Auteur/autrice : aka

  • Succession of timbres with one partial in common

    Succession of timbres with one partial in common


    BUY IT AT SOUFFLE CONTINU
    BUT IT AT LES PRESSES DU RÉEL

    Sébastien Roux
    Succession of Timbres With one Partial in Common
    AKR 03, 2019

    1 LP 33rpm, 300ex
    Text by Anne Zeitz
    Translation by Harold Schellinx
    Copy Editing by Annie Buneker
    Mastering by Giuseppe Ielasi
    Graphic design: Jean-Baptiste Parré
    Master : Giuseppe Ielasi
    Cut : Hervé de Kéroulas, DK
    Pressing: R.a.n.d

    With the support of FRAC Franche-comté

    (…)

    In 2016, Sébastien Roux presents Succession of timbres with one partial in
    common as part of the exhibition Max Feed – Work and Heritage of Max Neuhaus, organized by Daniele Balit at Frac Franche-Comté. The title refers to and summarizes two sentences written by Neuhaus in the text that accompanies the drawing, and thus immediately reveals the influence of the Southwest Stairwell works – the experience of the staircase and that of Neuhaus’ drawing. It is a sound installation for a set of six loudspeakers that are perfectly aligned and equally spaced over a distance of ten meters along a wall. Also here, the work is based on a succession of timbres. But Roux pushes the concept of succession and Neuhaus’s description of this principle to a new height in a drastically systematic composition:

    “The basis for the upcoming timbre is a partial of the previous one. Each speaker represents a partial, a timbre is fully formed and complete when the six speakers are active. Once the full timbre has been maintained for about ten seconds, the partials disappear again, one after the other. The last partial that remains then serves as a basis for the construction of a new timbre.”

    (…) Be it in a different manner, our hearing also is underlined in Roux’s work because we get the impression that we are able to indeed grasp the movement within the tones that have been flattened out before our eyes and ears. The focus on the construction of the different timbres is accompanied by the perception of their constant and gradual modification, in which the sounds never cease to elude us. This refined listening, which implies an awareness of the fleetingness of the projected sounds, thus becomes spatial as well as temporal. If Roux proposes, like Neuhaus, a certain re-focusing as part of our hearing, in its relation between form and concept, Succession of timbres with one partial in common differentiates itself from Southwest Stairwell. While Neuhaus insists on an indeterminate perceptual experience and refuses any explanation of the work, Roux provides us with the keys to decipher the construction of his piece through all the elements that constitute it: title, installation, composition, drawings. The sonic and even musical relationships – within the piece as well as between Roux’s work and that of Neuhaus – are indeed reflected through these different elements and the ways in which they refer to each other. On the other hand, it is impossible to detach our listening experience from our reflection on the concept of the work, which in turn refers back to the work on which it is based.

    Excerpts from the text of Anne Zeitz

  • PRESS – Release Party

    MAY 31st, 2020, 5PM CEST
    on ∏-Node.org
    Paris DAB+ 204.640 9A
    & Mulhouse DAB+ 222.064 11B
    & world wide web

    _
    To celebrate { PRESS } – Pali Meursault’s forthcoming release, Artkillart and Universinternational labels organise a series of concerts, performances and discussions on May 31st, 2020, 5PM CEST on ∏-Node

    With : DinahBird, François Bonnet, Yann Leguay, Pali Meursault, Jean-Philippe Renoult, Samon Takahashi, Anne Zeitz, JD Zazie.

    _
    Program:
    17h . Pali Meursault, { PRESS }, Mécanes, Offset – Pantin, FR
    18h . François Bonnet aka Kassel Jaeger, GRM – Paris, FR
    19h . Anne Zeitz, discussion w/ Jan Thoben – Paris/Berlin, FR/DE
    20h . DinahBird & JP Renoult, Antenna Gods in Radius Decade – Paris, FR
    21h . Yann Leguay, Dead Media – Brussels, BE
    22h . JD Zazie, Memory Loss – Berlin, DE
    23h . DJ Also Known As [aka] Artkillart DJ – Paris, FR
    00h . Samon Takahashi, anarchives mixtapes special – Paris, FR

    _

    DinahBird & JP Renoult

    DinahBird is a sound and radio artist living and working in Paris. Her practice question the notion of diffusion, transmission and memory and is highly responsive to place. Her work includes broadcasts, soundworks, installations and audio publications that are often inspired by early communication technologies and archives. Current interests include old weather, shellac and high frequency trading. Her creations have been played on BBCRadio4, France Culture’s Atelier de Création Radiophonique, Resonance FM, Kunst Radio, through the Radia network, and have been presented at radio festivals in over twenty-five countries around the world. She is presently employed by the Paris Museum of Modern Art to develop a programme of sound workshops with vulnerable people in correlation to the exhibitions.

    http://bird-renoult.net/dinah-bird/

    Jean-Philippe Renoult * 1967 is a writer, radio producer and sound artist based in Paris. His work focuses on transmission, field recordings and environmental sounds, re-contextualisation of music loops, organic sounds drones compositions. He has worked as a radio producer for French public radio, including France Culture, for over fifteen years. Recent works include A.V.I.O.N, a radio installation inspired by the world of aeronautics and his ongoing audio grafitti project, Tag Audio Loops, which was selected for the Marl Media Art Award in Oct 2014 and now features over 120 recordings from all over Europe. His radio pieces have been played on Resonance FM, Kunst Radio, France Culture, ABC Classic, the Radia network and have been edited on the Deep Wireless, Vibrö, Aphasia and Subrosa labels. He currently teaches creative radio practices in Paris and has recently taken up the northern indian traditional instrument shruti box to his practice of drone music.

    http://bird-renoult.net/jean-philippe-renoult/
    _

    François J. Bonnet

    François J. Bonnet is a Franco-Swiss composer and electroacoustic musician based in Paris. In addition to being Director of INA GRM, Bonnet is also a writer and theoretician (The Order of Sounds, a sonorous Archipelago, The Infra-World and After Death are published in English by Urbanomic). As a musician, Bonnet often works under the project name Kassel Jaeger. He has been collaborating with artists such as Oren Ambarchi, Giuseppe Ielasi, Stephan Mathieu, Stephen O’Malley, Jim O’Rourke, Akira Rabelais or James Rushford.

    Kassel Jaeger’s works are a complex balance between concrète experimentalism, ambient noise, and electroacoustic improvisation. He has released several albums on various labels such as Editions Mego,Shelter Press,Black Truffle, Senufo Editions, Latency… His music has been played in renown venues and festivals all over the world such as Whitney Museum of American Art (US), Super Deluxe (JP), Atonal (DE), Accademia Chigiana (IT) Harvard Museum of Natural History (US), CTM (DE), SFEMF (US), El Nicho (MX), Ultima (NO), Elevate (AT) Madeiradig (PT), Donau Festival (AT)…

    http://kasseljaeger.com/about/
    _

    Yann Leguay

    Thru sounds and objects, Yann Leguay focuses on the notions of dematerialization, the use of interfaces and everything about the materiality of memory. In his sound practice he was defined as a “media saboteur” by the Consumer Waste label, seeking to fold this materiality in on itself using basic means in the form of objects, music and performances. He has presented his work in many places and festivals all around Europe and further. Since 2007, he’s also producing installations, sculptures and editions that integrates a critical approach to the meaning of the technological evolution. In concerts he tries to push the boundaries of accepted norms of audio behavior, using uncommon machineries for the playback of audio media: opened hard-drives as turntables, an angle grinder as a microphone, the sound of the electricity on its own… His records release activity is equally unusual, releasing readable silkscreen records, a 7” single without a central hole, or a record composed from recordings of vinyl being scratched by scalpel. His Phonotopy label proposes a conceptual approach to recording media. His work has been published on many labels and books such as ArtKillArt, Vlek, Consumer Waste, Tanuki, Third Type Tapes, Insubordinations…

    http://www.phonotopy.org/
    _

    Pali Meursault

    Pali Meursault’s electroacoustic research turns into compositions for records, radio pieces, installations, or performances. His approach uses field recordings, inherits from musique concrète, and explores the sound environment to its audible limits: infra and
    ultrasounds, and electromagnetic phenomena.
    For over 15 years, he has been carrying his microphones and antennae to industrial and
    urban places, alpine glaciers or amazonian forests. His last works capture the sounds of
    workplaces, confronts animal communication and electromagnetic fields, or reveal the
    hidden sound environment of data centers.
    He is also involved in many collaborations with collectives (TT-Node, Ici-Même), other
    musicians (Lee Patterson & Frédéric Nogray for the trio FANT^MS ; Nicolas Montgermont
    for Feral_Bands) or filmmakers (Lise Fisher, Naïs Van Laer…).
    Alongside these activities, he teaches and writes about sound art, he is responsible for
    the recent french publication of an anthology of radioart pioneer Tetsuo Kogawa.

    http://www.palimeursault.net
    http://ui.universinternational.org
    _

    Samon Takahashi

    Samon Takahashi is a French visual artist and musician. He lives and works in Paris. He has previously exhibited at e.g. the Musée d’Art Moderne (Paris), Laxart (Los Angeles), ICA (London), De Vleeshal (Middelburg), Palais de Tokyo (Paris), Spiral Wacoal Art Center (Tokyo), CNEAI (Chatou), and MNAC (Bucharest). He is a founding member of the mobile laboratory OuUnPo since 2009, a founding member of the improvised music band GOL since 1989 and is hosting the radio show Epsilonia on Radio Libertaire (Paris) since 1993.

    https://www.mixcloud.com/soundarchives_epsiloniamix/
    _

    JD Zazie

    JD Zazie is an experimental DJ, avant-turntablist and sound artist living between Berlin and Bolzano.
    Coming from a DJ and a radiophonic background JD Zazie has explored over the years different approaches of real-time manipulation on fixed recorded sound. In her work she redefines DJ and electroacoustic activities. As a solo performer, in small groups or large ensembles she moves in an area which is constantly stretching the borders of what is supposed to be DJ mixing, free improvisation and composed music.
    Intended as music instruments CDjs, turntables and mixer are her tools to mix the specific sound-sources she plays (mostly electronic music, electroacoustic music, musique concrète, field recordings and improvised music).
    The typology of the sound-sources varies from already existing audio publications and sound effects, to self recorded audio files – as live-set and field-recordings -, to selected pre-mixed material. Juxtaposition, decontextualization, fragmentation, repetition, sonic texture, scratch and error are elements of the grammar adopted to relate, organize and rearrange the sound material.
    In her sound installations she explores everyday life, refers to urbanism and relates to sound atmosphere.

    https://jdzazie.tumblr.com/me
    _

    Anne Zeitz

    Anne Zeitz is a researcher and artist working with photography, video, and sound media. Born in Berlin in 1980, she lives and works in Paris. Her research focuses on mechanisms of surveillance and mass media, theories of observation and attention, and practices of counter-observation in contemporary art. Her doctoral thesis (University Paris 8/ Esthétique, Sciences et Technologies des Arts, dissertation defence November 2014) is entitled (Counter-)observations, Relations of Observation and Surveillance in Contemporary Art, Literature and Cinema. Anne Zeitz was responsible for organizing the project Movement-Observation-Control (2007/2008) for the Goethe-Institut Paris and collaborated on the exhibition and conference Armed Response (2008) at the Goethe-Institut Johannesburg. She is a former member of the Observatoire des nouveaux médias (Paris 8/Ensad) and of the research project Média Médiums (Université Paris 8, ENSAPC, EnsadLAB, Archives Nationales, 2013/2014). Her most recent research concentrates on the work of the American artist Max Neuhaus with the publication of De Max-Feed a Radio Net (2014), part of the Média Médiums book series. She is the artist of this year’s Urban Photo Fest and participated at the Urban Encounters / Tate Britain in October 2014.

    https://perso.univ-rennes2.fr/anne.zeitz

  • { Press }

    { Press }

    BUY IT AT CORTICALART
    BUT IT AT LES PRESSES DU RÉEL

    PALI MEURSAULT {PRESS}
    – Side A: Galvanic (4mn03s), Pressing (9mn10s), Packaging (7mn09s)
    – Side B: 33 revolutions

    Press completes a “mechanist” trilogy, started by Pali Meursault with Offset in 2013 and Mécanes in 2016. Following the investigation of gestures and machines cycles in printing and letterpress workshops, this new work is a mise en abyme of the record as an object, created from field recordings of a vinyl record pressing plant: Rand Muzik in Leipzig.

    Composed in the studios of GRM, Press is a piece of industrial musique concrète. The microphonic explorations of factory noises, as “byproducts” of the fabrication process, reveal the pulsations, rhythms, frequencies and sequences of an electroacoustic matter that seem to be already pointing to industrial and electronic music. Noise is apprehended as a social and cultural phenomenon, which attests of both a production process and an auditory culture.

    The piece fills the first side of the record with three “movements” that correspond to the three main stages of the record fabrication: electrotyping, pressing, and packaging.
    The second side is a deconstruction of the first one, presenting 33 locked groves. The medium conditions the shape of sound by imposing the never-ending repetition of the 1.8 seconds in take to complete a rotation.

    Sound matter recorded in the R.A.N.D. muzik pressing plant in Leipzig. Music composed in the studios of GRM in Paris. Lacquer cut at DK Mastering by Hervé de Kéroullas.

    Thanks to François Bonnet, Jan Freund, and Víctor Mazón Gardoqui.

    Limited edition of 300 copies manufactured at R.A.N.D. muzik and co-released by Universinternational & Artkillart — Ui024 + AKA16

    _

    About Pali Meursault

    Pali Meursault’s electroacoustic research turns into compositions for records, radio pieces, installations, or performances. His approach uses field recordings, inherits from musique concrète, and explores the sound environment to its audible limits: infra et ultrasounds, and electromagnetic phenomena. For over 15 years, he has been carrying his microphones and antenna to industrial and urban places, alpine glaciers or amazonian forests. His last works capture the sounds of workplaces, confronts animal communication and electromagnetic fields, or reveal the hidden sound environment of datacenters.

    He is also involved in many collaborations with collectives (∏-Node, Ici-Même), other musicians (Lee Patterson, Frédéric Nogray, Nicolas Montgermont, Alice Q.) or filmmakers (Lise Fisher, Naïs Van Laer). Alonside these activities, he teaches and writes about sound art, he is responsible for the recent french publication of an anthology of radioart pioneer Tetsuo Kogawa.

    http://www.palimeursault.net

    _

    BUY IT AT CORTICALART
    BUT IT AT LES PRESSES DU RÉEL

  • ART KILL Synesthésie ¬ MMAINTENANT

    « LA CAPTURE DE L’INAUDIBLE » RELEASE PARTY

    14th June 2019, 8PM
    Synesthésie ¬ MMAINTENANT
    Saint Denis

    With:
    – Surprise remote-intervention by Jonathan Sterne (tbc)
    – New performance by Matthieu Saladin
    – Artkillart listenning session
    – Live broadcast on ∏-Node radio http://p-node.org

    About:

    _
    Jonathan Sterne: Deferred, surprise, distant intervention (tbc)
    Jonathan Sterne’s work is concerned with the cultural dimensions of communication technologies, especially their form and role in large-scale societies. One of his major ongoing projects has involved developing the history and theory of sound in the modern west. Beyond the work on sound and music, he has published over fifty articles and book chapters that cover a wide range of topics in media history, new media, cultural theory and disability studies. He has also written on the politics of academic labor and maintains an interest in the future of the university. His new projects consider instruments and instrumentalities; histories of signal processing; and the intersections of disability, technology and perception.
    https://sterneworks.org

    _
    Matthieu Saladin, performance : L’inaudible d’un centre d’art
    Matthieu Saladin is an artist and associate professor in visual art at University Paris 8 (TEAMeD / AI-AC). He is in charge of the Labex Arts H2H project Factory of sound art. He is the editor of the series Ohcetecho (Presses du réel), the chief editor of TACET, Sound in the Arts and collaborates with journals such as Volume! and Revue & Corrigée. His practice takes place in a conceptual approach and often uses sound. He is interested in the production of spaces, the history of artistic forms and creative process, and in the relationships between art and society from a political and economic point of view. His work is represented by the gallery Salle Principale.
    http://www.matthieusaladin.org

    _
    AKA
    Listenning session, Artkillart.
    http://www.artkillart.org

    _
    ∏-Node
    ∏-Node is an art collective dedicated to the development of a hybrid web/FM radio format. Through the interlinking of different tools, technologies and networks, a hybrid broadcast structure is set, where each of the network’s nodes (the π-boxes) serves both as transmitter and receiver. π-node as a collective effort, seeks to explore the many dimensions of radio: its physicality (ether, radio waves and the electromagnetic spectrum), its spatiality (bandwidth, frequencies), its infrastructures (networks of radio transmissions, receivers/emitters), its methods of production and editorial content management (programming boards/teams, recording studios), its history (free radio and pirate radio movements), and its legislation.
    http://p-node.org

    Thanks to:
    Acces)s( (Pau), CNC-Dicréam for their support of this edition. Thanks to Ianis Lallemand, and to the team of Synesthésie, and to Jean-Baptiste Parré.

    Synesthésie ¬ MMAINTENANT is an art center in Saint Denis.

    Address:
    8 passage de Jouy 93200 Saint-Denis
    07 69 49 30 03‬‬ — mm [at] mmaintenant.org
    http://www.mmaintenant.org

    Metro line 13: Basilique de Saint-Denis
    RER D & H – Saint-Denis
    Tram T1: Marché de Saint-Denis

  • La capture de l’inaudible

    La capture de l’inaudible

    Software Edition on SD card
    Silkscreen booklet, including a text by Jonathan Sterne
    192 ex.
    2019
    _

    BUY IT AT STAALPLAAT
    BUY IT AT LES PRESSES DU RÉEL
    _



    La capture de l’inaudible, conceived by Matthieu Saladin, is the edition of a software acting like a reverse mp3 encoder. Where a classical mp3 encoder removes inaudible frequencies to reduce the size of an audio file, the reverse encoder gives these frequencies to listen, removing what the mp3 format usually keeps.

    The software comes on a SD card, going along a booklet with a selection of texts on the inaudible, and a text written by Jonathan Sterne.

    The SD card contains also the whole Artkillart catalog, re-encoded with Matthieu Saladin’s software.

    Tracks created with the software can be archived online, only on user’s request, and participate to the constitution of a global inaudible library.

    _





    _

    Matthieu Saladin is an artist and associate professor in visual art at University Paris 8 (TEAMeD / AI-AC). He is in charge of the Labex Arts H2H project Factory of sound art. He is the editor of the series Ohcetecho (Presses du réel), the chief editor of TACET, Sound in the Arts and collaborates with journals such as Volume! and Revue & Corrigée. His practice takes place in a conceptual approach and often uses sound. He is interested in the production of spaces, the history of artistic forms and creative process, and in the relationships between art and society from a political and economic point of view. His work is represented by the gallery Salle Principale.

    http://www.matthieusaladin.org
    _

    Production : Synesthésie ¬ MMAINTENANT, Accès)s(, DICRéAM, Artkillart
    Graphic design : Jean-Baptiste Parré
    Software : Ianis Lallemand
    Texts : Jonathan Sterne et Matthieu Saladin

    _

    BUY IT AT STAALPLAAT
    BUY IT AT LES PRESSES DU RÉEL

  • ART KILL ÖDL

    AKA X+1
    20 Janvier 2018, 20h
    @ l’atelier ÖDL
    17 rue Jacques Preiss
    Mulhouse, 68100 France
    PAF: 5e
    http://collectifodl.com/

    w/ Méryll Ampe + Cécile Babiole + Laurent Berger + RYBN.ORG vs Carl.Y

    Merci à l’Espace Multimédia Gantner, Miss xmx, ÖDL et Julia Mancini.

    _

    AU PROGRAMME

    MÉRYLL AMPE

    Méryll Ampe développe durant son cursus aux Beaux-Arts de Paris Cergy un travail de création plastique et sonore. Elle tisse des liens entre ses deux pratiques où se concentrent les notions de la matérialité, de la physicalité du son. Elle le présente sous plusieurs formes : compositions, concerts, installations, sculptures.. Pour cela elle utilise différentes sources sonores acoustiques, analogique et électroniques. Elle se produit dans différents lieux en France et à l’internationale. Son travail sonore évolue aussi dans les domaines du spectacle vivant et les arts visuels. Ses compositions sont éditées sur des labels tels que Tsuku Boschi Records (FR), Audition Records, (MEX), Musica Dispersa Radio (UK), Audiotalaia (ES), Audio Visuals Atmosphere (BE).

    Sons sculptés en taille directe, rencontre de plein pied : Méryll Ampe tisse des liens entre sa pratique musicale et plastique. Elle sculpte différentes sources sonores conduisant à un large spectre sonore. Des matières acoustiques sont captées dans son environnement quotidien et modifiées . S’y ajoutent des outils de traitements électroniques, analogiques. Elle joue avec les notions de : de plan-séquence, de présences, de dynamiques et ses volumes. Son intérêt pour l’improvisation est de jouer avec l’espace du lieu et avec l’inattendu, saisissant l’énergie d’un présent sonore, une physicalité dans l’espace corporel et mental.

    http://www.meryllampe.com

    &

    CÉCILE BABIOLE

    Projection de Euh… ! Disfluences, vidéo, 9mn

    Contrairement à l’écrit, l’oral est parsemé de petites hésitations, répétitions, allongement syllabiques, qui viennent perturber la fluidité de la parole. Ces discontinuités sont appelées « disfluences ». Elles ont pour fonction de faire patienter l’interlocuteur pendant l’élaboration du discours, elles traduisent les émotions, le stress mais aussi le profil sociologique du locuteur…

    Réalisée et montée à partir d’un entretien avec Olivier Baude, membre du Laboratoire Ligérien de Linguistique et directeur scientifique de l’Observatoire des pratiques linguistiques (DGLFLF – Délégation Générale à la Langue Française et aux Langues de France, Ministère de la culture et de la communication), la vidéo Euh… ! Disfluences est l’occasion de jouer avec les ratés de la parole.

    Cécile Babiole est une artiste active dès les années 80, dans le champ musical d’abord, puis dans les arts électroniques et numériques. Elle associe dans ses créations arts visuels et sonores à travers des installations et des performances qui interrogent avec singularité et ironie les médias.

    http://babiole.net/disfluences/

    &

    LAURENT BERGER

    2 mailloches + 2 cymbales + 2 micro-contact + 2 cables + 1 sound system = 1 brouillard de fréquences sonores épais et résonnant.

    https://burstscratch.org
    http://sunplexus2.free.fr/
    http://www.labandeadhesive.com
    https://soundcloud.com/suboko

    &&

    RYBN.ORG VS CARL.Y

    RYBN.ORG est une plateforme de recherche artistique expérimentale et extra-disciplinaire fondée en 1999. RYBN.ORG s’intéresse au couplage, au détournement et à la per- version des outils d’écriture et de formalisation liés aux technologies de l’information et des communications (algorithmes, réseaux, flux de données) réinscrits dans le champ des arts plastiques.
    http://www.rybn.org

    VS

    Carl.Y travaille depuis la fin des années 90 sur les différentes techniques de stream et leurs différentes applications. Cette technique est un moyen clair de rapprocher des lieux distants mais aussi de pouvoir réaliser des objets sonores avec un contenu partagé. À l’exemple du Schwarzes Loch (boucle de silence streamer), d’Audiotrace, réalisé avec Laboiteblanche, Carl.Y interroge la permanence des flux sur le réseau et leurs improbables contenus. Co-fondateur du festival (((NOMUSIC))) avec Laboiteblanche, Co-fondateur du festival Noplacard avec Erik Mikkinen (leplacard.org) et Laboiteblanche.
    http://www.nocarly.org/

    +

  • ART KILL LA GÉNÉRALE

    15.12.2017 20h
    LA GÉNÉRALE NORD-EST
    14, avenue Parmentier 75011 Paris
    Entrée libre / Free entrance

    À l’occasion de la sortie du disque « Radioscapes », Artkillart et Vieux Médias vous invitent à une soirée gratuite à la Générale. Dans « Radioscapes » des ondes radio ont été enregistrées méthodiquement, en parcourant l’intégralité du spectre électromagnétique. C’est cette traversée de l’éther qui va guider la soirée. Au programme : composition à partir d’enregistrements d’antennes d’hyper frequency trading,
    discussions autour des politiques d’occupation du spectre radiophonique analogique et numérique (RNT), discussions sur la webradio à venir de la Générale Nord-Est, séance d’écoute de sculptures radioélectriques et performance live qui utilise les ondes radios qui traversent la générale.

    Avec :

    ∏ node + Cause Commune + G13 : politiques d’occupation du spectre
    http://www.p-node.org
    https://ensemble.libre-a-toi.org/

    JP Renoult & Dinahbird : Antenna Gods AG_04
    http://bird-renoult.net/antenna-gods/

    Nicolas Montgermont : Grandes Waves
    http://www.nimon.org

    Dj Alsoknownas : electromagnetic dj set
    http://www.artkillart.org

    Free Fermentation Foundation : apéro auto fermenté

    +

    Infos sur le site de la générale
    http://www.lagenerale.fr/?p=10597

    _

  • ART KILL ACCÈS)S( (X9)

    Matthieu Saladin
    La capture de l’inaudible
    ​présentation du logiciel et performance – 2017

    A l’occasion de sa sortie sur le label Artkillart, Matthieu Saladin présente le logiciel « La capture de l’inaudible ». Fruit d’une réflexion esthétique, sociale et politique, le projet questionne la norme de compression MP3 du son.

    « En tant que forme de compression des données, l’aspect le plus fascinant du MP3 reste le modèle psycho-acoustique qu’il encode dans un fichier. En personnifiant la technologie, on pourrait dire que le MP3 présuppose que le sens de l’ouïe écarte la majeure partie du son qu’il rencontre, il essaie donc d’imiter le processus par lequel le corps humain écarte certaines ondes sonores durant les processus de perception. De manière préventive, il se débarrasse de certaines données du fichier audio en anticipant le fait que le corps s’en débarrassera plus tard, ce qui produit un fichier plus petit. » Johnatan Sterne.

    La capture de l’inaudible -projet vise à problématiser la notion d’inaudible dans nos sociétés actuelles- est un logiciel qui agit de manière exactement inverse au traitement du signal que réalise habituellement un encodeur MP3 : il ne conserve que les fréquences que supprime l’encodage MP3, c’est-à-dire l’inaudible selon l’idéologie qui gouverne cette technologie.

    D’une part, l’inaudible est ici compris au sens de ce qui appartient au royaume des sons ne pouvant être entendus car se situant en-deçà ou au-delà du spectre audible par l’oreille humaine, ou bien masqués par d’autres sons plus forts émis simultanément ou presque.

    D’autre part, l’inaudible renvoie à ce qui excède l’écoute, sinon l’entendement d’un groupe, d’une communauté, voire d’une société, en tant qu’il est construit socialement, culturellement et historiquement, autrement dit à ce qui ne peut être entendu car demeurant inintelligible pour ce groupe, cette communauté ou cette société, et selon, là aussi, des effets de seuils et de masques. À l’acception phénoménologique de l’inaudible s’adjoint ainsi une acception politique, sans que l’on puisse en réalité tracer une frontière nette entre l’une et l’autre, notamment dès lors que l’on aborde l’écoute en tant que sens pris dans des dispositifs (du reste comme tous les sens), qui l’agencent de manière stratégique, la façonnent techniquement, juridiquement, historiquement et socialement, soit une écoute “appareillée” quand bien même celle-ci ne serait munie d’aucune prothèse visible.

    _

    Matthieu Saladin est artiste et musicien. Sa pratique s’inscrit dans une approche conceptuelle de l’art, réfléchissant, à travers un usage récurrent du son, sur la production des espaces, l’histoire des formes et des processus de création, ainsi que sur les rapports entre art et société du point de vue économique et politique. Elle la forme d’installations, de performances, de publications, de vidéos et de créations de logiciels. Il est également maître de conférences en arts plastiques à l’Université Paris 8, membre de l’équipe TEAMeD au sein du laboratoire Arts des images et art contemporain (AI-AC). Sa recherche théorique porte principalement sur les arts sonores et les musiques expérimentales. Il codirige la collection Ohcetecho aux presses du réel, participe aux comités de rédaction des revues Volume ! et Revue et Corrigée, et est directeur de rédaction de la revue de recherche TACET. Son travail est représenté par la galerie Salle Principale.

    Co-production accès)s( , Synesthésie, Art Kill Art, ESAP
    En partenariat avec le Conservatoire Pau Pyrénées

    + Artkillart
    Séance d’écoute

    Artkillart est un label basé à Paris et à Berlin depuis 2007 spécialisé dans l’art audiovisuel et sonore expérimental. Proposant une ligne éditoriale radicale, Artkillart invite une génération d’artistes, musiciens et ingénieurs à porter une réflexion croisée sur les processus techniques inhérents aux supports d’enregistrement et de reproduction sonore. En réaction à la musique dématérialisée, ils conçoivent des objets sonores explorant la qualité, la complexité et les limites des différents médias (y compris le dvd, le cd et le vinyle). Cette réflexion se traduit par la production d’objets hybrides : K7 audio-programmes déchiffrables sur internet, vinyles à multiples sillons croisés pseudo- aléatoires, disques instruments, code-sources performatifs distribués, etc.

    A l’occasion de la sortie de « La Capture de l’inaudible « sur le label qui fête ses 10 ans cette année, une sélection musicale commentée de quelques-unes des parutions sera proposée.

    8 € Plein tarif
    6 € demandeur d’emploi / – 26 ans
    5 € détenteurs carte Hello Pau

    Chapelle des réparatrices – Conservatoire de musique et danse
    2 rue des Réparatrices
    64000 Pau
    05 59 98 40 47

  • ART KILL BASEL (X8)

    November 19, 20:30
    Flatterschafft, Solothurnerstrasse 4

    Yann Leguay (CH)
    phonotopy.org

    Martin Howse (DE)
    1010.co.uk/org

    Valentina Vuksic (CH)
    harddisko.ch

    Artkillart (FR)
    artkillart.org
    ART KILL BASEL 10 Years Annivarsary ! Mega Art Kill Art Anniversary party with mechanical turntablism patterns, hardrivedisco, emv computer noise, EARTHVOICE un-earths a dirty, soil circuit earth noise and more.

    In collaboration with SUMME and Espace Multimédia Gantner

    Organized and curated by Michi Zaugg Plattfon / Klappfon