{"id":126726,"date":"2024-09-06T21:21:44","date_gmt":"2024-09-07T01:21:44","guid":{"rendered":"https:\/\/panm360.com\/?post_type=agenda&p=126726"},"modified":"2024-10-04T21:26:41","modified_gmt":"2024-10-05T01:26:41","slug":"festival-akousma-soiree-1-bloc_2","status":"publish","type":"agenda","link":"https:\/\/panm360.com\/en\/agenda\/festival-akousma-soiree-1-bloc_2\/","title":{"rendered":"Festival Akousma : Soir\u00e9e 1 –\u00a0Bloc_2"},"content":{"rendered":"\n

Pierce Warnecke (us\/fr)<\/strong><\/p>\n\n\n\n

Pierce Warnecke travaille \u00e0 la fois dans les domaines sonores et visuels. Ses projets, \u00e0 la fronti\u00e8re entre la musique exp\u00e9rimentale, les arts num\u00e9riques et la vid\u00e9o, sont influenc\u00e9s par les effets du temps sur la mati\u00e8re et les limites de l’exp\u00e9rience sensorielle.\u00a0 Il pr\u00e9sente son travail sous forme de performances, de concerts et d’installations \u00e0 Rewire, CTM, Elektra, Mutek, ZKM, etc. Il est co-commissaire du label et du festival Emitter Micro (Berlin) et du Signal Festival (Drome). Sa musique a \u00e9t\u00e9 publi\u00e9e sur Raster (DE), Room40 (AU) et Contour Editions (US), et il est repr\u00e9sent\u00e9 par l’agence DISK \u00e0 Berlin.<\/p>\n\n\n\n

Pierce Warnecke is a multidisciplinary digital artist at the intersection of experimental music, digital arts and video art. He has presented his work in the form of performances, concerts and installations at Rewire, GRM, ZKM, ManiFeste (IRCAM), Mutek, CTM, Elektra, KW Institut, Nemo, Sonic Acts, Martin Gropius Bau, MAC Montreal, Gray Area, LEV Festival, Semibreve, SXSW, etc.
Pierce collaborates often and has worked with Frank Bretschneider, Matthew Biederman, Myriam Bleau, Keith Fullerton Whitman and more. His music has been published on raster (DE), Room40 (AU) and Contour Editions (US). He is represented by Disk Agency in Berlin.<\/p>\n\n\n\n

Programme<\/strong><\/p>\n\n\n\n

Sonopeutic Smooth Sailing\u00a0(2024) 12\u201920\u201d
Sonopeutic Smooth Sailing, sorti sur Raster, est une refl\u00e9xion semi-s\u00e9rieuse sur le d\u00e9veloppement personnel \u00e0 travers des paysages sonores concrets, chaotiques et impr\u00e9visibles. Pour Akousma, une version multicanal condens\u00e9e de l’album est propos\u00e9e.
La musique ici est hautement trait\u00e9e. Elle d\u00e9marre avec une palette de sons \u00e9lectroniques simples et reconnaissables (808\/909, synth\u00e9tiseur modulaire simple et patchs max g\u00e9n\u00e9ratifs), mais qui est ensuite improvis\u00e9e, \u00e9dit\u00e9e et d\u00e9coup\u00e9e autant que possible, pour proposer une musique qui, avec un peu de chance, fausserait toute base de donn\u00e9es sonore IA dans laquelle elle pourrait avoir le malheur de tomber.
Cet album devrait \u00eatre \u00e9cout\u00e9 comme une sorte de programme de ‘self-help’ sonore rat\u00e9 qui aurait pu permettre \u00e0 l\u2019auditeur de s’entra\u00eener \u00e0 approfondir sa patience et son attention gr\u00e2ce au pouvoir du son extr\u00eame.<\/p>\n\n\n\n

Program<\/strong><\/p>\n\n\n\n

Sonopeutic Smooth Sailing\u00a0(2024) 12\u201920\u201d
Sonopeutic Smooth Sailing, released on raster, is a meditation on semi-serious self-help through concr\u00e8te dream\/mare-scapes of chaotic and unpredictable sound experiments. For Akousma, a condensed multichannel reworking of the album is proposed here.
The music here is highly processed, with the intent of starting from simple well known electronic sounds (808\/909 drums, simple modular synth and basic generative max patches), but performed, edited, cut-up and processed as much as possible to propose a music that would hopefully throw a wrench in any AI audio dataset that it might have the misfortune of falling into.
This album should be listened to as though it were part of a failed self-help program that could have allowed you, the listener, to train yourself on developing patience and attention through the power of extreme sound.<\/p>\n\n\n\n

Ana Dall\u2019Ara-Majek (fr\/ca)<\/strong><\/p>\n\n\n\n

Ana Dall\u2019Ara-Majek est une compositrice et artiste sonore vivant \u00e0 Montr\u00e9al. Elle s\u2019int\u00e9resse \u00e0 l\u2019interaction des pens\u00e9es instrumentale, \u00e9lectroacoustique et informatique dans la composition musicale. Ses th\u00e9matiques pr\u00e9f\u00e9r\u00e9es sont les micro-organismes et les paysages abstraits-concrets. Elle est active dans les domaines de la composition \u00e9lectroacoustique\/mixte et la performance de musique \u00e9lectronique en temps r\u00e9el. Elle joue r\u00e9guli\u00e8rement comme Th\u00e9r\u00e9ministe dans l\u2019ensemble IL\u00c9A et le duo blablaTrains. Ses disques ont \u00e9t\u00e9 publi\u00e9s chez Kohlenstoff Records et Empreintes DIGITALes, et ses partitions chez Babel Scores et aux \u00e9ditions Henri Lemoine.<\/p>\n\n\n\n

Ana Dall\u2019Ara-Majek is a composer and sound artist living in Montreal. She is interested to the study of how instrumental, electroacoustic and computational-thinking approaches interact in music. Her favourite themes are micro-organisms and abstract-concrete landscapes. She\u2019s been active for composing electroacoustic\/mixte pieces and performing live electronic music. She performs regularly with Ensemble IL\u00c9A and the duo blablaTrains as a Theremin player.
Her recordings have been released by Kohlenstoff Records and Empreintes DIGITALes, and her scores by Babel Scores and Editions Henri Lemoine.<\/p>\n\n\n\n

Programme<\/strong><\/p>\n\n\n\n

Mare Buchlae\u00a0(2023) 11\u201953\u201d
Entr\u00e9e en mati\u00e8re du cycle ‘Radiolaria’, cette pi\u00e8ce propose une plong\u00e9e o\u00f9 nous passons du monde des humains \u00e0 celui des organismes sous-marins. Il s’agit d’une exposition qui fait entendre toutes les familles de sons repr\u00e9sentant les esp\u00e8ces peuplant le plancton, et qui seront explor\u00e9es tout au long du cycle. Le d\u00e9fi \u00e9tait de recr\u00e9er un environnement sous-marin uniquement avec des sons de synth\u00e8se, en passant progressivement de prises de son de l\u2019oc\u00e9an vers un paysage enti\u00e8rement compos\u00e9 avec les sons du synth\u00e9tiseur modulaire Buchla 200.<\/p>\n\n\n\n

Program<\/strong><\/p>\n\n\n\n

Mare Buchlae\u00a0(2023) 11\u201953\u201d
The opening piece in the ‘Radiolaria’ cycle takes us from the human world to the world of underwater organisms. The piece features all the sound families that represent the plankton-inhabiting species that will be explored individually later on in the cycle. My objective was to recreate an underwater world using only sound synthesis, moving from ocean field recordings to a waterscape consisting entirely of sounds from the Buchla 200 modular synthesizer.<\/p>\n\n\n\n

Estelle Schorpp (fr\/ca)<\/strong><\/p>\n\n\n\n

Estelle Schorpp est une artiste sonore, compositrice et chercheuse fran\u00e7aise bas\u00e9e \u00e0 Montr\u00e9al, active dans le domaine de la musique exp\u00e9rimentale et de l’\u00e9cologie sonore.
Elle utilise les outils et les m\u00e9thodes de la recherche-cr\u00e9ation pour mettre en place des projets qui posent un regard critique et cr\u00e9atif sur notre relation avec l’environnement sonore. Int\u00e9grant des concepts issus de disciplines telles que l’\u00e9cologie sonore, les sound studies, la th\u00e9orie des m\u00e9dias, l’histoire des sciences, l’acoustique et la psychoacoustique, son approche polymorphe combine la performance, l’installation sonore et la composition algorithmique, ainsi que la communication acad\u00e9mique et la r\u00e9daction d’articles scientifiques.
Ses paysages sonores immersifs et en constante \u00e9volution, caract\u00e9ris\u00e9s par leurs sonorit\u00e9s brillantes et l’utilisation d’enregistrements de terrain, offrent une exp\u00e9rience \u00e0 la fois physique et intellectuelle o\u00f9 l’\u00e9coute est centrale.
Depuis 2022, elle enseigne \u00e0 la Facult\u00e9 de musique de l’Universit\u00e9 de Montr\u00e9al (CA).<\/p>\n\n\n\n

Estelle Schorpp is a French-born and Montreal-based sound artist, composer and researcher active in the field of experimental music and sound ecology.
She uses the tools and methods of research-creation to set up projects that take a critical and creative look at our relationship with the sonic environment. Integrating concepts from disciplines such as sound ecology, sound studies, media theory, history of science, acoustics and psychoacoustics, her polymorphous approach combines performance, sound installation and algorithmic composition, as well as academic communication and the writing of articles.
Her ever-changing and immersive sonic landscapes, characterized by their ambiguous shimmering sounds and the use of field recordings, seek both a physical and intellectual experience where listening is central.
Since 2022, she teaches at the Music Faculty of Universit\u00e9 de Montr\u00e9al (CA).<\/p>\n\n\n\n

Programme<\/strong><\/p>\n\n\n\n

A Conversation Between a Partially Educated Parrot and a Machine\u00a0(2023) 20\u201900
Gr\u00e2ce \u00e0 l’utilisation d’archives d’enregistrements d’oiseaux datant des ann\u00e9es 1930, cette performance explore les relations historiques et sonores entre les oiseaux, les humains et les technologies de reproduction sonore. \u00c0 la fin du XIXe si\u00e8cle, Eldridge Johnson, directeur de Victor Records, disait du phonographe qu’il \u00ab sonnait comme un perroquet partiellement \u00e9duqu\u00e9 avec un mal de gorge et un rhume de t\u00eate \u00bb (Johnson, cit\u00e9 dans\u00a0Recorded Music in American Life, de William Kenney). C’est ce m\u00eame phonographe que Ludwig Koch a utilis\u00e9 en 1889 pour r\u00e9aliser le premier enregistrement d’un shama \u00e0 croupion blanc dans un zoo de Francfort. De cette comparaison est n\u00e9e l’id\u00e9e d’\u00e9tablir un dialogue cr\u00e9atif entre les technologies de reproduction du son (anciennes et nouvelles) et les chants d’oiseaux.
La performance recontextualise l’histoire des enregistrements de chants d’oiseaux en m\u00ealant archives documentaires, disques shellac, gramophone et technologies algorithmiques interactives contemporaines. Le projet met l’accent sur un va-et-vient dynamique entre plusieurs types de discours (documentaires et fictifs), de technologies (ordinateur et gramophone), de gestes et de sons (chants d’oiseaux et artefacts technologiques). Ce faisant,\u00a0A Conversation Between a Partially Educated Parrot and a Machine\u00a0propose une exp\u00e9rience sonore immersive dans laquelle les oiseaux, les machines et les humains font de la musique ensemble.<\/p>\n\n\n\n

Program<\/strong><\/p>\n\n\n\n

A Conversation Between a Partially Educated Parrot and a Machine\u00a0(2023) 20\u201900
Through the use of both original and digitalized birds recordings archives from the 1930\u2019s, this performance explores the historical and sonic relationships between birds, humans and sound reproduction technologies.
In the late 19th century, Eldridge Johnson, head of Victor Records, said about the phonograph that it \u00ab sounded much like a partially educated parrot with a sore throat and a cold in the head\u201d (Johnson, quoted in William Kenney\u2019s\u00a0Recorded Music in American Life). This is the same phonograph that Ludwig Koch used in 1889 to make the first recording of a bird in a zoo in Frankfurt. My aim was to unfold this comparison between an ill behaved bird and a sound reproduction technology to tell a story where music is made together by historical and recent audio technologies, birds, and the humans that listen to them.
In\u00a0A conversation between a partially educated parrot and a machine, I take turns interacting with iPads and a gramophone equipped with sensors. On the one hand, this emblematic historical audio technology reads the original shellac disks by Ludwig Koch in the 1930\u2019s, on the other hand it becomes a physical interface sending data to live algorithmic processes. The performance emphasizes on a dynamic back and forth between several kind of discourses (documentary, fictional, musical), technologies (computer and gramophone), and sounds (sounds of birds\u2019 songs and sound reproduction artefacts).<\/p>\n\n\n\n

POUR ACHETER VOTRE BILLET, C\u2019EST ICI!<\/a><\/strong><\/p>\n\n\n\n