Monthly Archive for November, 2003

Ping Pong

Electronic music, 2003
Juliette Fontaine et Thierry Fournier

Ping-pong has been composed through a process of sound exchange with Juliette Fontaine. I’ve edited the exchange into a main piece.

The instrumental apparatus is composed by a laptop and an analog filter bank (Sherman). Every gesture of the performer is recorded in real time and injected again into the sound loop.

Related to: Core, Pandore

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Sweetest Love

Musical piece for three male voices and electronics, 2003

Sweetest Love has been composed from three poems by John Donne, the 16th-17th century poet and philosopher, a contemporary of Shakespeare (Song, Women’s constancy, A fever). Written for three male voices (tenor, baritone, bass) and real time electronics, the piece alternates solos and trios, with a cappella and electronic sections.

It explores the most fragile register for each voice, while every section is written in the same tessitura for the three singers. This required a very special care and work on tonality for the singers. The electronics are mostly based on pulsations and oscillations. The electronic relation with the voices becomes principally organic, evoking both solitude and the constant presence of the body.

Performers: Jean-François Chiama (tenor), Jean-Christophe Jacques (baryton), Jean-Loup Pagésy (basse), Thierry Fournier (electronics) – Related to: Siren, Ping-Pong, The Nibelungen Treasure, Core. Image : Meershaum, Jean-François Robardet 2005 (detail). See also the credits page.

Extracts :

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Shadow of a doubt

Interactive installation, 2003
Original title : L’Ombre d’un doute

Shadow of a doubt is a “controversy space”: a set of points of view about science, media and politics is confronted with visitors’ presence and actions. The apparatus consists in representing visitors by white “ghosts” along a wall. These ghosts follow them and they reveal videos of interviews, TV archives and philisophical texts read by actors.

This representation may constantly be modified through an interaction that visitors’ behaviour defines. Everyone experiences here two simultaneous collective situations: what happens in the interviews and what is built up continuously and improvised by visitors themselves within the installation space.

The relationships and proximity between sequences are constantly modified by the interaction between each visitor’s behaviour in the room. Each person faces two simultaneous collective experiences: one that is talked about in the video sequences, and one that builds up continuously, improvised by the visitors, in the installation area.

People interviewed are activists and association members (François Desriaux, Christophe Gérard, Anne-Laure Morin, Christophe Noisette), philosophers and sociologists (Marc Augé, Bernard-Marie Dupont, François Ewald, Pierre Lascoumes, Isabelle Stengers), a farmer (Hervé Touraquet), civil servants and politicians (Bernard Bachelier, Alain Claëys, Martin Hirsch), and researchers (Olivier Godard, Pierre-Henri Gouyon, Guy Riba, Jacques Testart).

Texts excerpts that actors read are by Giorgio Agamben (Moyens sans fins), Gilles Châtelet (Vivre et penser comme des porcs), Gilles Deleuze et Félix Guattari (Qu’est-ce que la philosophie ?), Georges Didi-Huberman (Ce que nous voyons, ce qui nous regarde), Bernard Kourilsky et Geneviève Viney (Rapport au premier ministre sur le principe de précaution), Bruno Latour (Du principe de précaution au principe de bon gouvernement), Maurice Merleau-Ponty (L’oeil et l’esprit), Francis Ponge (Le Parti pris des choses), Armand Robin (La Fausse Parole), Clément Rosset (Principes de sagesse et de folie), Isabelle Stengers (Sciences et pouvoirs – la démocratie face à la technoscience), Paul Watzlawick (La Réalité de la réalité : confusion, désinformation, communication), Ludwig Wittgenstein (De la certitude).

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Electric Bodyland

Installation interactive, 2003

Electric Bodyland est une installation sonore interactive adaptée de la pièce musicale Core. Son dispositif est délibérément vide, simplement entouré d’une paroi périphérique. Chaque mouvement ou déplacement d’un visiteur produit une navigation à l’intérieur d’une pièce musicale qui se compose, se mixe et se spatialise au gré des manifestations du corps.

Individuellement ou collectivement, les spectateurs explorent et jouent leur propre version d’une partition ouverte, dans une sculpture sonore qui se parcourt dans le vide, par le milieu, et de l’intérieur.

Création au Festival Synthèse 2003. En lien avec : Core, Frost, Feedbackroom, Machine Histoires, Le Trésor des Nibelungen – Voir également la page crédits.