mandalas, Partitions Ver luisant, Partitions Volutes, Partitions Sphères écrites à la main, dessinent des arabesques finement ouvragées. L’écriture de l’ensemble a nécessité plus de 400 heures de travail réparties sur deux années. Cette écriture n’interagit pas sur le son. Pour la plupart des plaques, elle figure la musique que l’on entend sur chacune d’entre elles, musique qui se déroule de façon cyclique passant d’une voix à une autre, proposant diverses combinaisons, diverses superpositions des motifs principaux. La musique diffusée sur les Partitions Runes étant excessivement complexe, l’écriture reprend, fragmentée (sur 8, 4 ou 2 plaques) en trois séries identiques, les thèmes des Partitions Ver Luisant présentés dans leur différentes combinai- sons. Les sons d’origine acoustique et cristalline ont été numérisés par l’intermédiaire d’un échantillonneur. Les séquences ont été élaborées par ordinateur, dont certaines, tels les ruissellements sonores, à l’aide de logiciels d’aide à la composition développés à Grame. D’Ore et d’Espace a été créée pour l’Atrium de la Cour des Loges, dans le cadre de “Lyon Cité sonore” lors du festival “Musiques en Scène 2000”. Très remarquée, l’installation a été prolongée pendant près de six mois. Cette première version était constituée de vingt pla ques de verre sonores. Une version de 76 plaques de verre intégrant de nouveaux systèmes de “haut-parleurs” en verre a été conçue pour l’amphithéâtre de l’Opéra National de Lyon en Juillet 2001. C’est dans cette configuration que l’installation a été proposée, à L’Abbaye du Mont-Saint-Michel, Salle des Chevaliers, en juillet et en août 2002 et 2003. D’Ore et d’Espace (d’ore or d’ores, from latin “hoc hora”: “ in this moment ”) is constituted by 74 glass plates whereof 60 are sonic. In fact they are “glass loudspeakers” which are connected to a collection of 16 platinum CDs by the intermediary of 32 amplification voices. The signal arrives at the capsule fixed on every glass plate by the intermediary of very thin electric wires (you can see them crossing over the plate in horizontal, vertical and diagonal direction and running over the slice of the plates). The capsule that is conceived to produce vibrations on loudspeaker membranes, here causes the vibration of the glass plate. For most of the modules these capsules are piezoelectric transducer (crystal). They are normally used for high frequencies, but their bandpass lowers nevertheless until 80 Hertz. Each plate reacts in its own manner. The larger is the plate, the deeper are its sounds; the small ones only produce high tones. The new modules realised in 2001 act like real loudspeakers, having an engine fixed on the plate. Nevertheless the plates function as amplification filters or attenuate certain frequencies. The scores are entirely hand-written. The writing of the collection took more than 400 hours of working during two years. This writing does not interact with the sound. For most of the plates, it symbolizes the music you can hear from each plate: a music that turn out in a cyclic manner passing from one voice to the other, offering several combinations which are different superpositions of principal themes. The diffused music, written in rune scores, is excessively complex. The writing takes up, fragmented (on 8,4 or 2 plates) in three identical series, the themes of the Ver Luisant scores which are presented in their different combinations. The sounds of acoustical and crystalline origin have been digitalised with the intermediary of a sampler. The sequences have been elaborated on computer whereof certain, as the sonic streams, with the help of composition software that has been developed by Grame. D’Ore et d’Espace has been created for the Atrium de la Cour des Loges, in the context of “Lyon Cité sonore” during the Festival “ Musiques en Scène 2000”. As it was very much noticed, the installation has been lengthened for about six months. This first version was constituted of twenty sonic glass plates. A new version of 76 glass plates including the “glass loudspeakers” has been conceived for the Amphithéâtre de l’Opéra de Lyon in June 2001. In this configuration the installation has been offered to L’Abbaye du Mont-Saint-Michel, Salle des Chevaliers, in July and in August 2002 and 2003. © M. Grefferat, © DR SOUND AND VISUAL INSTALLATION : D’ORE ET D’ESPACE DENYS VINZANT compositeur Né le 27 Novembre 1955 à Grenoble. Etudes au Conservatoire National de Région de Grenoble - harmonie, contrepoint, fugue, orgue, histoire de la musique - puis au Conservatoire National Supérieur de Musique de Paris - écriture, analyse avec Betsy Jolas, composition et recherches en musique électro-acoustique avec Guy Reibel. Il fait partie, depuis 1985, du collège des compositeurs permanents de Grame - Centre National de Création Musicale à Lyon - ainsi que de l’équipe pédagogique du studio. Il enseigne au Conservatoire National de Région de Saint-Etienne où il est professeur titulaire de la classe de composition en musique électro-acoustique. Son œuvre, qui présente plusieurs facettes, s’articule autour d’une écriture précise et ciselée. D’un caractère pointilliste, elle s’élabore à partir de calculs réalisés par ordinateur. Il s’agit souvent de pièces mixtes dont l’inspiration puise ses sources dans l’univers poétique. Pièces multiformes, elles sont constituées, le plus souvent, d’un ensemble de parties qui peuvent être jouées par chacun des interprètes dans l’ordre qu’ils choisissent. Proches de la calligraphie, ses partitions deviennent progressivement partie intégrante de l’oeuvre jusqu’aux expositions sonores où elles figurent écrites à l’encre dorée sur des plaques de verre sonores. Ses premières installations datent de 1996. Elles proposent, actuellement, de nouvelles mises en espace, de nouvelles architectures, transfigurant les lieux qu’elles habitent. Born the 27 Novembre 1955 in Grenoble (Isère - France). Following studies in the National Conservatory for the Grenoble Region (harmony, couterpoint, fugue, organ, clarinet, acoustics and musical history) followed by the Highter National Musical Conservatory in Paris (writting, analyse with Betsy Jolas, composition and musical research electro-acoustic with Guy Reibel), has since 1985 been a member of the Grame college of permanent composers, as well as one of the studios teaching team. Since 1989, he has been teaching the electro-acoustics music class in the Saint-Etienne Conservatory. His multifaced work is essentially made up of precise and finely honed writting. Applying a pointillism style, it is prepared from calculations made by a computer. These are often mixed pieces, wherein the inspiration is drawn from the World of poetry. Multiply shaped pieces, they are more often than not made up of an ensemble of parts wich can be played by each of the musicians in the order they wish. Very close to calligraphy, his scores progressively become an integral part of the masterwork, to arrive at sound exhibitions where they appear written in golden ink on sheets of acoustic glass. Its first installations date from 1996. They offer currently set new space, new architectures, transfiguring the places they inhabit. D’Ore et d’Espace, his major work created in 2001 was often presented, from Mont Saint Michel Abbaye (2002/2003) to Taipei Fine arts Museum (Taiwan 2010) ... Constantly work in progress, D’Ore et d’espace associates several installations: Le Livre de Verre (2002/2009) Partitions Cristal (2007/2009). INTERACTIVE SOUND DESIGN Monolith random (lab) - ESADSE vincent carinola Monolith Musical conception: Vincent Carinola Object conception and engineering: Random (lab) – ESADSE (Johann Aussage, Damien Baïs, François Brument, David-Olivier Lartigaud, Jacques-Daniel Pillon) Audio engineering: Christophe Lebreton/Grame Production: Grame, national center for new music (Lyon) – Random (lab)/High School of Art and Design Saint-Étienne - L’assaut de la Menuiserie (Saint Etienne) Presentation The «Monolith» is a musical and visual object, waiting for people interactions. Play with it’s surface and discover it’s sound and lights behaviors. When alone, the « Monolith » is animated by a life of its own that displays subtle lights and diffuses sound effects. When the viewer touches the object or comes closer enough, the Monolith «wake up» and respond to the actions of the visitor. Like an instrument, the Monolith can create sounds and musical sequences. But it isn’t a passive interface that obeys to all the stimuli provoked by the visitor. The monolith installs a sort of dialogue with him who requires the user to gradually tame this interactive object. Musical aspects The music of the monolith takes place on three levels: the environment (room) where the sculpture is, the internal pulse of the object and the sound forms awakened to approach or touch of the audience. It allows two types of listening: one contemplative, suggests a pulsed slow evolution of various materials, almost indistinct. Another, by caressing gestures, leaves emerge musical forms and objects, the surface of the monolith acting as a harp. Moreover, the triple surface and the height of the monolith let play on the speed of sound movement. This installation invites to play with visual and audio phenomenons in new ways. Music/visual relations Music and visual, for the Monolith project, are designed together with the desire to develop a fluid language, a form of readability of the interactivity. The aim is to obtain a logical gestures consistent with the sound for the viewer. The Monolith project tries to create the conditions of new aesthetic experience between the pleasure of learning to play an instrument and the discovery of an unknown form of life. Brief technical description: The structure of the Monolith is a vertical triangular prism shape (around 90 cm wide by 250 cm height ) with three rectangular faces. The structure is made of black lacquered metal and covered with dark grey glass plates. This dark glass allows light to pass without allowing the viewer to see the inside of the object. The interior of the Monolith contains a 3D matrix which provides LED lighting effects with some visual depth . This matrix , developed by the Random( lab), is managed by a boids program type which gives the feeling of an organic mass evolving within the object, lively and coherent like a cloud of starlings. This light entity is the form that interacts with the viewer while producing a synthetic music. The bright spots from the LEDs are dimmed in halos through a special treatment of the dark glass. « Monolith » est une installation musicale et interactive en attente de dialogue avec le spectateur. Lorsque le visiteur effleure sa surface, elle révèle ses humeurs et sensations par des sons et des lumières. Le Monolithe, lorsqu’il n’est pas sollicité, est animé d’une vie propre qui laisse apparaître de discrets effets lumineux et sonores. Mais quand il est « réveillé » et entre en résonance avec les gestes du visiteur, il s’apparente à un instrument qui permet de générer des phénomènes sonores et des séquences musicales. Le Monolithe n’est cependant pas une interface docile qui obéit à tous les stimuli. Il installe un dialogue singulier avec le visiteur qui oblige l’utilisateur à l’apprivoiser progressivement. Cette installation invite à expérimenter la matière sonore et visuelle de manière inédite. La réalisation musicale pour Monolith se situe à trois niveaux : Un environnement sonore occupant l’espace où se trouve la sculpture, la pulsation interne à l’objet et les formes sonores émergeant par l’interaction avec le public. Ceci permet deux types d’écoute : l’une, contemplative, laisse percevoir une lente évolution pulsée de différents matériaux. Une autre, à travers des gestes caressants, fait émerger des formes et des objets musicaux, la surface du Monolithe réagissant comme une harpe. VINCENT CARINOLA COMPOSER He received the most part of his musical instruction from Bertrand Dubedout at the CNR in Toulouse (1990-93), then at the CNSM in Lyon, in Denis Lorrain and Philippe Manoury’s electro-acoustic composition and computer music class (1993-96). He is currently a teacher at the Pôle d’Enseignement Supérieur de la Musique in Dijon, in which he created a studio for practicing sound techniques and electroacoustic music, intended for the meeting of composers and performers through commissions pieces. He writes pieces for a broad range of formations, with or without electroacoustic setup, acousmatic pieces for live performance, installations, etc., given in numerous festivals and answering commissions from various organisms. We can find along his pieces an exploration of the possibilities of harmonic «bending» offered by micro-intervals (Tourmaline, Ohr(fee), Sens Interdit), of sound spacialization (Cielo Vivo, Historia), of the position of the performer when confronted to diffusion setups (Devant la loi, Constructio ad sensum), of the integration of video and stage design during the composition process (Neige, Typhon)... A very important part of his work for instrument was made in close complicity with musicians very committed Jéremie Siot Eric Porche, Trio Bubar, Anne Mercier, Nathalie Cornevin Cedric Jullion Sylvain Blassel, Fabrice Jünger, Frédérique Cambreling ... Lives and works in Lyon and Dijon. Il reçoit l’essentiel de sa formation musicale auprès de Bertrand Dubedout au CNR de Toulouse puis au CNSMD de Lyon, dans la classe de composition électroacoustique et d’informatique musicale de Denis Lorrain et Philippe Manoury (1993-96). On trouve à travers ses pièces une exploration des possibilités de “torsion” harmonique offertes par les micro-intervalles (Tourmaline, Ohr(fee), Sens Interdit), de la spatialisation du son (Cielo Vivo, Historia), de la position de l’instrumentiste confronté aux dispositifs de diffusion (Devant la loi, Constructio ad sensum), de l’intégration de l’image et de la scénographie dans le processus d’écriture (Neige, Typhon)... Une partie très importante de ses oeuvres pour instrument s’est faite dans une étroite complicité avec des musiciens très engagés : Jérémie Siot, Eric Porche, Trio de Bubar, Fabrice Pierre, Cédric Jullion, Sylvain Blassel, Fabrice Jünger... Il est actuellement professeur au Pôle d’Enseignement Supérieur de la Musique en Bourgogne, organisme au sein duquel il a créé un studio de pratique des musiques mixtes et électroacoustiques destiné à la rencontre entre compositeurs et interprètes à travers des commandes spécifiques. The random(lab) - Esadse The Random (lab) from the High School of Art and Design of Saint Etienne (ESADSE) is a laboratory for practical and theoretical research devoted to digital experimentations in Art and Design. Open to students in fourth and fifth year or in post-graduate as well as visiting researchers and theoreticians, the Random (lab) is installed in the building of the digital practices of the ESADSE. It includes a resource center and a workspace for prototyping interfaces and interactive installations with electronic components, 3D printers, etc. Le Random(lab) de l’ESAD Saint-Étienne est un lieu de recherches pratiques et théoriques consacré à l’expérimentation en art, design et numérique. Ouvert aux étudiants en 4e et 5e année en art ou design, aux étudiants en post-diplôme, ainsi qu’à des chercheurs invités, le Random(lab) est installé au sein du plateau des pratiques numériques de l’ESAD Saint-Étienne. Il regroupe un centre de ressources et un espace de travail permettant de concevoir des interfaces et des installations interactives à partir de composants électroniques, de prototypeuse 3D, etc… Permanent team of the Random(lab) : Johann Aussage, teacher at ESADSE, member of the Random(lab), designer and graphist, co-founder of « la nouvelle fabrique », Paris (http://www.nouvellefabrique. fr/). Damien Baïs, teacher at ESADSE, member of the Random(lab), designer and graphist, co-founder of .corp (http://www.corp-lab.com/) François Brument, teacher at ESADSE, co-responsible of the Random(lab), designer (http://in-flexions.com/). David-Olivier Lartigaud, teacher at ESADSE, co-responsible of the Random(lab), theorist, researcher and practitioner in art. PhD in Art. Jacques-Daniel Pillon, teacher at ESADSE, member of the Random(lab), engineer. GRAME national Center for musical creation Founded by Pierre-Alain Jaffrennou and James Giroudon in 1982, Grame is now one of six constituent centres in the network of national centres of musical creation, a label created by the Ministry in 1997. The primary mission of Grame is to allow for the conception and realization of new works, ensure their influence and dissemination, and contribute to scientific and musical research whilst building the necessary bridges between innovation and the public. Grame is a place of residency for composers, performers, and researchers, as well as for diverse artistic teams. Here they find a top-notch technological environment, accompanied by artistic and technical assistance. Some twenty French and foreign composers are invited in residency each season. Creations and diversity come in a variety of forms calling for varied instrumental forces ranging from soloist to large ensembles. New productions cover the forms of concert, show, opera, performance and exhibition, with audio and visual installations. All these artistic activities are underpinned by the interaction of arts and sciences in which the computing component is quite present. Grame brings together a permanent scientific team specializing in three research themes: real-time communication system, the systems of musical representation and performance, and pro- gramming languages. Grame produces the Biennale Musiques en Scène, which has now become one of the principal musical creation events in France and Europe. After Peter Eötvös, Kaija Saariaho, and Michael Jarrell, associated artists between 2008 and 2012, Heiner Goebbels is the guest artist for the 2014 edition. The Journées Grame, alternating with the Biennale, represent a high point of musical creation in Lyon, in tune with the residency activity. Strongly involved in a process of influence and transmission, Grame develops intense international activity allowing for disseminating its productions and savoir-faire, through concert tours, master classes, scientific lectures and exhibitions, primarily in Europe, Asia and North America. Numerous training and mediation actions are organized, aimed at diversified publics. Interventions are also proposed for graduate and specialized education. Grame is in a long-term agreement with the Ministry of Culture, the City of Lyon and the Rhône-Alpes Region, and receives subsidies from SACEM, SPEDIDAM, FCM, ONDA, the Institut Français, ANR and the European Union, along with private aid. james giroudon James Giroudon was born in La Tour du Pin, near Lyon. He studied at the Université de Lyon and is graduated from art history, sociology and education sciences. Graduated of Pierre Schaeffer and Guy Reibel’s class at the National Superior Conservatory of Music in Paris. From 1982 to 1990, he taught at the Conservatory of Music in Saint-Etienne, where he created an electroacoustic music section, and in 1992 he was appointed to the «Arts du Spectacle» degree course at the Université de Caen. Also conducts an activity of sociology in the socio-economic and cultural sector during several years. Founded in 1981 in Lyon GRAME with Pierre Alain Jaffrennou, he is responsible for managing and artistic, as well as international development. In 1992, in Lyon, he created the Musiques en Scène festival, which in 2002 became a biennial. Is also involved in curating exhibitions, notably in Grame : series of « sound art exhibitions and performances » for Music Festival Scene from 1992 to 1997, curating with Thierry Raspail of 6 multimedia exhibitions in Lyon Museum of Contemporary Art, from 1998 to 200 2006 (« New York, New Sounds, New Spaces », « Music, dance, visual arts», « Sound art in Europe », « Digital arts » with Dump Type, Ganular Synthesis …). Designer, with Pierre Alain Jaffrennou, for the event «Lyon City Sound », path of urban installations for ten days in March 2000 ... Also organizes many presentations in France and abroad of sound and visual installations produced by Grame, through festivals and exhibition spaces. He was also invited to curate the 2000 Belluard festival in Fribourg. Was initiator for retrospective of artists Peter Bosch and Simone Simons in 2009 in Rhône-Alpes (La Tour du Pin). Was curator at Taipei Fine Arts Museum for the exhibition «Mobility, sounds and forms» (2010), Electronic Music Week Shanghai in 2011 and «Imminent Sounds» at TFAM from September 2013 to January 2014, Among the actual projects : «Around the Sounds» at A4 Center of contemporary arts in Chengdu (June / September 2014), «(Im)mobilités sonores » at the Modern Art Museum of Saint-Etienne (May / September 2015), to the Shanghai Electronic Music Week (autumn 2015) and other exhibitions in Moscow, Seoul… Since September 2001, he has been contributing a «contemporary musics» column to the Bloc Notes de la Mapra (Maison des Arts Plastiques Rhône-Alpes). As composer, he realizes several electroacoustic musics for concerts and large-scale musical events, as well as mixed works for soloists, instrumental groups and electronics systems. He has also written music for the theatre. His works are regularly played outside France, in Grame’s concert tours and at festivals, notably in Europe and Canada. In 1989 he received the Prix de l’Académie du Disque Français for a record produced jointly with Musiques Numériques, and in 1993 the Faust de Bronze for the opera Jumelles, co-written with Pierre-Alain Jaffrennou. Several of his pieces have been recorded and released by Editions Forlane (MFA collection), ECM, the Nova Musica label and ÄmeSon. He continues to work with the composer Jean François Estager on co-writing, along the lines of mixed forms combining instrumental material with sounds and electronics. Receives in 2009 a commission from Forum Music (Taipei) for a new piece with chinese orchestra, percussions and electronics, in 2013 a commission from BorusanMusik (Istanbul) for a new scenographic music with the solist Yi Ping Yang. CHRISTOPHE LEBRETON Stage and technology He was born in 1967 in Paris. He studied the piano and the guitar. After scientific studies he enters the Grame in 1989. he meets the sound engeneers Michel Steivenart who will transmit him his pas- sion for sound. Since then he has been investigating into research and the developpement of new tools for creation yet still conside- ring the specificities of live musical production : live amplifiying, installations, disc production, realisation of Grame’s studios, developing specific hardware...etc. He started exploring the musical capabilities of MaxMSp programming in order to respond to much composors’ demands as possible. His participation to the realisation of Thierry De mey’s piece «Light Music» (piece for one solo conductor, projections and interactive setup - based on motion detection - created in 2004), has constituted a major step in his path and has pushed him forward into exploring what he calls «instrumental scenography». He is regularly invited to present his experience and training of young engineers, lectures and masterclasses. «Around the sounds» organisée dans le cadre de France-Chine 50 - www.france-chine50.com » La commémoration France-Chine 50 est organisée et mise en œuvre : - Pour la France : par l’Institut français avec le soutien du ministère des Affaires étrangères, du ministère de la Culture et de la Communication, du ministère de l’Economie et des Finances, du ministère de l’Education nationale, du ministère de l’Enseignement supérieur et de la Recherche, du ministère des Sports, de la Jeunesse, de l’Education populaire et de la Vie associative, et de l’Ambassade de France en Chine. Commissaire général : M. Marc Piton Commissaire générale associée : Mme Catherine Ruggeri « France Chine 50 » bénéficie en 2014 du soutien d’un comité de mécènes présidé par M. Alain Merieux, Président de l’institut Merieux et constitué de : Ardian, Areva, Axa, EDF, Groupama, Biomérieux, L’oréal, Mazars, Michelin, Peaugeot, Sanofi, Total, Air France, AIA Associés, Alstom, Caisse des Dépôts, Carrefour, Colisée Patrimoine,Groupe Dassault, GDF suez, IPSEN, Pierre Fabre, SEB, Schneider, Société générale, Cathay Capital, Sino French Fund, Adamas, DS avocats, Thales, Virbac. centre l nat i ona i on d e créatl e mus i ca N GRAMUERS DE VERDU 11 C O 2 L Y O N 6900 . f r 7 00 rame g . www (0)4 72 07 337 01 T . +33 (0)4 72 07 F . +33