Created (XML-WORKS_COUNTRY-France.xml) Open frame source for XML data.

( 18 Antonin Artaud 1906 683 images/spacer.jpg Pour en finir avec le jugement de dieu Recorded in several sessions in the broadcasting studios of the Radiodiffusion française, rue François-1er, Paris, between November 22-29, 1947, and immediately banned from the air, was to become as legendary as the famous conference he gave earlier that year at the Théâtre du Vieux Colombier, titled, Histoire vécue d’Artaud-Mômo It was the controversy surrounding this conference a few months earlier, and the rumours (including certain articles in the press) already in circulation on the broadcast in production, which in all likelihood attracted the attention of the Director-General of the Radio to the point that he asked for the recording. He banned the transmission immediately, the eve of the day it was scheduled to be on air, Monday, February 2, 1948, at 10.45 pm, as part of the series, titled, La Voix des Poétes, in which Artaud had been invited to participate by the director of dramatic and literary programmes, Fernand Pouey. The latter, however, gained recourse to a committee of personalities, including Georges Altman, Jean-Louis Barrault, René Clair, Jean Cocteau, Max-Pol Fouchet, Paul Guth, the Reverend Father Laval, Pierre Herbart, Louis Jouvet, Pierre Laroche, Maurice Nadeau, Jean Paulhan, Raymond Queneau, Georges Ribemont-Dessaignes and Roger Vitrac, who were to listen to the recording on February 5, 1948 in a studio in the rue François-1er unit. In the face of opposition, the Director-General evaded the issue by claiming he did not feel duty-bound by their favourable verdict. He maintained the ban and Fernand Pouey resigned. Accessed 15.11.06 from UbuWeb - 1947 France audio/Artaud-Antonin_01_Opening-Text.mp3 106 Justin Bennett 1964 1623 images/spacer.jpg Rumours Rumour is noise, disturbance, an unidentifiable sound on the edge of perception, a vague feeling, or a premonition of what is to come. Rumour is the sound that guides us through the streets as we wander. It attracts and repels. In vain we search for its source. It is everywhere but nowhere at the same time. Rumour is the sound of many things multiplied and filtered as it resonates through countless spaces on its way to our ears. Rumour is the sound of many voices, acts, and movements. Rumour is the sound of stories. Stories that pass from mouth to ear and, in spreading, form a vector for multiple tales and points-of-view. Translation, interpretation, misunderstanding, hyperbole, and desire infuse rumour with conspiracy, jealousy, humour, intolerance, politics, or morality. Rumour heard from afar sounds like an ever changing drone, a soundfield that surrounds and fills the city with energy. We are listening to the citys inhabitants, its architecture, its rhythms and that ungraspable thing that defines a city s sense of place. Rumour is the sound of the city itself. Later, the piece developed into a long soundscape for the Sonic City project that, together with Urban Rumours was part of the exhibition Mutations, Arc en Reve, Bordeaux, De Raffinerie, Brussel and TNProbe, Tokyo. In this piece, the sound from the street below and the surrounding area is picked up by a moving microphone. The recording explores the different resonances of various spaces which emphasise different aspects of the ambient drone, revealing tones, rhythms, and layers of sound previously hidden in the noise. - 2000 France audio/Bennet-2000-rumours.mp3 48 Pierre Schaeffer 1910 1057 images/spacer.jpg Etude aux chemins de fer montage of sounds recorded at the train depot in Paris. Sounds included six steam locomotives whistling, trains accelerating, and wagons passing over the joints in the tracks. Tape 1948 France audio/Schaeffer_P-etude_aux_chemins_de_fer.mp3 48 Pierre Schaeffer 1910 1061 images/spacer.jpg Symponie pour un homme seul In collaboration with Pierre Henry. Schaeffer divided the composition process into two lines: 1. Using new technical aides to extend the possibilities of instrumental sources. 2. Incorporating his objets sonores principles. He decided to use human sounds as his main source material, as well as some non-human sounds. He divided the material into two groups: 1. Human sounds (breathing, vocal fragments, shouting, humming, whistling). 2. Non-human sounds (footsteps, knocking on doors, percussion, prepared piano, orchestral instruments). Symphonie was divided into eleven movements. Repeated patterns of spoken words were used as rhythmic patterns mixed with other sounds such as prepared piano, etc. - 1949 France audio/Schaeffer_P-Symphonie_pour_un_Homme_Seul.mp3 91 Iannis Xenakis 1922 2316 images/works/Xennakis-1954-Metastasis.gif Metastasis orchestra of 61 instrumentalists 1954 France audio/Xenakis-Metastasis.mp3 123 Karlheinz Stockhausen 1928 2393 images/works/Stockhausen-1991-HELIKOPTER.jpg HELICOPTER STRING QUARTET Early in 1991 I received a commission from Professor Hans Landesmann, the person responsible for the concert planning of the Salzburger Festspiele, to compose a string quartet. The Arditti Quartet was to play the world première in 1994. My first reaction was - as often before in such cases - that I would not write a string quartet, because I have never separated form, content and performance practice, and the string quartet is a typical genre of the 18th century. Similarly, for 45 years, I have not written symphonies, sonatas, piano concertos, violin concertos etc. Each of my works has its own form, instrumentation, performance practice. And then I had a dream: I heard and saw the four string players in four helicopters flying in the air and playing. At the same time I saw people on the ground seated in an audio-visual hall, others were standing outdoors on a large public plaza. In front of them, four towers of television screens and loudspeakers had been set up: at the left, half-left, half-right, right. At each of the four positions one of the four string players could be heard and seen in close-up. Most of the time, the string players played tremoli which blended so well with the timbres and the rhythms of the rotor blades that the helicopters sounded like musical instruments. When I woke up, I strongly felt that something had been communicated to me which I never would have thought of on my own. I did not tell anyone anything about it Since I did not, after the dream, have any time to compose, I wrote and drew several sketches and - from the super formula - developed the HELICOPTER STRING QUARTET as the third scene of WEDNESDAY from LIGHT (LICHT), the cycle of music dramas which I have been composing since 1977. Only in 1992/93 did I find the peace to compose the HELICOPTER STRING QUARTET, and especially to make the fair copy of the coloured score. A performance is staged in the following way: First, the four string players are introduced to the audience by a moderator - who may also be the sound projectionist. He briefly describes the technical aspects of the forthcoming performance. Then, the players walk to the helicopters - or are driven there - while being constantly followed by video cameras which transmit to the television monitors. The moderator (at the mixing console) explains over the loudspeakers what is happening. From their embarkation into the helicopters until they disembark, each string player and his helicopter is transmitted via camera, television transmitter, three microphones and sound transmitters to his own group of monitors for the audience. Each string player should be constantly audible and always visible close-up – face, hands, bow, instrument – without any camera changes and without the fading in of other pictures. Behind each player, the earth can be seen through the glass cockpit of the helicopter. The ascent lasts about 5 minutes from the ignition of the turbines to bar e1™. Until the world première, the measured music of the score (starting at bar e1™) lasted 18! minutes. Due to a later addition, it now lasts circa 21! minutes. Descent and landing last about 5 minutes each. The microphone transmission from each helicopter should be such that the sounds of the rotor blades and that of the instrument blend well, and the instrument is heard slightly louder. To achieve this, at least 3 microphones per helicopter are necessary: 1 contact microphone on the bridge of the instrument, 1 microphone in front of the mouth of the player, and 1 microphone outside the helicopter which clearly picks up the sounds and rhythms of the rotor blades. The 4 x 3 microphone signals can be transmitted by 12 individual transmitters – possibly via satellite relay – and received at the concert hall as well as at further localities, then balanced and mixed to 4 mono signals at a mixing console using 4 x 3 faders. From the moment the synchronous playing begins (0’00”) until it ends (21’37.8”), the four helicopters circle within a radius of circa 6 km above the performance venue, individually varying their flying altitudes. They should fly so high that the direct sound of the rotor blades is much softer than the sound coming from the loudspeakers, or even better, inaudible. After the landing, cameras follow the string players and the four pilots as they disembark from the helicopters and walk (ride) to the concert hall. Once in the auditorium, the pilots are also introduced by the moderator. The players and pilots are asked about their experiences, and finally the audience is invited to participate in the discussion. In performances independent of WEDNESDAY from LIGHT, at least three successive flights should take place in daylight with an appropriate period of time between flights, and with different audiences. As third scene of the opera, only one flight takes place, also in daylight. The composition is through-structured to the tenth of a second. The players are synchronised using a click-track which is transmitted up to them in the helicopters, and which they hear over earphones. Since the four string players usually tremolo in criss-crossing glissandi, I had to draw their pitch lines and curves on top of one another in four colours, so that the melody trajectories could be followed. * * * In the autumn of 1993 I sent the score to Professor Landesmann in Salzburg, slightly nervous at the possibility of him exploding in dismay. Amazingly enough, his response and that of the general director of the Festspiele, Dr. Gerard Mortier, was unexpectedly positive, inspired and courageous. A long series of negotiations followed between the direction of the Festspiele and the Austrian army for obtaining the helicopters, with the Austrian radio and television for obtaining the necessary 12 audio and 4 video transmission-channels, and with officials for obtaining the many necessary permits. I received photographs of a cellist playing in a helicopter, tape recordings made using various microphones, and copies of documents. I called Irvine Arditti only after the Festspiele had accepted my score. His first words were: “Wow – wow – wow!” Whatever that meant: I was happy that he did not give up at once. However, he soon tried to convince me to allow the quartet to be performed without helicopters, using a tape of helicopter sounds, a suggestion to which I reacted quite crossly (naturally, he could not imagine what I had experienced in the dream). Soon afterwards, I sent him four colour photocopies of the score and a click-track tape which my son Simon had made, on which each bar number is spoken in English, and the beats of each bar are marked by impulses and counted in German. Despite the efforts of the Festspiele direction, the performance planned for 1994 could not take place. I was told that the Green political party had publicly warned that it would be intolerable for the environment to allow four helicopters to fly above Salzburg just for the music of Stockhausen, and that the general director of the Austrian television and radio had therefore set such astronomically high rental fees for the equipment, that everything became too expensive. I told this story to Jan van Vlijmen, the director of the Holland Festival. At first, he did not say anything. But he must have been infected by my dream. Heaven knows how he managed to get all of the permits and sponsors. In any case, he allowed several experiments to be made, but only in mid-April 1995 did he send me the news that the HELICOPTER STRING QUARTET would definitely be performed three times on June 26th 1995 in Amsterdam. On December 14th 1994, Irvine Arditti took part in the first tests at the airfield in Deelen, Holland. He told me afterwards that everything seemed to work. During the rehearsals in four separate rooms, I was in a control studio and heard the string players – whose playing was picked up by 4 microphones – individually over 4 loudspeakers. The arrangement of the loudspeakers was as it should be in a performance: left half-left half-right right violoncello viola 2nd violin 1st violin During these rehearsals I spoke with the musicians via microphone and loudspeakers, and recorded all sections using an 8-track tape recorder. At regular intervals, the players came into the studio and listened to the recordings. The tape of these partial recordings and a complete recording is in the archives of the Stockhausen Foundation for Music. On May 10th 1995 further microphone and transmission tests followed at the airfield in Deelen. During these tests, both a small battery-powered mixer in the helicopter (for the distribution of the signals to the transmitter and earphones) was used, as well as a mixer at the ground station where the signals were mixed and recorded. On June 8th, also in Deelen, Irvine Arditti and Rohan de Saram (in helicopters) tried out special stringed instruments with contact microphones, various microphones, transmitters, receivers and the mixing console. Finally, on June 24th 1995 at the grounds of the Westergasfabriek in Amsterdam, all technical equipment was set up in a specially fitted auditorium, and on June 25th the final rehearsals began, with four helicopters. After I had tested all of the technical transmission units in the helicopters, I prepared the mixing console, and tested all of the equipment. Two test performances were flown, recorded on 12 channels and each time listened to by all participants, commentated and corrected. Also the presentation of the musicians and pilots was rehearsed, with myself as moderator. For the world première on June 26th, three flights took place at 4:30, 6:30 and 8:30 p.m., for different audiences, each time introduced by me and followed by a discussion. All rehearsal flights and performances were recorded on film and 16-track tape. The recordings were made on 32 tracks (4 x Tascam DA-88): 2 x 12 channels for recording the rehearsals and performances and for security copies. The Dutch radio recorded a stereo mix of these channels on DAT. Some of these documents are in the archives of the Stockhausen Foundation for Music. Most of the filming was done by Allegri, a Dutch company. After the world première, I added a circa 3-minute, synchronous Formation to the end of the work before DESCENT and LANDING. HELICOPTER STRING QUARTET ist dedicated to all astronauts. Performance practice Personnel, instruments World première: The cameras were installed in the helicopters, the support equipment and personnel were on the airfield. All proceedings between the auditorium and the helicopters at the take-off and landing points as well as an initial and final presentation were directly transmitted by portable cameras. 4 music stands, installed in the helicopters. 4 x 3 microphones with 4 x 3 transmitter-receivers; per player: 1 contact microphone on the bridge of the instrument, 1 speech microphone in front of the mouth, 1 large outboard microphone for the rotor blade sounds. The 4 x 3 microphone signals may also be received via satellite relay. World première: After numerous experiments for positioning the outboard microphones, they were fastened to the boarding stairs below the doors of the helicopters and covered with special wind-shields. Due to safety regulations, there was no other possibility. The Sprechgesang of the players (speech-singing of numbers), which was picked up by the speech microphones, was transmitted via the video transmitters. The signals of the contact microphones and outboard microphones were transmitted via 4 x 2 audio transmitters. 8 closed earphones (tightly fitting) for the 4 players and 4 sound technicians. 1 click-track tape: For rehearsals and performances, Simon Stockhausen made a 2-track tape, the left track of which is a voice counting the 1st beat of each bar in English and all further beats in German; on the right track, the 1st beat of each bar is marked with a high impulse and each following beat with a lower impulse. A copy of this tape with exchanged tracks is also available. There are slight timing discrepancies between the tape and the score. These resulted from approximations of the metronomic tempi during the production of the click-track tape. The players originally asked to hear the counting voice of the click-track tape in one ear and the impulses in the other ear, and their instrument and voice in both ears. Voice and impulses were recorded separately on the two channels, so that the balance between them could be individually regulated. Originally, we had made a mono mix of both signals, but the players could not hear the voice loud enough when the impulses were sufficiently loud. The voice was covered by the noises in the helicopter. The click-track was transmitted by a mono transmitter, and thus the balance between voice and impulses was controlled at the ground station and could not be altered in the helicopter. The players therefore heard – in the end – voice, impulses and their own instrument on both ears. Each player had a different mix of the microphones and click-track which could be altered during the rehearsals. World première: A sound technician sat in each helicopter vis-à-vis the string player, and operated a small mixer, balancing the levels of the 3 microphones and that of the click-track tape for the player’s earphones. 4 columns of television monitors in the concert hall. for string quartet, 4 helicopters with pilots and 4 sound technicians 4 television transmitters, 4 x 3 sound transmitters auditorium with 4 columns of televisions and 4 columns of loudspeakers sound projectionist with mixing console / moderator (ad 1991 France audio/Stockhausen-1991-helicopter.mp3 91 Iannis Xenakis 1922 2574 images/spacer.jpg Kraanerg orchestra and four-channel tape 1968 France audio/Xenakis-Kraanerg.wav 77 Hans Peter Kuhn 1952 1187 images/works/Kuhn-1996-Ballett.jpg Ballett On top of a 7 meters long white wall there were 32 loudspeakers standing next to each other. Sounds were travelling at different speed and with different pattern along the speakers. 32 Lautsprecherboxen stehen in enger Reihe – dicht an dicht, ohne Zwischenräume – auf der Krone einer niedrigen Mauer in der Mitte eines großen Raumes. Alle strahlen zur selben Seite. Das Licht im Raum ist gedämpft. Kurze abstrakte Klangfetzen rasen mit hoher Geschwindigkeit von Lautsprecher zu Lautsprecher und vermitteln den Eindruck von fließender Bewegung. Die Klänge werden ihrer Statik entzogen. Es entsteht ein Ballett der Töne, eine Melodie der Orte. Accessed 31.05.2007 from - 1996 France audio/Kuhn-xxxx--Ballett.wav 76 La Monte Young 1935 2069 images/spacer.jpg 89 VI 8 c. 1:42-1:52 AM Paris Encore, 10:33 - 1989 France audio/Young-89_VI_8.wav 240 Erik Samakh 1959 3655 images/works/Samakh-1995Chien.jpg Entre Chien et Loup 1995 France audio/Samakh-1995-Entres_chiens.wav 48 Pierre Schaeffer 1910 3917 images/spacer.jpg Etude au Objets 1959 France audio/Schaeffer_P-1959-Etude_aux_Objects-Objets_rassambles.wav 91 Iannis Xenakis 1922 3969 images/spacer.jpg Hibiki Hana Ma 1970 France audio/Xenakis-1970-Hibiki-Hana-Ma.wav 48 Pierre Schaeffer 1910 2761 images/spacer.jpg Bilude - 1979 France audio/Schaeffer-bilude.wav 48 Pierre Schaeffer 1910 2760 images/spacer.jpg Etude aux sons animes - 1958 France audio/Schaeffer-etude_aux_sons_animes.wav 126 Bernard Parmegiani 1927 4076 images/spacer.jpg Le Present Composee 1991 France audio/Parmegiani-1991-La_Prèsent.wav 126 Bernard Parmegiani 1927 4075 images/spacer.jpg Exercisme 3 1986 France audio/Parmegiani-1986-Exercisme3.wav 126 Bernard Parmegiani 1927 4074 images/spacer.jpg Rouge-Mort 1987 France audio/Parmegiani-1987-Rouge-Mort.wav 126 Bernard Parmegiani 1927 4073 images/spacer.jpg Dedans-Dehors 1977 France audio/Parmegiani-1977-Dedans-Dehors1.wav 126 Bernard Parmegiani 1927 4072 images/spacer.jpg Pour en Finir avec le pouvoir d'Orphee 1971 France audio/Parmegiani-1971-Pour_en-finir-avec-le-pouvoir.wav 126 Bernard Parmegiani 1927 2469 images/works/Parmegiani-1973oeil.jpg Violostries Finally reissued, with new artwork; this has been the most in-demand electroacoustic CD for the past few years. Parmegiani is one the electroacoustic superstars of the INA GRM universe, and along with various Bayle titles this is a great place to start with the label. This amazing double CD is broken up into 2 parts: the first disc consists of old-style tape-splicing electroacoustic material, dating from 1963 to 1976 (Violostries, Pour en Finir avec le Pourvoir dOrphee and Dedans-Dehors). The 2nd disc represents post-computer acousmatic music, with works from 1986 to 1991 (Rouge-Mort: Thanatos, Exercisme 3 and Le Present Compose). All are thoroughly soaked with the intuitive power of brain-scanning sonic properties, tones fade and explode with stunning neuronic intensity. Exercisme 3 features a sort of interface enabling natural sounds or analogical synthetic sounds to release digitally synthesized sounds. Such and such a series of impulsions releases virtually aleatoric, and sometimes very varied, repetitions of digital sounds. These repetitions are often very dense and take us to the limits of continual sound phenomena, thus making these factory sounds lose their instrumental soul. Thus, we suddenly swing from one domain to another, from the instrumental to the electroacoustic, from a language we understand, to an unknown language. Accessed 12.12.06 from - 1963 France audio/Parmegiani-1963-Violostries.wav 129 Francois Bayle 1932 4109 images/spacer.jpg Vibration Composees 1973 France audio/Bayle-1973-VibrationsComposees_ Rosace3.wav 50 Marcel Duchamp 1887 3925 images/spacer.jpg Anemic Cinema 1926 France video/Duchamp-1926-Anemic-Cinema.mpg 110 Benoit Maubrey 1952 1595 images/spacer.jpg AUDIO BALLERINAS In this case a new Audio Uniform , based on the design of a ballerinas tutu, was built using solar cells to power the electronics. At the same time digital-memories (257 K samplers) were used instead of cassette players: this permits the performers to record live sounds from around them. Electronic looping devices, light sensors, radio wave receivers are also included on the plexiglas surfaces of the tutus: in the end the Audio Ballerinas were able to create an entire spectrum of sounds via their clothing. - 1989 France video/Maubrey-1996-Ballerina.mpg 16 Stephen Vitiello 1964 114 images/spacer.jpg New York, New Sound, New Spaces, 2002 France 26 William Furlong 1944 174 images/spacer.jpg Suite dautomne, 1993 France 29 Christina Kubisch 1948 221 images/works/kubisch-1981_Heidelberg.jpg Ecoutez les murs 1981 France 29 Christina Kubisch 1948 291 images/works/kubisch-2001_Paris.jpg Le jardin magnétique 2001 France 31 Francisco Lopez 1964 375 images/spacer.jpg unknown 2005 France 35 Scanner 1964 394 images/works/scanner-1996-delta.jpg Delta + Contemporary dance collaboration with Daniel Larrieu 1996 France 35 Scanner 1964 438 images/works/scanner-2002-salles1.jpg Salle des Departs The Hopital Raymond Poincare in Garches, near Paris, is famous for treating road injury victims. Every year 450 deceased people pass through its morgue, and after 40 years of conducting autopsies and talking to bereaved families, chief pathologist Doctor Michel Durigon decided it was time to create a Salle des Departs, a place where families and friends could come to say goodbye to their loved ones without, as he says, having to suffer sickly background music and a red carpet. The result was a commission for a groundbreaking piece of art: a room designed by Italian artist Ettore Spaletti, and later a musical soundscape commissioned from Robin Rimbaud. The luminous impact of this space proved a catalyst to the creation of this work. Consciously avoiding cultural or spiritual reference points, the work uses many personal recordings, of rainfall, birdsong, footsteps through snow, rowing in a boat, voices lost in the ether, through which a diffused piano melody slowly fades into the foreground, then softly retreats at intervals. The bereavement suite is a moving and inspirational work about an extraordinary humanitarian project. 2002 France 35 Scanner 1964 445 images/works/scanner-2003-noblie.jpg N’oublie pas ce que tu Devines 2003 France 35 Scanner 1964 457 images/works/scanner-2005-unperfect.jpg The Unperfect Created with Sigismond de Vajay The giant cage (height 6 m, circumference 3,5 m) of The Unperfect,although a simple structure, presents the work in a fine and effective manner. The originality of the system rests primarily on the principle of spatialization of the sound Vajay set up and which holds the trajectory of the sound around the space. The work took place as part of an approach to exploring and presenting an alternative reality, where electronic musicians collaborate with sculptors, choreographers and directors in different spaces; featuring works by Dominique Blais, Vincent Epplay, Cédrick Eymenier and Sigismond De Vajay with Scanner. 2005 France 35 Scanner 1964 464 images/works/scanner-2005-praxis.jpg Plexus / Praxis A dance work featuring a diptique composed of a solo and a trio. The world première was on 21st October 2005 at the Maison de la musique de Nanterre. Compared with the companys more recent works, this more personal opus saw Lionel Hoche create an introspective piece for which he was the solo artist, accompanied by a musicien, Benoît Toïgo, who joined the company in 2005. Renaud Bez imagined the video and Lucy Carter created the light design. The trio that followed attempted to evoke the necessity of belonging to a community and used three objects imagined by Philippe Favier. Three autonomous dancers weave their way to interaction and community, mans vital need to interact with others. I composed an original work for Praxis. 2005 France 36 Steve Roden 1964 500 images/spacer.jpg Letre de Zombie City for dance group Fabrice Dugied 1997 France 36 Steve Roden 1964 502 images/spacer.jpg unknown for dance group Fabrice Dugied 1997 France 36 Steve Roden 1964 515 images/spacer.jpg unknown 2000 France 36 Steve Roden 1964 537 images/spacer.jpg unknown 2003 France 39 Carl Micheal von Hausswolff 1956 599 images/spacer.jpg Group exhibition 2001 France 39 Carl Micheal von Hausswolff 1956 600 images/spacer.jpg Group exhibition 2000 France 39 Carl Micheal von Hausswolff 1956 607 images/spacer.jpg Group exhibition 1998 France 40 Zbigniew Karkowski 1958 621 images/spacer.jpg Area/Pulse (with Sensorband) 1998 France 39 Carl Micheal von Hausswolff 1956 627 images/spacer.jpg Erratum 3 compilation) 2000 France 22 Christian Marclay 1955 707 images/spacer.jpg The Wind Section - 1992 France 71 Michael J. Schumacher 1961 771 images/spacer.jpg Sound and Light Installation - 2002 France 60 Christof Migone 1974 988 images/spacer.jpg En toc The performance took place in an old factory called lUsine, they had installed a radio station there for the duration of the festival, but they had not received the transmitter in time. This last minute hitch in their plans was perfect for my purposes. The intent of the performance was to set up radiophonic actions without necessarily using standard radio technology. Aside from some visual and other performative actions, two 1watt transmitters were placed in the middle of the Bar-Hall-Dining area. One was transmitting, the other was idle. During the meal I proceeded to de-solder one of the 1watt transmitters. I placed all the components on a table in an appetizing manner (in an hommage to Testuo Kogawa). In a sense, I was digesting the transmitter, or consuming it by destroying it. The smell of solder blended with the odors of the meals the audience was having. I am not going to fool you, most of the audience was oblivious to what I was doing. There were eating and drinking in anticipation of a concert that was going to happen in the concert hall at the other end of the space. This was also appropriate, reaching a certain invisibility through a visible action. The other actions in this 14 hour performance were of the same ilk and had similar effect, that of a performer embodying a transmitter and the audiences tuner scanning the dial in vain for a signal. - 1993 France 92 Gregory Whitehead 1947 1053 images/works/Whitehead-2004-danse.jpg Danse Macabre soundtrack for marionette theater, 11:34 voice by Michel Nedjar - 2004 France 48 Pierre Schaeffer 1910 1055 images/spacer.jpg Phonogene Schaeffer created the phonogene. With it he was able to transpose a loop in 12 distinct steps from using a keyboard (this led to the mellotron keyboard). The keyboard selected one of 12 capstans of different diameters, like changing gears on a bike. A 2 speed motor allowed for octave transposition. - 1948 France 48 Pierre Schaeffer 1910 1056 images/spacer.jpg Morphophone Used in the Paris studio. It was a specialized loop deck. It had an erase head, record head, and ten playback heads with an adjustable filter for each to create special timbre effects. - 1948 France 48 Pierre Schaeffer 1910 1058 images/spacer.jpg Etude pour piano et orchestre combined the sounds of an orchestra tuning up with spontaneous improv piano playing by Jean-Jacques Grunenwald. The effect was of two unrelated ideas and therefore had no coherence. Tape, instruments 1949 France 48 Pierre Schaeffer 1910 1059 images/spacer.jpg Etude au piano I and II These were based on piano sounds alone. Pierre Boulez played multiple styles of piano such as classical, romantic, atonal, etc. Schaeffer tried to piece the parts together into a cohesive production but failed to do so. Tape, instruments 1949 France 48 Pierre Schaeffer 1910 1060 images/spacer.jpg Suite pour quatorze instruments In collaboration with Pierre Henry. the starting point for the syntax for musique concrete . It consisted of five movements. The Courante was a montage of an entire library of source material. The Gavotte was a simple musical phrase on different instruments. Pitch transposition was used for variations. Schaeffer was not happy with the results since the phrase retained many of its original characteristics, even with all of the treatments. - 1949 France 48 Pierre Schaeffer 1910 1062 images/spacer.jpg Orphee - 1951 France 83 Bruce Odland 1952 1073 images/spacer.jpg Fundamental Air In the Miro Labyrinth of the Fondation Maeght in the Foothills of the Maritime Alps in southern France, O made a resonance piece dealing with the Miro Gargoyle fountain and sounds of visitors. A collumn of resonance was generated on top of the Fondation where the garden and neighboring terrain could be observed. The sitess special problem was its allready profound integration of art, nature, and architecture. - 1995 France 100 Brandon LaBelle 1969 1114 images/works/Labelle-200x-lednouvel.jpg led nouvel (pirate drumming) Four drummers set up in the front courtyard of the Palais de Justice in Nantes during an organized city walk. Each drummer is partnered with a walker who speaks on the phone to the drummer, describing things they witness during their walk. From street names to colors, persons to animals, weather and atmospheres to vehicles and events, each element is transcoded to corresponding drums, driving a players actions. - 2005 France 100 Brandon LaBelle 1969 1120 images/works/Labelle-2005-urbanclick.jpg urban click / social cut In February of 2005 a workshop was organized in collaboration with Apo33 in Nantes with the specific aim of initiating a project that would relate itself, and the workshop participants, to the life of the city. This was developed in response, and in conjunction with, the current transformations taking place in the city of Nantes, with the redevelopment of its central island Territory from old industries related to shipping and trade to contemporary business, including cultural centres and governmental offices. Working with a group of participants from Nantes, the workshop developed into mappings in which the confrontation with difference was traced and marked. Participants were asked to consider experiences in which information was indecipherable, signs unreadable, phenomena foreign to their understanding. What resulted were forms of traversing the city in which how we might locate the city of Nantes through elements which rupture the idea of it being a single entity. Through such temporal and fleeting instances, a picture of Nantes appears according to the experiential: witnessing arguments on the street, feeling unease in the face of oncoming traffic, sensing changes in electro-magnetic energy, or following distant voices of lost histories... Difference in this regard operates as confrontation, recognition, and witnessing that possibly creates space for the unknown. From this perspective, difference is a form of interface giving voice to the urban click and the social cut: where one thing or person relates to another, makes connection, negotiates boundaries, or creates conversation, however difficult or fleeting. Working with the maps produced in the workshop, this web-site acts as a means of presenting participants findings and observations. Compiling the information acquired from the individual mappings, and organizing this into a single form, necessarily runs the risk of diluting the personalized perspective the workshop aimed to stimulate. The formation of this web-site thus aims to reproduce the workshop activity on the part of the user: stimulating forms of navigation through multiple routes, complicating a user mode of reading the map of the city, and adding elements of audible instrumentation, all function to re-present the city of Nantes while structuring itself through a vocabulary of urban experience. - 2005 France 100 Brandon LaBelle 1969 1121 images/works/Labelle-2005-street_music.jpg Street Music Forms of transmission and broadcast create spatial intrusions, defining territory according to bandwidth, locational discord, and the mechanics of reception. The street is a site of cultural tension, where the greater demarcations of statehood form a microcosm in the markings of neighborhood, city block, borough, local hang out, etc. To occupy the street is to lay claim, however fleeting, to the potential of making a mark, playing with the defining lines of territory. From a Rastafarian accordion player, a band of Latino jazz players, a team of men dressed up as Santa Claus, a guitarist in cowboy boots, the Queen’s Soldiers Marching Band, Street Music aims for the auditory markings of an urban center. How do the reverberations of street musicians songs come to occupy the street? What are the acoustical tensions found in their voices, in their hesitant or bold or humorous playing?Modern troubadours, minor musicians, or political antagonists... the eccentric styling of street musicians and their sonorous graffiti must be read as a territorial perforation, an addition to the modalities through which music may find audience. - 2005 France 21 Ryoji Ikeda 1966 1159 images/spacer.jpg dataphonics dataphonics [radio program series] consists of 10 six-minutes segments, each one is narrow-focused into a single parameter that is one of the significant elements what music/sound is. the approach is in-between conventional composition and scientific research - with a microscopic engineering method and a certain aesthetic point of view by the artist. the series is also an homage to Pierre Scheaffers Solfege de lobjet sonore, however, which never merely retraces his work, its concept deeply lies todays 0s and 1s situation and seek a possibility to materialize the invisible domain of totally-pure-digital-data. at the end of the 10 compositions, a long composition will be broadcasted as the final result of this project, an artistic demonstration of the investigation about the fundamental concept of digital, data of sound, sound of data. - 2006 France 77 Hans Peter Kuhn 1952 1184 images/works/Kuhn-1997-Projizierte.jpg Projizierte Musik The changing of the monochrome slides is processed by a computer and the sound of the changes turn into a composition of the projetors mechanical sounds. - 1997 France 77 Hans Peter Kuhn 1952 1185 images/works/Kuhn-1996-Rosa.jpg Rosa Rauschen The site in the upper floor of the museum has three skylights and no other windows. Above the frosted glass light gels of the colour 128 Bright Pink were placed which made the whole space be pink. 8 loudspeakers standing on 2 rows of white columns were lit with white light and played back a pink noise with hidden sound of abstract origin. The sounds moved slowly through the space.. - 1996 France 77 Hans Peter Kuhn 1952 1186 images/works/Kuhn-1996-Mittelplatz.jpg Mittelplatz On a wooden platform 4 colums with built in speakers and a chair invite the visitor to sit down. Opposite of the chair a window pane leaning against the wall mirrors slightly the person on the chair. A 4-channel sound-composition that starts with a huge applause goes into the noise of the Niagara Falls and further into oceanwaves and then into water dropping which changes into a single person clapping, which again moves into the huge applause. - 1996 France 78 Bernhard Leitner 1938 1211 images/works/Leitner-1987-cylindre.jpg Le Cylindre Sonore The inner diameter of the double cylinder is 10m, the height 5m. Behind the eight perforated concrete elements 24 loudspeakers have been mounted. Rhythm Space. Circular Space. Soft Walls. Statically drifting, room-filling sound-tissues picked up by the wind to alter their mouvements. Prickling Space, which is echoed by birds which populate the densely grown bamboo thicket. - 1987 France 50 Marcel Duchamp 1887 1240 images/spacer.jpg La Mariée mise à nu par ses Célibataires, même La Mariée mise à nu par ses célibataires même. Erratum Musical (The Bride Stripped Bare by Her Bachelors Even. Erratum Musical) belongs to the series of notes and projects that Duchamp started to collect in 1912 and which led to the Large Glass. It was neither published nor exhibited during Duchamps life. There are many notes and projects, each dealing with a different task. They are difficult material to work with, as there are no comments or explanations by Duchamp to assist with interpretation. Like many of them The Bride Stripped Bare by Her Bachelors Even. Erratum Musicalis unfinished and leaves many questions unanswered. Even so, it provides enough information for a successful realization. There are two parts to the manuscript. One part contains the piece for a mechanical instrument. The piece is unfinished and is written using numbers instead of notes, but Duchamp very clearly explains the meaning of those numbers, which makes it very easy to transcribe them into notes. He also indicates the instrument(s) on which it should be performed: player piano, mechanical organs or other new instruments for which the virtuoso intermediary is suppressed. the second part contains a description of the compositional system. Duchamps title for the system is: An apparatus automatically recording fragmented musical periods. The apparatus composing the piece is comprised of three parts: a funnel, several open-end cars, and a set of numbered balls. Each number on a ball represents a note (pitch) -- Duchamp suggested 85 notes according to the standard range of a piano of that time; today, almost all pianos have 88 notes. The balls fall through the funnel into the cars passing underneath at various speeds. When the funnel is empty, a musical period is completed. Realization for alto flute, trumpet, trombone, celesta, and marimbaphone by Petr Kotik. S.E.M. Ensemble - 1913 France 50 Marcel Duchamp 1887 1241 images/works/Duchamp-1913-Erratum.gif Erratum Musical Erratum Musical is written for three voices, included in the Green Box, which Duchamp published in 1934. It is undated, but has always been ascribed as having been written in Rouen in 1913. It was probably written during one of Duchamps visits to his family, as his parents and sisters lived there. Duchamp wrote the piece for his two sisters and himself--each part is inscribed with a name: Yvonne, Magdelaine, Marcel. The three voices are written out separately, and there is no indication by the author, whether they should be performed separately or together as a trio. In composing this piece, Duchamp the made three sets of 25 cards, one for each voice, with a single note per card. Each set of cards was mixed in a hat; he then drew out the cards from the hat one at a time and wrote down the series of notes indicated by the order in which they were drawn. Accessed 15.11.06 from ubuweb - 1913 France 105 Miller Puckette 1959 1330 images/works/Puckette-1991-maxmsp.gif Max/MSP Max/MSP is a graphical programming environment, which means you create your own software using a visual toolkit of objects, and connect them together with patch cords. The basic environment that includes MIDI, control, user interface, and timing objects is called Max. Built on top of Max are hundreds of objects, including two powerful collections from Cycling 74: * MSP, a set of audio processing objects that do everything from interactive filter design to hard disk recording.Jitter, a set of matrix data processing objects optimized for video and 3-D graphics - 1985 France 105 Miller Puckette 1959 1331 images/spacer.jpg Max/FTS The Ircam Real time systems team, created in 1995 by François Déchelle, began new developments based on the ISPW components. Based on the evidence that hardware development was no longer worth the cost, the decision was taken to give up expensive hardware development. As a consequence, Max/ISPW was then re-engineered with the goal of obtaining a high level of portability. To aid in this multi-platform development, it was decided to split the graphical user interface from the real-time execution engine, thus making orthogonal the evolution of the graphical and real-time parts. The execution engine was a rewritten version of the ISPW FTS monitor. Thus the name of Max/FTS was given to this version, which was distributed for the Silicon Graphics stations with a graphical user interface that was a port to X-Window of the NeXTSTEP user interface. - 1995 France 105 Miller Puckette 1959 1332 images/spacer.jpg Max/ISPW The Ircam Musical Workstation project, started in 1989, introduced a new version of Max which added real-time processing of audio signals, the processing algorithm being described in the same patching paradigm. This software was distributed under the name Max/ISPW, ISPW (Ircam Signal Processing Workstation) being another acronym for the Ircam Musical Worsktation. Max/ISPW was in fact made of two components, one being the graphical user interface running under NeXTSTEP, the other being a small real-time execution engine named FTS (for Faster Than Sound :-) running on the ISPW board based on Intel’s i860 processor. - 1989 France 105 Miller Puckette 1959 1333 images/spacer.jpg jMax a highly-modular visual programming environment for interactive real-time music. It is developed by the real-time team at IRCAM - 1996 France 91 Iannis Xenakis 1922 2606 images/spacer.jpg Musique Formelles a collection of his articles relating music, architecture, and mathematics - 1963 France 76 La Monte Young 1935 1421 images/spacer.jpg Hors Limites - 1994 France 76 La Monte Young 1935 1423 images/spacer.jpg Happenings and Fluxus - 1989 France 110 Benoit Maubrey 1952 1594 images/works/Maubrey-1988-cyclists.jpg AUDIO CYCLISTS This is a group of professional cyclists that wear Audio Tricots and play back the voice of Bernard Hinault (5-time winner of the Tour de France) while officially racing through the streets of Rennes. - 1988 France 129 Francois Bayle 1932 1739 images/spacer.jpg L’Expérience Acoustique Francois Bayles LExperience Acoustique , finished in 1972, is an early work, powerful and immense in its scope, which explores a universe of electronic sounds and sound relationships. The sounds are so striking because they re stated in such a simple way. Tracks 1-5 are thÅmes-sons and tracks 6 - 22 consist of five parts: L aventure du cri , Le Langage des fleurs , La Preuve par le sens , L Äpreuve par le son , and 'La Philosphie du non'. - 1972 France 129 Francois Bayle 1932 1740 images/works/Bayle-1976-camera.gif Camera oscura Featuring 2 long pieces: Camera Oscura (1976) and Espaces Inhabitables (1967). Camera Oscura is a literal 39 minute-minute tour de force of Bayles stereophonic fabric, the perfect ping, so to speak: At first a rhythmic maze, mirrors-form that look more-or-less alike, that are assembled, woven, fuged. Then we find ourselves thrown into windings and crystallised sonorities, in which the lines would be lost if they were not supported by low layers, from plateau to plateau, seemingly leading to a muter and muter deep, to the bottom of an abyss that heat and light would reach (maybe), in extremis. But for the ear, those constructions in sequence, processes, stretching, extensions, transpositions, thickenings, harmonisation, spatialisation, reverberations and dissipation are only forms and impressions left on the memory, in view of a joy of a multidimensional, fulfilled hearing. - 1976 France 129 Francois Bayle 1932 1741 images/spacer.jpg Tremblement de terre très doux - 1978 France 129 Francois Bayle 1932 1742 images/spacer.jpg Son Vitesse-Lumière A major work by Francois Bayle, Son Vitesse-Lumiere (Sound Speed-Light ) was composed in parts during a period of several years. Of Grandeur Nature (1980), Bayle writes, Imagine an object that is coming to visit us from many light years away ... Of Paysage, Personnage, Nuage (1980), It comes in snatches, like interference on a radio. The scene continues ... Of Voyage au Centre de la Tete (1981), The object moves inside us ... Of Le Sommeil d Euclide (1983), This piece describes orbs, spiral steps, intertwined parallels ... Of 'Lumiere Ralentie' (1983), The 'object' has become wind ... In summary, Bayle's sense of sound is in fact a sense of activity, of the way things happen, and his music moves us along his poetically constructed paths. This is a two-CD set with excellent documentation. - 1980 France 129 Francois Bayle 1932 1743 images/works/Bayle-1990-fabulae.gif Fabulae Francois Bayle was director of the Groupe de Recherches Musicales in Paris and inheritor of the tradition of musique concrète. He stretches the tradition. His sounds start from acoustic activities -- xylophone glissandi, bird calls, wind, percussion, harps, water bubbling -- but the total effect is of an unlimited orchestra accompanying an imaginary ballet. - 1990 France 129 Francois Bayle 1932 1744 images/works/Bayle-1994-main.gif La main vide La Main Vide (The Empty Hand ), by electroacoustic pioneer François Bayle, is in three movements: rain stick (1993-94), the future flower (1994), and inventions (1995). Bayle writes that the pieces contain intuitive gestures and figurations that play and intertwine as in an arabesque, then seem to fly through the space of the concert hall as if they were cast to the wind. - 1994 France 129 Francois Bayle 1932 1745 images/works/Bayle-1996-morceaux.gif Morceaux de ciels (Pieces of heavens) Two electronic compositions by Francois Bayle. Morceaux de Ciels (1997, Pieces of Skies ) is a gorgeous composition, with sounds floating like complex shapes of clouds moving across a windy sky, puctuated by the shape of small dark birds fluttering and then disappearing ... In their complexity and in the warmth of their timbres, some of the sounds almost, but not quite, suggest an orchestra. Theatre d Ombres (1988, Shadow Theatre ), as Gerard Denizeau describes it, is Music which would make a wonderful ballet ... presenting an imaginary place built entirely of sound. - 1996 France 129 Francois Bayle 1932 1746 images/works/Bayle-1985-jeita.gif Jeîta-retour Bayle describes the music on this recording as that in which the echo of waters and of shade will speak to each and everyone their mother-tongue: the language of their origins. Indeed, Bayles works are always evocative, taking a listener on a sonic journey through time and imaginative space, and the music on this CD, largely dynamic transformations of sound materials taken from nature, is highly suggestive and beautiful. - 1985 France 129 Francois Bayle 1932 1747 images/works/Bayle-1999-arc.gif Arc, pour Gérard Grisey - 1999 France 129 Francois Bayle 1932 1748 images/works/Bayle-1998-formtemps.gif La forme du temps est un cercle (Time’s form is a circle) Electroacoustic music by Francois Bayle. This work, translated in English as the form of time is a circle, is a cycle of compositions from 1999 - 2001. Bayle describes the music as Times figures, those whose audible traces reveal their inner movements, can surprise us by their seemingly familiar vocabulary. My project, the idea behind this work, is to arouse the desire or pleasure of listening by presenting rather temporal perspectives based on their images, figures, impetus and vividness. His interest is in addressing time, sound events hurrying, pounding in place, moving backwads, flowing ... Compositions include Concrescence , Si Loin, Si Proche ... , Tempi , Allures , and Cercles . Nature -- that reservoir of organisms and temporal forms -- proposes many patterns to our rhythmic imagination breathing, pulses, ebb and flow, a day s circle or the passage of seasons... My project, the idea behind this work, is to arouse the desire or pleasure of listening by presenting rather temporal perceptions based on their images, figures, impetus and vividness. Several moments therefore that such entities traverse shall attempt to demonstrate special aspects of time s 'grain,' in order to prolong its emotional potential. Here then, are some of time's such figures at work. There is the one that hurries then flees, - the one that pounds and hammers, - that breaks the wave, - that moves backwards and does an about- face, - that splashes into a shower, - that trickles like rain, - that flows, while dripping off, - that slowly forms a bead, - that spurts out in jolts, - that gyrates in a whirl, - that evaporates... Variations from 'knocks' to 'traces,' from a heavy pulse to melody, from a tolling bell and its mysterious concurring powers to the furrows of clouds of dust and orbits circulating at various speeds, not to mention the various 'paces' of the pulse itself. At the end of the five stages, the listener will have completed a trajectory, one of temporal unity beginning from the finest 'grain' and progressively focusing his/her perception in order to discern and identify images and forms. Colors' transience, speeding figures will be resolved in a spiral (the three-dimensional form of a circle), by which the initial sound-image (tolling bells) will infinitely evolve into the final sound-image: that of summer crickets during a night of suspended, dream-like time. -- Bayle. - 1998 France 129 Francois Bayle 1932 1749 images/works/Bayle-2001-formeespirit.gif La forme de l’esprit est un papillon (The mind’s form is a butterfly) In 1958, François Bayle joined Pierre Schaeffers Groupe de Recherches Musicales and eventually became its director, in which role he brought the organization into the digital age. The composition on this CD include La forme de lesprit est un papillon , Trois reves d oiseau , and Mimameta . Bayle s music is not about technology, however. It is about reflection, ideas, and the flow and shifting of relationships between sounds. It is thoughtful, intuitive music that speaks in a nonassertive, subtle, interesting voice. - 2001 France 129 Francois Bayle 1932 1750 images/spacer.jpg Univers nerveux - 2005 France 129 Francois Bayle 1932 1751 images/spacer.jpg Extra-ordinaire - 2005 France 141 Cathy Lane 1955 1772 images/spacer.jpg Undercurrent - 2002 France 9 Max Eastley 1946 1815 images/spacer.jpg Untitled live show - 2002 France 9 Max Eastley 1946 1828 images/spacer.jpg Untitled live show - 1995 France 9 Max Eastley 1946 1835 images/spacer.jpg Untitled live show - 1982 France 120 Jonty Harrison 1952 1904 images/spacer.jpg Aria Aria was conceived as an elaboration of the gestural properties of a gust of air, characterised by a tendency from generally higher to generally lower register (and at least part of the way back), coupled with a similarly-paced crescendo/diminuendo shape, and containing a great deal of internal spatial detail. This gesture also predominates at the local level, among the individual sound types and individual musical gestures in the work. Occasionally the forward momentum is halted by entering a garden of relative stasis; these become increasingly evocative of real garden environments as the work progresses. As a counterpoint to this are elements recalling the more vocal and cultural connotations of the word aria. To emphasise this aspect of the human voice within the work, many of the sounds in Aria were produced using the EMS Vocoder in Studio Charybde of the Groupe de Musique Experimentale de Bourges (France). Aria was commissioned by the GMEB and was composed in their studios during two visits in 1987, and in the Electroacoustic Music Studio of The University of Birmingham (who also provided financial assistance in travelling to Bourges). It appears on Articles indéfinis, a Jonty Harrison solo CD on the empreintes DIGITALes label (Montreal). I am indebted to Adrian Hunter for his invaluable help as Studio Assistant during the final stages of assembling the piece in early April 1988. Some small revisions were made in December 1988. Aria is dedicated to my wife Ali for her help, support and forbearance. Commission 1987 France 120 Jonty Harrison 1952 1905 images/spacer.jpg Hot Air One of the principal source sounds for this work - balloons from childrens parties - gave rise to a train of thought which, after linking toy balloons to hot air balloons, went on to draw in numerous other concepts of air (breath, utterance, natural phenomena) and heat (energy, action, danger). As work on the sound material progressed, other notions of air became important: motion through space; a certain fleeting quality; and air as the principal medium for the transmission of sound. The manner in which this happens (each air molecule vibrating about its current position and passing its energy on to its neighbour in alternating patterns of compression and rarefaction) became a model for the structure of the piece itself - a free association of sounds and references, each linking with and influencing its neighbour. Gradually, the referential, mimetic and environmental aspects of the piece revealed another, altogether more worrying image: that of the inflated balloon as a metaphor of the fragility of that very environment, of the Earth itself - capable of being manipulated, but not infinitely so. But beware! Danger! I run the risk of becoming too pompous, too inflated with the importance of my theme. We should not forget that, in colloquial English, if what someone says is hot air, it means it lacks real substance, is rubbish, meaningless, bluff, all talk and no action, empty words... Hot Air was commissioned by the Groupe de Recherches Musicales and sound material was developed using the GRMs Syter and GRM Tools systems; later stages in the compositional process took place in the composers studio and in the Electroacoustic Music Studios of The University of Birmingham. It is available on Articles indéfinis, a Jonty Harrison solo CD on the empreintes DIGITALes label (Montreal). Commission 1995 France 126 Bernard Parmegiani 1927 1944 images/spacer.jpg La Creation Du Monde This music is composed of iron and earth, minerals and fire! This recording never fails to cheer me up - its like taking a holiday in another dimension. I like it there - theres lots of air, light and space, and I can wander off into a new unexplored corner every time. My peregrinations always take me to the joyous segment where a cosmic bathtub is draining, emptying all the primordial soup of existence into space; this segues into a pastoral scene, birds twittering suggesting the final touches of the Creator finishing off his new world. Ed Pinsent. Accessed 15.11.06 from - 1996 France 128 Luc Ferrari 1929 1945 images/spacer.jpg Presque rien No. 1 Le Lever du jour au bord de la mer For David Grubbs at least, it represents a new genre in contemporary music of that time, which he calls Sound Art as opposed to Music Composition... Was it a different compositional approach for you? I wanted to be a radical as possible, and take it to the limit in terms of using natural sound, by not including any artificial, sophisticated sound at all. Once Id done Presque Rien N° 1 I didnt need to be that radical anymore. Theres one landscape, a given time, and the radical thing is precisely that it s just one place at one specific time, daybreak. What s nice about the Presque Riens is that you really notice the things you hear, and eventually there s a moment where sounds stand out more than they normally would. I went everywhere with my tape recorder and microphone, and I was in this Dalmatian fishing village, and our bedroom window looked out on a tiny harbour of fishing boats, in an inlet in the hills, almost surrounded by hills-which gave it an extraordinary acoustic. It was very quiet. At night the silence woke me up-that silence we forget when we live in a city. I heard this silence which, little by little, began to be embellished... It was amazing. I started recording at night, always at the same time when I woke up, about 3 or 4am, and I recorded until about 6am. I had a lot of tapes! And then I hit upon an idea-I recorded those sounds which repeated every day: the first fisherman passing by same time every day with his bicycle, the first hen, the first donkey, and then the lorry which left at 6am to the port to pick up people arriving on the boat. Events determined by society. And then the composer plays! (Smiles) I m free, I play with freedom... I think it s good to have a really strong concept-and then to forget it. If not, things can pass you by... You have to listen to your intuition. How was the work received? Very strangely! It was badly received by my GRM colleagues, who said it wasn t music! (Laughs) I remember the session where I played it to them in the studio, and their faces turned to stone... I was quite happy, because I thought it wasn t bad at all. It was recorded by Deutsche Grammophon for their famous Avant Garde series. It had some success in the States, probably because it came out at a time when people were into plans-séquences... They probably recognised it as being along those lines. Warhol s films, for example. Minimalism. Ferrari in interview with Dan Warburton. Accessed 15.11.06 from tape, field recording 1970 France 128 Luc Ferrari 1929 1948 images/spacer.jpg Music Promenade Music Promenade, with its bits of political speeches and protests, has always seemed to me to be a sort of commentary on that time... Did you intend it as such? Its a panorama of society. The idea for the piece came from the fact that, early on in musique concrète, I was one of the first to take the tape recorder outside the studio, and use sounds recorded outside, sounds from real life. I had a Nagra, one of the first portable machines. I started collecting sounds without any preconceived notions other than a desire to insert into musical discourse a sound that basically didnt belong there. As I said earlier, musique concrète was a kind of abstractisation [sic] of sound-we didnt want to know its origin, its causality... Whereas here I wanted you to recognise causality-it was traffic noise it wasn t just to make music with but to say: this is traffic noise! (Laughs) Cage s influence, perhaps. At the time I was part of team which made films for television, as a pseudo-sound-engineer (I didn t have any formal training, but I had a feel for it, and some experience of recording). I was employed as musician and recording engineer, and this team travelled all over Europe making films, so I recorded for them and also for myself. I recorded anything that took my fancy, things which probably weren t much use to anyone... I stockpiled an enormous number of sounds I later started to compose with for Music Promenade. Originally it was an installation, not at all something which had to be twenty minutes long. It was for four tape recorders playing non-stop, four times twenty minutes worth of sounds which get out of sync as the machines finish and rewind, creating a kind of permanent environment. But it was difficult to realise-installations weren t in at that time!-it was hard finding four tape recorders, eight loudspeakers, mixing desk and what have you... So the record label Wergo asked me to mix it down. Ferrari in interview with Dan Warburton, Jult 22nd 1998. Accesswed 15.11.06 from - 1969 France 128 Luc Ferrari 1929 1949 images/spacer.jpg Interrupteur I wanted to write the most static music possible. I suppose it didnt work out, as its quite a busy score! (Laughs) The idea was to have instrumental continuities which went from beginning to end. One instrument goes up for ten minutes and comes down for ten minutes, while another goes up for three minutes and comes down over the next seventeen, and so on. Each instrument had its plan and there were lines which crossed, and each time that happened there was a special event. That was the basic idea. What interested me was to decide on a duration and to see what each instrument was going to do, in a conceptual way. Im starting to work with durations again, trying to organise them in a completely aleatoric way interms of the composition; it s all written out, but the compositional information is all generated by chance. I take the duration and use it as a painter would, like a canvas... Luc Ferrari. Accessed 15.11.06 from - 1967 France 128 Luc Ferrari 1929 1950 images/spacer.jpg Tautologos 3 What interested me was looping the events in such a way that each time they reappeared, they created new musical objects. The idea of tautology. The first Tautologos 3 was a written score, a text-score (like many others at that time), where I explained the rules of the tautology; it was a score which gave individual players the freedom to choose their action. We did this version a lot, in instrumental and theatrical contexts. Well, what with mixing up other peoples instrumental and theatrical actions, after a while I wanted to do my version of the piece! (Laughs) So I wrote an instrumental score which respected the demands of the text-score. From time to time I taught workshops where I did Tautologos 3 very often, with the students having to follow the score quite closely-so when I showed them my own version they said: Youre cheating! Youre not following the rules! And I said: I am free, you know... Luc Ferrari. Accessed 15.11.06 from - 1970 France 128 Luc Ferrari 1929 1952 images/spacer.jpg Presque Rien N° 2 Presque Rien N° 2 was a derailment of Presque Rien N° 1. There were two places, and its more or less nighttime, dusk instead of dawn. That meant I could sleep in in the morning! (Laughs) I was struck by the night in a tiny village in Corbières called Tuchan, where I went walking at night with [my wife] Brunhild, recording. The night had an extraordinary sound quality-distant traffic, birds, crickets more or less nearby, bells, dogs... And another element: your voice included, as a kind of commentary. There was also the idea of the walker/observer, who realises what hes recording and adds his ideas. In fact theres true and false involved-there are some things which were added for dramaturgical reasons, some commentaries which are completely bogus! (Laughs) In any case, playing with truth and lies is what makes up the concept, which came later when I realised that a Presque Rien was being born... Instrumental sounds are added too: putting the walker inside the recording process and recognising him as a person, led me to think: There are these natural sounds, and I m going to make sounds too, incorporate a symbolic transcription of what comes into my head and then intervene as composer. So I became a kind of director. - 1977 France 128 Luc Ferrari 1929 1953 images/spacer.jpg Hétérozygote an extended tape piece in which ambient sounds unfold in narrative form, suggesting a dazzling variety of incidents, all unexplained. The composer’s program notes for these scores, themselves works of a poetic imagination, only added to the fascination. - 1963 France 50 Marcel Duchamp 1887 2067 images/spacer.jpg Sculpture Musicale is note on a small piece of paper, which Duchamp also included in the Green Box. According to Arturo Schwarz, the piece was written sometime during 1912 - 1920 /21, although 1913 is the most probable year. The Musical Sculpture is similar to the Fluxus pieces of the early 1960s. These works combine objects with performance, audio with visual, known and unknown factors, and elements explained and unexplained. A realization of such a piece can result in an event / happening, rather than a performance. - 1913 France 128 Luc Ferrari 1929 2068 images/spacer.jpg Champ documentaire France Culture Champ Documentaire Hommage à Luc Ferrari Emissions du 27 et 28 Août 2005 Par David Jisse [Rediffusion] - 2005 France 123 Karlheinz Stockhausen 1928 2387 images/works/Stockhausen-1983-Kathinka.jpg KATHINKA’S CHANT 33 min - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1983 France 22 Christian Marclay 1955 2464 images/works/Marclay-1999-Live@IRCAM.jpg Live @ IRCAM - 1999 France 126 Bernard Parmegiani 1927 2470 images/spacer.jpg Popeclectic collects material from 1966-73, in particular the collage of musical snippets Du Pop A lAne and the free improvisation of a jazz combo against an electronic tape of Jazzex. Accessed 12.12.06 from musique concrete with natural sounds 1966 France 126 Bernard Parmegiani 1927 2471 images/spacer.jpg Capture Ephemere - 1967 France 126 Bernard Parmegiani 1927 2472 images/spacer.jpg Sons-Jeu - 1987 France 126 Bernard Parmegiani 1927 2473 images/works/Parmegiani-2001-sons.jpg La Memoire des Sons Works as a whole take the form of music for fixedsounds, coming within the scope of the immense repertoire of electro-acoustic music. From his training in the art of mime and his experience as a sound engineer, Parmegiani has retained a taste for a hand-to-hand approach (sound/embodiment, as we could be tempted to say) with various sound mate-rials which he has developed throughout markedly diverse works. RE: Capture Éphémère: The beating of terror-stricken wings, gliding ascents, rockets, dull explosions: the fission of the fine powder of the sound is then recovered, in layers of captured , beating time: impossible stases of reso-nance ( fleeting by their very nature ...) which however persist, beating out their miraculous cohesion: a magical effect even today: proof that it is not due to technique. Or: a sequence of utter loss, waste: an accumulation as Schaeffer would have said ( reiteration abounding in brief elements ; like a shower of stones dispersing ...), having the fluidity of a waterfall, with one hundred thousand elements interwoven in discontinuity, eccentric , generous, suffocating... Or: this furious vibration, which in its steep ascent, is imbued with a triumphant appearance of tireless virtuosity... And so many intimately interwoven composite sequences, as they advance, hurtling through space (and the Russian mountains ...) with seemingly inexhaustible energy; and marked several times, just before a silence, by the same small elegant asterisk. However, all of this (deafening volubility) is finally calmed by a short coda: where a movement to reduce and rarefy particles splits this mass in extremis into an ethereal shower of sparks, having the effect of a prolonged pause. -- Jean-Christophe Thomas. Accessed 12.12.06 from - 2001 France 126 Bernard Parmegiani 1927 2474 images/spacer.jpg La Roue Ferris - 1971 France 126 Bernard Parmegiani 1927 2478 images/spacer.jpg La Creation Du Monde La Creation Du Monde (1982-1984), a phantasmagoric mythological suite of electronic collage that evokes an hyper-kinetic version of Karlheinz Stockhausen. The extreme rarefaction of Moins LInfini, evoking microsounds of quantum lattices, the terrible storms of Instant 0, the contrasting android and organic flows of Premieres Forces, evoking the emergence of form out of chaos, establish a form of art which is interior as much as exterior. Lumiere is a catastrophic composition that creates a highly dynamic soundscape by employing a broad spectrum of timbres. Cellules mimicks the first moves by the first living things, and Polyphonie evokes the way they multiplied and become frantic communities: suddenly the world is filled with angst. The crescendo of tension leads to Expression 2, where the confusing concert of voices self-implodes. The whole symphony stands as a powerful statement about the emotional power of musique concrete, equal if not superior to the means of the symphonic orchestra. Accessed 12.12.06 from Accessed 12.12.06 from - 1982 France 126 Bernard Parmegiani 1927 2479 images/spacer.jpg LEnfer - 1971 France 126 Bernard Parmegiani 1927 2480 images/spacer.jpg Paradis - 1974 France 126 Bernard Parmegiani 1927 2481 images/works/Parmegiani-1997-sonare.jpg Sonare One 25 minute piece. A State/CIRM commissioned work. There is already music... of an Italian an character in this title! Sonare: l love this word because it is Italian and because upon hearing it, music simply springs forth from within it. For each of the 5 movements, I have chosen a pseudo-instrumental or synthesis sound which I sense will allow me to bring out its very essence to develop it until it is within the deepest levels of the soul, if the soul can at all be rendered accessible to such acoustic resonance!!! I had to imagine the most suitable interplay to bring out such intrinsic resonance. Now of course, no interplay can be genuine unless certain freedoms are present within or inherent to it, the rule being that such an interplay should remain musical whilst the sounds, in a real context become linked to or opposed to each other. No combat, just interplay for its own sake, for itself alone, and at the same time, changes in contour, an opening or closing in the tone, range, patterns of rhythm, as if the work were a living being in itself which these creations in sound so often closely resemble, these same creations in sound, intended firstly for our ears but not only for our ears. -- Parmegiani.Accessed 12.12.06 from - 1997 France 126 Bernard Parmegiani 1927 2482 images/spacer.jpg LEcho du Miroir - 1980 France 126 Bernard Parmegiani 1927 2484 images/spacer.jpg Entre Temps - 1992 France 126 Bernard Parmegiani 1927 2485 images/spacer.jpg JazzEx This album is a collection of early works from the late 60s by the French electro-acoustic composer Bernard Parmegiani. Born in Paris (1927) and rich of a catalogue des oeuvres of more than 60 pieces, including classics such as Violistries 1965, La Roue Ferris 1971, Pour en finir avec le pouvoir d Orphée 1971/72, De Natura Sonorum 1974/75, the 4 pieces presented in this edition is a perfect exemple for discovering the unusual territories and the eclectism language of the composer : JazzEx for electronic tape and Jazz Quartet (Jean-Louis Chautemps : saxophone, Bernard Vitet : trompet, Charles Saudrais : drums, Gilbert Rovère : bass) create at the Festival de Royan in 1966. Pop Eclectic 1969, is an electro-acoustic divertimento composed for the Peter Foldés movie. Du pop à l âne 1969, is a collage plunderphonics work. And 'Et après' 1973, is an electronic tango featuring Michel Portal on bandoneon. The present version is unreleased and was recorded live at the Festival Manca in 1996. Liner notes by Jean-Louis Chautemps. This is a new edition of the long deleted Plate Lunch release, Pop'eclectic. Accessed 12.12.06 from - 1966 France 126 Bernard Parmegiani 1927 2486 images/spacer.jpg Du Pop a lAne collage of pop and classical music 1969 France 126 Bernard Parmegiani 1927 2487 images/spacer.jpg Et Apres tango for bandoneon. 1973 France 126 Bernard Parmegiani 1927 2489 images/spacer.jpg Bidule en ré 9mins - 1969 France 128 Luc Ferrari 1929 2491 images/spacer.jpg Cellule 75 Force du rythme et cadence forcée - 1975 France 48 Pierre Schaeffer 1910 2492 images/spacer.jpg Concert de bruits du 7 octobre 1948 First public experience of musique concrete - 1948 France 126 Bernard Parmegiani 1927 2493 images/spacer.jpg De natura sonorum Série 1 1. Incidences/Résonances 4’; 2. Accidents/Harmoniques 5’; 3. Géologie sonore 5’; 4. Dynamique de la résonance 3’; 5. Étude élastique 7’; 6. Conjugaison du timbre 5’ Série 2 7. Incidences/Battements 2’; 8. Natures éphémères 4’; 9. Matières induites 3’; 10. Ondes croisées 2’; 11. Pleins et déliés 5’; 12. Points contre champs 8’ - 1975 France 48 Pierre Schaeffer 1910 2495 images/spacer.jpg Et vous appelez toujours cela musique… - 1952 France 59 Z'EV 1951 2597 images/works/ZEV-2001-Mega.jpg Mega Hardcore Chapter #1 4 x CD 2001 France 91 Iannis Xenakis 1922 2607 images/spacer.jpg CEMAMu Centre dEtudes de Mathématique et Automatique Musicales - 1972 France 91 Iannis Xenakis 1922 2609 images/spacer.jpg Polytope sound and light spectacle - 1972 France 91 Iannis Xenakis 1922 2611 images/spacer.jpg Polytope sound and light spectacle - 1978 France 150 George Brecht 1924 2720 images/spacer.jpg George Brecht - Le San Antonio Show - 1975 France 95 Bruce Nauman 1941 2744 images/spacer.jpg unknown work - 2006 France 48 Pierre Schaeffer 1910 2759 images/spacer.jpg Etude aux tourniquets - 1948 France 91 Iannis Xenakis 1922 2762 images/spacer.jpg Diamorphoses II - 1957 France 18 Antonin Artaud 1906 2790 images/spacer.jpg Correspondence avec Jacques Rivière - 1925 France 18 Antonin Artaud 1906 2791 images/spacer.jpg The Seashell and the Clergyman The first Surrealist film. Directed by Germaine Dulac - 1926 France 18 Antonin Artaud 1906 2792 images/works/Artaud-1927-Napoleon.jpg Napoleon Artaud acted in the role of Jean-Paul Marat. Directed by Abel Gance - 1927 France 18 Antonin Artaud 1906 2793 images/works/Artaud-1928-PassionJoanOfArc.jpg The Passion of Joan of Arc Directed by Carl Theodor Dreyer - 1928 France 18 Antonin Artaud 1906 2794 images/works/Artaud-Jarry.jpg Alfred Jarry Theater Until 1928 - 1926 France 18 Antonin Artaud 1906 2795 images/works/Artaud-1946-selfportrait.jpg The Theatre and Its Double The two manifestos of the Theater of Cruelty - 1934 France 18 Antonin Artaud 1906 2796 images/spacer.jpg The Cenci The Cenci was a commercial failure, although it employed innovative sound effects and had a set designed by Balthus. - 1935 France 91 Iannis Xenakis 1922 2823 images/spacer.jpg Orient-Occident - 1960 France 91 Iannis Xenakis 1922 2824 images/spacer.jpg Formalized Music: Thought and Mathematics in Composition a collection of essays on his musical ideas and composition techniques. - 1971 France 91 Iannis Xenakis 1922 2825 images/spacer.jpg Pithoprakta Created with the use of mathematical techniques derived from Maxwell-Boltzmann kinetic theory of gases orchestra of 50 instrumentalists 1955 France 91 Iannis Xenakis 1922 2826 images/spacer.jpg Achorripsis Created with the use of mathematical techniques derived from minimal constraints 21 instrumentalists 1956 France 91 Iannis Xenakis 1922 2834 images/spacer.jpg Eonta Created with the use of mathematical techniques derived from Boolean algebra piano and 5 brass instruments 1963 France 120 Jonty Harrison 1952 2862 images/spacer.jpg A cordes tape 1985 France 154 Jean Tinguely 1925 2921 images/works/Tinguely-1959-cyclo.jpg Le Cyclop a giant walk-in sculpture created in collaboration with Bernhard Luginbühl, Larry Rivers, Niki de Saint Phalle, Daniel Spoerri and others. Work is carried out with the aid of Tinguelys assistants Josef Imhof and Rico Weber. A strange apparition awaits the visitor in the midst of this forest: a massive twenty-two-metre high construction by Swiss sculptor Jean Tinguely, made of three hundred tons of metal. It rises like a totem in the form of a huge cyclopean head sparkling with mirrors and traversed with stairways, footbridges and mezzanines that enable the visitor to explore this enchanting world. On the outside, a giant ear, a moving eye inlaid like a diamond in the middle of the forehead, and a fountain gushing out of the mouth and running down the tongue like a waterslide. On the inside, a riveting clutter of riotous machines with gears made from scrap metal spinning, colliding, and clattering. Le Cyclop is a museum of Tinguelys mechanical universe and a monument of contemporary art. Accessed 31.05.2007 from - 1970 France 154 Jean Tinguely 1925 2923 images/works/Tinguely-1984-pitstop.jpg Pit-Stop - 1984 France 154 Jean Tinguely 1925 2927 images/spacer.jpg Mes étoiles - 1958 France 154 Jean Tinguely 1925 2928 images/spacer.jpg Vitesse pure et stabilité monochrome with Yves Klein - 1958 France 154 Jean Tinguely 1925 2929 images/works/Tinguely-1961-Hommage.jpg Nouveaux Réalistes with Arman, Francis Dufrêne, Raymond Hains, Yves Klein, Pierre Restany, Jacques de Villeglé, Martial Raysse and Daniel Spoerri. - 1961 France 154 Jean Tinguely 1925 2935 images/spacer.jpg Le Crocrodrome de Zig and Puce with Bernhard Luginbühl and Niki de Saint Phalle and Daniel Spoerri - 1977 France 162 Francois and Bernard Baschet 1917 3008 images/works/Baschet-French_Monument.jpg French Monument 16 wide 1955 France 162 Francois and Bernard Baschet 1917 3010 images/works/Baschet-1964-wheelbarrow.jpg Piano Wheelbarrow - 1964 France 162 Francois and Bernard Baschet 1917 3011 images/works/Baschet-1964-AluminiumPiano.jpg Aluminium Piano - 1964 France 162 Francois and Bernard Baschet 1917 3012 images/works/Baschet-1956-octave.jpg 3 octave - 1956 France 162 Francois and Bernard Baschet 1917 3014 images/works/Baschet-1999-harp.jpg Harp - 1999 France 162 Francois and Bernard Baschet 1917 3017 images/works/Baschet-1978-instrumentarium.jpg Instrumentarium Baschet L’instrumentarium Baschet est un ensemble de 14 structures sonores principalement destinées à l’éducation musicale des enfants. Cet ensemble d’instruments musicaux a été conçu à la fin des années 1970 par les frères Baschet, deux artistes français de renommée internationale. Les structures sonores représentent un des rares exemples d’innovation en facture instrumentale acoustique au XXe siècle. Elles appartiennent à une esthétique musicale moderne fondée sur le son plutôt que sur la tonalité. D’un point de vue éducatif, l’instrumentarium Baschet se rattache à la pédagogie musicale d’éveil-créativité, un courant pédagogique misant sur l’expression spontanée et la créativité de l’enfant, sur l’ouverture aux différentes cultures musicales ainsi que sur l’interdisciplinarité artistique. L’instrumentarium Baschet est actuellement le seul ensemble d’instruments musicaux commercialisé pour ce type de pédagogie. Les structures sonores qui composent l’instrumentarium Baschet ont été élaborées en fonction de critères spécifiques reliés à la facilité de jeu et à la diversité des timbres. Elles ont aussi trouvé des applications en musicothérapie où elles se révèlent des moyens d’intervention particulièrement bien adaptés. Depuis vingt ans, plusieurs expériences ont été réalisées auprès d’individus présentant des déficiences variées. Accessed 02.06.2007 from - 1978 France 162 Francois and Bernard Baschet 1917 3018 images/works/Baschet-Cristal.jpg Cristal Baschet - 1955 France 181 Zoe Irving 1971 3237 images/spacer.jpg Magnetic Migration Music - Pas de Calais In July 2002 MMM went on a tape collection and audio recording trip to the Pas de Calais, a migration bottle neck in Europe, where the Sangatte Red Cross camp for asylum seekers was situated (now closed). During the trip interviews were made with all sorts of travelers, soundscapes recorded. Photos from inside the Sangatte Red Cross Centre by Aziz Soran who was resident at the time. - 2002 France 170 Akio Suzuki 1941 3328 images/spacer.jpg unknown - 1978 France 169 Atau Tanaka 1964 3377 images/spacer.jpg Constellations connecting the physical space of a gallery to the imaginary space of the internet through sound and image. Visitors in the gallery navigate an onscreen universe of planets, invoking audio to stream into the gallery. The planetary system is the interface to a library of soundfiles existing on servers throughout the internet. Each planet represents a contribution from a different composer. The sounds coming from the network space resonate in the acoustical space of the gallery, connecting these two universes. Accessed 25.04.2008 from - 1999 France 246 Sarkis 1938 3516 images/works/Sarkis-1989-Chambre.jpg Ma Chambre de la rue Krutenau en satellite - 1989 France 250 Pol Bury 1922 3520 images/works/Bury-1973-17.jpg 17 Cordes horizontales et leurs Cylindres - 1973 France 210 Pe Lang and Zimoun 1972 3582 images/works/pe_langandzimoun-2006-electromagnets_on_iron_slabs.jpg electromagnets on iron slabs metallic rods are made to vibrate by computer controlled electromagnets. the vibrations are transferred to iron slabs and thus made to sound. by varying the speed at which the electromagnets are switched on and off, the proper vibrations of the metal slabs, which define the basis of the compositions, are established. photo: yoko hisho Accessed 24.03.2008 from 2006 France 240 Erik Samakh 1959 3656 images/spacer.jpg Les Joueurs de flute 2000 France 50 Marcel Duchamp 1887 3663 images/works/Duchamp-1916-Bruit.jpg Une Bruit Secret 1916 France 48 Pierre Schaeffer 1910 3666 images/spacer.jpg Horspiel fur eine Stimme und 12 Monster 1943 France 129 Francois Bayle 1932 3678 images/spacer.jpg Acousmonium 60 intergrated loudspeakers 1972 France 246 Sarkis 1938 3715 images/works/Sarkis-1984-Fin.jpg La Fin des Siecles, le Debut des Siecles 1984 France 251 Patrice Carre 1954 3730 images/works/Carre-1994-Diffuseurs.jpg Diffuseurs sonores- Enceintes affectees Valentine, 0506 JS - 1994 France 246 Sarkis 1938 3736 images/works/Sarkis-1987-Kreigsschatz.jpg Kriegsschatz (a R. Filliou) 1987 France 246 Sarkis 1938 3737 images/works/Sarkis-1986-Chambre2.jpg La Chambre Sourde to 1995 1986 France 239 Takis 1925 3738 images/works/Takis-1966-Telesculpture.jpg Telesculpture musicale 1966 France 251 Patrice Carre 1954 3750 images/works/Carre-1991-bruitrose.jpg Le bruit rose unyil 1998 Bois, laque, médium, hauts-parleurs, son (sous tension des amplificateurs) 1991 France 251 Patrice Carre 1954 3752 images/works/Carre-1996-cercle.jpg Formez le cercle 1996 France 251 Patrice Carre 1954 3753 images/works/Carre-2002-airecomprimedet.jpg Aire comprimée à réduction d’autant de travail Deux plaques en inox, tubes d’aluminium, haut-parleurs, plots en acier 2002 France 251 Patrice Carre 1954 3755 images/works/Carre-1996-Cafe.jpg Café-musiques The entire cafe (tables, chairs, bar, sound furniture, acoustic speakers) was conceived by Patrice Carré. Each part of the ensemble refers to objects used for sound diffusion. The graphic writing in the space is black and white, recalling a partition. The profiling of the bar is constituted by a pile of black arcs, in reference to vinyl records. The counter contains vitrines where singular objects for producing sound are displayed. On the wall behind the bar, 60 elements in transparent glass and mirrors compose a row of cd’s of which one can see the side. Accessed 14.04.2008 from Interior decoration, furniture 1996 France 209 Andreas Oldorp 1959 3896 images/works/Oldorp-2005-Ephemere.jpg Léphémère Für zwei Innenhöfen der Crédit Municipal im Marais habe ich jeweils eine freistehende Konstruktion mit 3 und 6 Singenden Flammen entwickelt. Es war das erste Mal, dass ich mit den Singenden Flammen im Außenraum gearbeitet habe. Möglich wurde das durch das akustisch versammelnde Umfeld der Innenhöfe und durch den Einsatz von Wasserstoff, mit dem ich sehr präsente Klänge erzeugen kann. Assistenz: Philip Jacobs, Tina Hennig, Robert Schröder Xie xie, Hu Shou Rong Merci beaucoup, Virginie Pringuet 2005 France 32 Alvin Lucier 1931 3968 images/spacer.jpg Alvin Lucier - A Sounds Waves Artist 55:50 February 2001 2001 France 34 Luigi Russolo 1906 4047 images/works/Russolo-1930-Rumorharmonium.jpg Rumorharmonium Russolo-1930- 1930 France 162 Francois and Bernard Baschet 1917 4053 images/works/Baschet-1972-Cryptal_oder_Klangplastik.jpg Cryptal oder Klangplastik 1972 France 268 1200 4082 images/works/Automatic_music_workshop-1776-France.jpg Automatic Music Workshop - 1776 France 268 1200 4085 images/works/Musical_Puppet-1790s-Francepng.jpg Musical_Puppet - 1794 France 268 1200 4096 images/works/unknown-Singing_Bird-1890s-.jpg Singing Bird - 1895 France 253 Gary Hill 1951 4214 images/works/hill_2003-afrique_a_lg.jpg Impression d'Afrique Video proectors, 4 DVD players, motorised mirrors, screens 2003 France 59 Z'EV 1951 4424 images/spacer.jpg SO SAY THE DEAD DIRECTOR: BELA GRUSKA 2 DECEMBER 2003 [OPENING NIGHT OF 3 WEEK RUN] Z’EV MALLET PERCUSSION ACCOMPANIMENT FOR MACBETH 2003 France 10 Max Neuhaus 1939 4536 images/spacer.jpg untitled I was given this big sterile exhibition room on the top floor of the Museum of Modern Art in Paris. It had this small window in the back wall, but it was blocked up. I found out about it and opened it up. I don't think anyone had ever seen this window open before. It brought the room back into the real world, back into reality in a beautiful way. The window was high up, and you could see the whole city. The work was made from a very smooth sound texture. I built a very fine texture, really fine, many sources dispersed throughout the space each emitting slightly different clicks with colors between woody and metallic. Accessed 12.08.2009 from 1983 France )