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CraneLab
MUFF WIGGLER Forum Index -> Artist Discussion  
Author CraneLab
Roland Kuit
CraneLab I
25-10-2017 23:00 C.E.T.

This lab is about heterotopia, eastethetics in art and regeneration.
 Crane lab reflects on the acousmatic art and its future developments in a wide aesthetic and inter-generational diversity.


Jean Voguet
As a futuristic bruitism, atypical composer of acousmatic & electronic music, Jean Voguet has always focused on how his works are presented in each environmental context.
 The concept « Acousmatic Geophonies & Heterotopias » comes from his research « sound spaces of otherness », which means the virtual ecosystem in complex structures (the sound materials created by additional and subtractive synthesis, granular and wave table, not originating from organic sound).

It is also characterized by grand and variable spectral frequencies, in initiatory musical wandering, outside of time and outside the border, within the unlimited and temporary dimension.
 Many of his compositions such as « l’Odyssée », « instants sonores », « Jeux & Variations MiDi » have been induced by his obsession with the great myths of humanity and poetic nature of human-beings.
 In addition to performing in various events of acousmatic music, he has been taken to perform in live electronic performances, concerts with aircrafts and tractors, multidisciplinary events and festivals internationally. Not only compositions, he has also extensively created site-specific works. His regular collaborations with artists from other disciplines include works with visual arts, dance, poetry, performance art.
 Voguet was the co-artistic director of the VIA Festival in Paris (1993-2002) and co-founded the PAN Network (1994-2003).
Jean VOGUET is the director of the CRANE lab • Research Center • for heterotopia, arts, ethics of art and regeneration since 1995.
Odyssey
Each station has its own unique compositional landscape that defines virtual space and time.
Each Station entails a number of sound samples that are created with additive, subtractive, granular and wavestable synthesis in various softwares. With a pilot MIDI, Jean Voguet spatialise the diffusion of his pieces, by manipulating the intensity and the dynamic of the sound in real time.

Produced for the Concerzender Radio by Roland Kuit 25-10-2017 23:00 C.E.T.

http://www.concertzender.nl/programma/electronic_frequencies_417428/

(archive)
Roland Kuit
CraneLab II
22-11-2017 23:00 C.E.T.

Music by Pierre Boeswilwald, Alexandre Del Torchio and Yuko Katori.



Pierre Boeswilwald:
Born in 1934. Having been trained in the visual art, the theatre and the electronics, he has been devoted to all forms of electroacoustic music creation since 1953. Pierre collaborated with most pioneers of sound poetry, radio art and concrete music, and has actively participated to the evolution of electroacoustic art for more than 60 years, not only in France, but also internationally.
Pierre elaborates and develops particular electroacoustic music, that is based on the notion of sonic plasticity, temporal events and theatricalization of sound, being independent from the traditional rules of the instrumental music composition.
http://soundcloud.com/pierre-boeswillwald

Alexandre Del Torchio:
Composer and a visual artist. After the graduation from Le Fresnoy, National Studio of Contemporary Arts in Tourcoing, he studied acousmatic composition with Régis Renouard-Larivière and at the CRD Pantin under the direction of Marco Marini and Jonathan Prager.
 Through sound and installations, he explores the musical universe of the subconscious-underworld that is usually hidden from our perception.
He has received various prizes including the 2nd prize for his composition “Proliferation-Propagation” (2015), and also ‘the selected work’ in “Banc d’Essai” that was a competition organised by the GRM Paris (2015).
Other recent projects include creating music for a documentary film “The Thief of Dreams” by Chilean director René Ballesteros, supported by SACEM (2016).

http://vimeo.com/alexandredeltorchio

https://soundcloud.com/alexandre-del-torchio

Yuko Katori:
Born in 1973, she studied composition at TOHO Gakuen school of Music (BMus) at her native Tokyo, Japan, and at Guildhall School of Music and Drama (MMus) in London, UK.
She was one of the creative teams in residence at OperaGenesis, Royal Opera House in London, UK from 2006 to 2009, where she developed two Theatre pieces. :The Lily of the Valley / Sea of Souls: She was also commissioned for the Royal Ballet’s new works programme, held at the Linbury Studio Theatre, ROH (2009). In 2013, she was accepted to participate in a residential workshop for opera composition held by Peter Eotvos in Budapest.
Since 2014, Yuko has been concentrating on the creation of acousmatic music.
http://yukokmusic.wordpress.com

Produced for the Concertzender by Roland Kuit:
https://www.concertzender.nl/programma/electronic_frequencies_420709/
 (archive)
Roland Kuit
CraneLab III
27-11-2017 23:00 C.E.T.

Music by Guillaume Loizillion, Frédéric Maintenant and Hubert Michel.



Guillaume Loizillon lives and works in Paris. As a composer and musician, he has always been attracted to various experiences and wide artistic fields. lectronic music, improvisaion, sound poetry, sound installation, and interdiciplinary meetings etc.

In addition to his own projects, he has collaborated with artists such as Merce Cunningham, Barney Wilen, Joel Hubaut, Hektor Zazou, Jean-Marc Matos and Valère Novarina among others.

He is a senior lecturer of the Department of Music at Paris University 8. He organises sound creation courses as well as meetings between the music and the other arts, and is responsible for the sound creation of the postgraduate (MMus).
He co-founded an independent label TRACE Label specialising electroacoustic, sound art and improvisation which he developped collaborative projects online.

http://www.loizillon.paris/

Being trained in Acoustics at Ircam, Frédéric Maintenant went on studying Jazz piano at Goldsmiths College, Jazz arrangement at the Guildhall School of Music and Drama (UK), Composition at Bath Spa University (UK) with Philip Cashian and then became student researcher in music and artificial intelligence at the Open University (UK). He also studied composition at Acanthes with François-Bernard Mâche, Peter Eotvos or Klaus Huber .

He won several composition prizes in UK and his music has been performed and diffused throughout Europe. He has taught music at Paul Valery university in Montpellier (France) and is an associated researcher at the CNRS. He has given many conferences at Sorbonne, Ircam, Ecole Normale Supérieure, Cité de la Musique.

He has also collaborate with artists, film maaers, dancers, poets and in theatre.

In 2015, he was invited to present his music on France Musique. His music was also aired on BBC and France 3.

http://penserlamusique.canalblog.com/

Hubert Michel was born in France in 1976.

In the midst of his technical studies in 1998, he discovered electroacoustic music. It allowed him to do the musical practice with the use of machines, without the traditional music theory. He then decided to devote himself to the composition of concrete music. He obtained a diplôme in Composition as well as the SACEM prize in 2001.

His music has its source in capturing sounds, soundscapes, and sound synthesis. For example, Quintessence is a voyage of exoplanets discovery, a suite Contemplations (published on the Esadhar / PiedNu label) offers a slice of life where the sounds of the city intersect the electronics.

Since the beginning of his practice of electroacoustic music, he has been fascinated by the possibility of sound spatialization. He has his own acousmonium: La Bétonneuse. Having been well recognized in this practice, he is in charge of the acousmonium in the festivals “PiedNu” and “Plages Sonores”, and a variety of composers have appreciated his multicast devices.

Other projects include a unique concrete music improvisation with “Concrètophone”, either solo, or in collaboration with other musicians, sound installations such as “Contact” that offers the audience to explore the composition instantly from the ground sensor, and ” Transition” which offers a sound immersion on life pathways of people who have moved from a country to another. He is also active at Module Etrange, a composer collective based in Rouen.

1/ Gravité (2016-2017) – Guillaume Loizillion Duration : 27:01.
2/ Galilée … parti dans les étoiles un soir de nouvelle lune pour support électronique (2006-2007) – Frédéric Maintenant
Duration : 10:16.
3/ !yx!ysz (2009) – Hubert Michel Duration : 5:09.
4/ Ligne de passage (2004) – Hubert Michel Duration : 8:21.
5/ Hydropismes (2012) – Hubert Michel Duration : 5:20.

CraneLab:
http://cranelab.net/

Produced for the Concertzender by Roland Kuit:
https://www.concertzender.nl/programma/electronic_frequencies_425222/
 (archive)
Roland Kuit
CraneLab IV

24-01-2018

In this last episode about CraneLab the composers: Christian Eloy, Yérri-Gaspar Hummel and Jean-Marc Duchenne.



Christian Eloy.

Born in Amiens, France, he first studied the flute and composition at the national conservatory of the region and then at the Conservatoire Nationle Supérieur de Musique de Paris. Prior to inspirational encounters with Ethnomusicology in Dublin, Electroacoustic music in Paris, Ivo Malec, Guy Reibel, GRM and IRCAM, he was a flute player in an orchestra.
As a composer of more than 50 instrumental, vocal and electroacoustic works, his work list has expanded greatly over the years. These include several pieces which were commissioned by the State and Radio France, and educational pieces such as operas for children and electroacoustic tales. Prizes include ‘the prize of the European Community Poetry and Music’ and the “François de Roubaix” prize. His works are published by Lemoine, Billaudot, Musical Consortium Combre, Jobert, Fuzeau, Notissimo, PUF (France), Johnston Ed. (Ireland), MIT press (US), The monthly literary and poetic (Belgium) and Confluences (France).
He was in charge of the Electroacoustic department of the National Conservatory of the Bordeaux region, as well as a senior lecturer at the Paris IV University and Bordeaux for more than 20 years. He also organised workshops at the Groupe de Recherches Musicales /City of Paris. During these years, he founded the SCRIME, a research and creation studio at the University of Bordeaux 1, and was active as the artistic director.
http://christian.eloy.pagesperso-orange.fr/
== == == == == == == == == == == == == == ==
Yérri-Gaspar Hummel

Biography:

Yérri-Gaspar Hummel weaves his character between the studios of the Karlsruhe Institute of Computer Music and Strasbourg Conservatory. Also his self-taught practices during free-jazz sessions in Royaumont with Joëlle Léandre and Mat Maneri. Ethnomusicology in India, and sound poetry complete his appeal for sound phenomena. As a result, he is constructed as a cross-composer about Western culture open on extra-European vibrations. He is very infuenced by concrete music and is passionate about electroacoustic works. He plays several media and represents the spirit of music in a processional approach. His works have been performed at Manifest IRCAM / 104 in Paris, Internationales Darmstadt Musikinstitut, the Venice Biennale, in the United States and Europe with various projects including Iguan, KL4NG, ENNERI BLAKA or solo project. He is the current artistic director of the exhibitronic festival and works for the diffusion of electroacoustic creations with his radio podcast.
http://yerrigasparhummel.com/

== == == == == == == == == ==

Jean-Marc Duchenne.
Biography:

Jean-Marc Duchenne was born in 1959. After the classical music studies in Dijon (clarinette, composition, licence of musicology), he learned acousmatic in the class of Denis Dufour in Lyon. Since the late 80s, his aesthetical and technical researches on space and his compositions have continuously fed each other. This has led him to develop his own creation tools, like his studio-acousmonium in the early 90s (62 channels today), the series of AcousModules multichannel plugins in the 2000s, and the original speakers ensembles that constitute the AcousMobile. Concerts, installations or live situations, his compositions always tend to make sound feeling as touchable images. Working with high number of speakers allows him to create sensible sound constructions, from nearly narrative “movies-for-the-ear” to abstract mobile architectures. The proximity to the listeners also consitutes an important aspect of his work, where he can combine the pleasure of discovery with the experimentation of new artistic forms. Depending on the period, he has also taught acousmatics, digital sound techniques and MAO in various schools and universities.
http://sonsdanslair.free.fr

== == == == == == == == == ==

1/ Dans les jardins de Cybèle/The Cybele gardens (2013), Christian ELOY Duration 14:41.
A walk, on a summer’s day, in the late afternoon, through the remains of a Gallo-Roman town, the gardens of Cybele … Impressions are diffused. A sacred place as well as a sanctuary … and also the aura of the nearby town is echoed. A special place, allegory of the spiritual and of materialism, duality between spirit and motion. Cybele, Kybélê in ancient Greek, means the “guardian of all knowledge”, a divinity of Phrygian origin, who personifies wild nature. Cybele is undoubtedly one of the greatest goddesses of the Ancient World of the Near East. She is also the goddess of fertility, why not the goddess of the creative fertility of the arts? Baudelaire mentions her twice in the “Fleurs du Mal”: “Cybèle, who loves them, enhances her greenery”, then in “I love the memory of those naked times”.

2/Crane Lab IV. In this last episode about CraneLab the composers: Christian Eloy, Yérri-Gaspar Hummel and Jean-Marc Duchenne.

Christian Eloy.

Born in Amiens, France, he first studied the flute and composition at the national conservatory of the region and then at the Conservatoire Nationle Supérieur de Musique de Paris. Prior to inspirational encounters with Ethnomusicology in Dublin, Electroacoustic music in Paris, Ivo Malec, Guy Reibel, GRM and IRCAM, he was a flute player in an orchestra.
As a composer of more than 50 instrumental, vocal and electroacoustic works, his work list has expanded greatly over the years. These include several pieces which were commissioned by the State and Radio France, and educational pieces such as operas for children and electroacoustic tales. Prizes include ‘the prize of the European Community Poetry and Music’ and the “François de Roubaix” prize. His works are published by Lemoine, Billaudot, Musical Consortium Combre, Jobert, Fuzeau, Notissimo, PUF (France), Johnston Ed. (Ireland), MIT press (US), The monthly literary and poetic (Belgium) and Confluences (France).
He was in charge of the Electroacoustic department of the National Conservatory of the Bordeaux region, as well as a senior lecturer at the Paris IV University and Bordeaux for more than 20 years. He also organised workshops at the Groupe de Recherches Musicales /City of Paris. During these years, he founded the SCRIME, a research and creation studio at the University of Bordeaux 1, and was active as the artistic director.
http://christian.eloy.pagesperso-orange.fr/
== == == == == == == == == == == == == == ==
Yérri-Gaspar Hummel

Biography:

Yérri-Gaspar Hummel weaves his character between the studios of the Karlsruhe Institute of Computer Music and Strasbourg Conservatory. Also his self-taught practices during free-jazz sessions in Royaumont with Joëlle Léandre and Mat Maneri. Ethnomusicology in India, and sound poetry complete his appeal for sound phenomena. As a result, he is constructed as a cross-composer about Western culture open on extra-European vibrations. He is very infuenced by concrete music and is passionate about electroacoustic works. He plays several media and represents the spirit of music in a processional approach. His works have been performed at Manifest IRCAM / 104 in Paris, Internationales Darmstadt Musikinstitut, the Venice Biennale, in the United States and Europe with various projects including Iguan, KL4NG, ENNERI BLAKA or solo project. He is the current artistic director of the exhibitronic festival and works for the diffusion of electroacoustic creations with his radio podcast.
http://yerrigasparhummel.com/

== == == == == == == == == ==

Jean-Marc Duchenne.
Biography:

Jean-Marc Duchenne was born in 1959. After the classical music studies in Dijon (clarinette, composition, licence of musicology), he learned acousmatic in the class of Denis Dufour in Lyon. Since the late 80s, his aesthetical and technical researches on space and his compositions have continuously fed each other. This has led him to develop his own creation tools, like his studio-acousmonium in the early 90s (62 channels today), the series of AcousModules multichannel plugins in the 2000s, and the original speakers ensembles that constitute the AcousMobile. Concerts, installations or live situations, his compositions always tend to make sound feeling as touchable images. Working with high number of speakers allows him to create sensible sound constructions, from nearly narrative “movies-for-the-ear” to abstract mobile architectures. The proximity to the listeners also consitutes an important aspect of his work, where he can combine the pleasure of discovery with the experimentation of new artistic forms. Depending on the period, he has also taught acousmatics, digital sound techniques and MAO in various schools and universities.
http://sonsdanslair.free.fr

== == == == == == == == == ==

1/ Dans les jardins de Cybèle/The Cybele gardens (2013), Christian ELOY Duration 14:41.
A walk, on a summer’s day, in the late afternoon, through the remains of a Gallo-Roman town, the gardens of Cybele … Impressions are diffused. A sacred place as well as a sanctuary … and also the aura of the nearby town is echoed. A special place, allegory of the spiritual and of materialism, duality between spirit and motion. Cybele, Kybélê in ancient Greek, means the “guardian of all knowledge”, a divinity of Phrygian origin, who personifies wild nature. Cybele is undoubtedly one of the greatest goddesses of the Ancient World of the Near East. She is also the goddess of fertility, why not the goddess of the creative fertility of the arts? Baudelaire mentions her twice in the “Fleurs du Mal”: “Cybèle, who loves them, enhances her greenery”, then in “I love the memory of those naked times”.

2/R.A.M. /Random Access Memory (1998), Christian ELOY. Duration 5:00.
For tape alone. 50 years have passed since Pierre Schaeffer made his first explorations into the audio world. This short piece is a meandering voyage through the electro-acoustic memory of this first halfcentury. Colours, snatches, fragments, themes and signals created by the composers of these 50 years have produced the exclusive sound materials of this music.

3/ Fold-in (2017). Christian ELOY, Duration : 8:10.
Acousmatic piece. Dedicated to Ying-Chien Wang, highly talented ehru performer
Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017 Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu, sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediately asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the manipulations. The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacoustic music with the development of a true language arising from these elementary manipulations; the different experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimental studios will also be remembered (GRM, GMEB). Christian ELOY therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively simplicity of editing and mixing, including processes similar to fold-in. Thanks to Ying-Chien, for these precious sounds

4/ Point de contrôle C. (2016), Yérri-Gaspar Hummel. Duration: 6:33.
Composed at Studio Métamorphoses d’Orphée. Created for the festival musica October 3, 2016. Acousmatic piece thought as an ode to resistance, checkpoint C defends freedom of expression through the human condition in the face of the barriers that build the governments. It is also the best-known border post of the Cold War era in Berlin. A touching witness of the division in the Capital city of Germany. This piece refers to this barrier in its treatment of two contrasting subjects by the opposition of their texture. It is like a poem, a dreamlike conciliation of two worlds in the same space with distant echoes of laughter, crying sometimes and weightlessness. Music has always brought people together and creates bridges to new possibilities. Point de contrôle C. – 2016 C – freedom of expression and the unspeakable wisdom of a fascination with the afterlife. Dedicated to Charlie Imbach.

5/ Conversation nocturnes (2012), Yérri-Gaspar Hummel. Duration : 2:49.
Composed at studio LA[B]UT. As a sphere around which sounds absorb a nocturnal identity. The sounds are transformed and surround themselves with immersive characters. These dreamy felds are small windows giving a listening on the public squares. Each frame gives an infant point of view. A point of view allowing the listener to remember his identity. It is also a sound identity delivering these conversations by mixing them to forge an enigmatic universe. Conversations nocturnes open a way of night spaces.

6/LA TOUR AUX ÉCLATS DE MIROIR, Jean-Marc Duchenne. Duration : 8:10.
Initial recording of the seed sound was made by a friend (Marc Laurençon) in a glass weaving factory. The shape of the piece derives directly from the energy contained in this short recorded sound: tension, stretching, splinters, breakage, fragility and incision.

7/ AUX CRATÈRES DE LUNE, Jean-Marc Duchenne. Duration : 8:04.
In 1860, Édouard-Léon-Scott Martinville fixed the first trace of the human voice on a sheet of paper (the song of the first verse of Au clair de la lune). A century and a half later, researchers transcribe this image into possible sounds. When Duchenne first listened to this, the image of a tiny seed of life lost in an immensity jagged of dust and debris emerged.

Produced for the Concertzender by Roland Kuit

https://www.concertzender.nl/programma/electronic_frequencies_428827/
 (archive)
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