Archive pour la catégorie ‘sound and music’

Red Light Spotters

Samedi 20 septembre 2008

Red Light Spotters

Players: Philippe Codognet, Sir Alice

Visiting the Mori Tower in Tokyo with Philippe Codognet, the evidence of red lights blinking at night came to my mind as the stubborn will of the City to say something to any open intelligence. I was facing this absurd but recursive artist’s mission : try to make the world understandable, even if it is definitely obscure to you.
If you fail : make the failure visible enough to make the evidence of the this aporia talking out loud.

That was the resulting project:
Cities are emitting obscure messages that cannot easily been deciphered: sounds, lights, smells…
Through thousands of red lights blinking in the night, Tokyo city is whispering.
This obsessing blinking should be translatable. The apparent synchronicity cannot be only a randomised process. The absence of synchronicity can also be interpreted as an obscure language.
Is the city trying to say something?
Are invisible entities communicating in front of us and we don’t even know what, why and how?
Would it be a kind of hidden speech that would remain secret because it is so obvious?
Whatever the interpretation we try to put on these signs, one cannot stay without trying to understand what’s going on around us.
In this obsessive compulsion of interpretation, people can spend hours watching without understanding and this impossibility to understand is balanced by the fascination for this almost hypnotic phenomenon.
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Emotional Dripping (OVNI)

Samedi 13 septembre 2008

Emotional Dripping
Players : Anne Dreyfus, Delphine Fabbri-Lawson

Still Moving, sculpture dynamique géante de la série de la Mécanique des émotions, sera présentée devant l’entrée principale du Grand Palais à Paris avant d’être exposée au Générateur.
Nous évoquons la difficulté à communiquer sur les pièces complexes -dans leur logique plus que dans leur fréquentation. Comment soutenir les médiateurs culturels en leur proposant des formules simples pour communiquer sur un objet de 3,5m de diamètre qui peut évoquer, dans sa forme finale, une soucoupe volante molle, et dont le propos est lié aux émotions de la planète? D’autant pus quand la chose produit une musique faite d’infrasons vibrant entre 5Hz et 20Hz que l’on ne peut entendre que par le contact direct avec le corps.

Une proposition de sous-titre qu’il paraît difficile d’utiliser sans modifier sensiblement la perception de l’objet :

OVNI : OBJET VIBRANT NON INTRUSIF
De la série des Emotional Drippings

Un projet qui trouve plus facilement sa place dans le Dump que dans la communication grand public.

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Eleate Music (Liminal Art)

Samedi 17 mars 2007

Le Liminal n’est pas le propre des arts visuels. Le même projet (Eleate Painting) est applicable à la musique, dont la texture (cf. Granular Synthesis) peut laisser supposer l’émergence de formes qui tardent à s’offrir, comme un éternel renoncement à se laisser appréhender, un jeu de cache-cache entre le récepteur et la matière sonore laissant le cerveau faire le guet en vain à la porte définitivement entrouverte du discernement.

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Sticky Liquid Architecture

Samedi 3 mars 2007

Music sticks to walls as the dust of Andalusian summer.

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Dildomatic Opera

Vendredi 26 janvier 2007

Players: Dorkbot, galerie Ars Longa, David Steinberg, Joëlle Bitton, artistes
Dilodomatic Opera

Découvrant les arcanes nostalgiques du “circuit bending” il m’apparaît immédiatement qu’ici la pulsion sadique se détourne de son objet véritable. La trituration contre nature de jeux d’enfant ; la tentative de convertir sons, notes et voix en bégaiements, hurlements, éructations, et autres borborygmes électroniques me fait penser que cette acharnement compulsif ne s’adresse pas à son véritable destinataire.

J’ai eu l’occasion de dire que le référent absolu de l’interaction était le dialogue dont les formes extrêmes sont: faire l’amour et faire la guerre. Pour “interesser“ le Jeu, il faut incarner l’interaction.
L’art étant parfois une forme d’onanisme, narcissique et désespéré, je propose une performance qui place le corps au centre de la manipulation.

Sur scène, une femme, ou un homme, nu, s’efforce avec l’enthousiasme que donne le plaisir extrême teinté de désespoir, de tirer le maximum d’un godemichet modifié. De l’objet jaillissent des câbles qui suggèrent que la vibration qu’il produit est immédiatement traduite en hauteur et intensité du son qui accompagne les gestes et la progression du sujet. La voix de ce dernier, hésitant entre la cantatrice proche de l’extase et le ténor touchant au but, se mêle aux sonorités instrumentales, puissantes et déroutantes, du godemichet en action.

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In Touch [Listen, I’m Here (2)]

Dimanche 17 décembre 2006

Evolution of Listen I’m here

In Touch

Two laser beams meet in a cloud of steam, at the very centre of the space when two people calling the same pre-determined phone number are connected together.

When anybody, from the physical space, cuts the line of the beam, the communication is interrupted.

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Listen, I’m here!

Jeudi 30 novembre 2006

At the very centre of the white cube, a dot of light, floating.

The intersection of two laser-beams.

I'm here!

A continuous sound made of thousand of voices coming from real time or pre-recorded phone conversations. Something close to white noise but different enough to make the audience feel the origin of the sound.

When visitors cut one of the beams, the sound stops.

I'm here! now

Everything happens as if the contact of the two beams would make the whole communication process possible.

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Reality Switch

Mardi 21 novembre 2006

Obsessed by converting the world into what it should be, we need a unique control which will give us the feeling of nearly-controlled ultimate power.

I propose a series of works around the concept of a unique switch.

Inside the white box, at the middle of the front wall: a switch. It is the only visible element of the exhibition. The visitor is irrepressibly compelled to press it.

Then things happen.

Not necessarily the same, not in the same order, not necessarily.

The switch editing is an old trick for a new kind of life zapping.

Reality Switch

Samples :

Switch on

Of course the light can be deemed, and we understand that it was comes from the walls themselves.

Switch again

One of the walls becomes a screen, and we are inside an elevator going upwards.

Switch again

A nice and well-designed kitchen with the “ideal” family enjoying lunch.

Switch again

Darkness around us. The ambient sound that envelope us, gives us the feeling to be on the street, in the middle of a crowd.

Switch again

An ongoing TV program

Reality Switch

Switch again

Images all around the white box. Snap shots. Black and White. Blurry smartly-framed pictures of the actual visitors captured when coming in.

Sound : People during a contemporary art exhibition opening. Drinks and gossips.

Switch again

One wall/screen becomes the window of a skyscrapper. The sound gives us the feeling that something big is coming towards us. We then see the nose of a huge plane coming right to us. When it is big enough to darken the whole window, and when the sound reaches the climax, everything becomes normal again. Before the impact.

Switch again

We are in the dark looking for the switch. Sounds like rats moving on the ground.

The list is unlimited

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Thrills

Mercredi 1 novembre 2006

(visual and sonorous composition)

Player: TGV (high-speed train), full country stop.
Long the line, wind is caressing with a little hill, covered with grass and herbs. This gentle playing has something sensual and one almost feels the hill vibrating with emotion. Free from sound, violence in the movement is nowhere to be seen.
Pleased…reluctant, the grass is like bristle on the skin, and wide motions remind the shifting of muscles under a horse’s trembling skin.

In his complex relation between a flux and an especially receptive substance, one meets the expressed richness of tinges that rule group relations. These are kept under flows of information or of power; each blade of grass bends under the caress, and seems, when the wind deepens, to curve besides pressure. A sound supposedly would come out, a sound starting resistant and further painful; then the whole hill would transpose this ambiguous meeting in a whispered concert. This sizable movement, which suggests an earth reaction, where the earth is as a muscled body , would be transposed by another sonorous entity, participating to the dialogue of nature abandoning herself.
As on the surface of water, distorted by the heave and waves, it is a contact area between two elements, which constitute, in other instance, the “skin” of architecture, which expresses the quality of inside/outside relations, resistance to the difference of the natures, possible hostility to exteriority, to the contact attempt.

THE dialogue establishes itself when the substance plays the meeting as a double voice score or double body choreography.

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