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<SPAN id=s25>• • Julien Clauss • Alejandro Duque • Scott Fitzgerald • Jérôme Joy • Anne Roquigny • Peter Sinclair</SPAN>
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'% 2007|2009 session 3 %'
Following the application call in July 2007, three new artists-researchers have joined the lab.
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! Julien Clauss
{small}http://www.cycliq.org/ {/small}
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[Projects access|Proj Clauss]
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Julien Clauss French sound artist has followed the course at the Suzuki Institute of Strasbourg and subsequently worked in various forms of improvised music.
After taking a degree in fluid mechanics and a master's degree in mechanical technology, he pursued a course in acoustics at the Conservatoire National des Arts et Métiers in Paris.
Since 2001, he has developed sound works, installations and performances which put at stake the materiality and the spatial dimensions of sound. He is seeking how to physically engage the listener in the act of listening in sound spaces that allow multiple experiences of perception.
His sound pieces oscillate between micro-sound and ambient noise and he has developed for performances, an octophonic sound system with interfaces and applications for real time sound spatializing.
He created the 8 channels sound performance Betilyonis with Cedric Pigot, collaborated with Bluescreen on the net art projects Streamscape and Transversal Memory, and is currently working with Lynn Pook on "audio-tactile" installations and performances.
He very often organizes experimental electronic music events, in atypical places (highway bridge, clearing, vaults...) for over long durations (from 6 to 24 hours). Since 2001, he has been working on the Pierre Henry's 108 loudspeakers orchestra.
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[http://locusonus.org/documentation/img/LAB/clauss1.jpg|left]
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''(no English version)''
'''Projets de recherche''' :
1/ '__Les horizons de l'ouïe - plasticité des territoires sonores : mémoire de recherche__'
Le mémoire traite de la construction de territoires par le son. Croisant des approches éthologiques, psycho-acoustique, physique ou sociologique, il définie les conditions d'existences spatiales et temporelles de ces territoires en s'intéressant à des cas tirés du monde animale, de pratiques sociales ou artistiques. Dans un second temps, il traite des conditions d'exploration et de perception de ces territoires, et plus spécifiquement du déplacement de l'auditeur et de la rencontre entre le corps et la matérialité du son.
''extraits :''
" Comment saisir un son qui court 450 fois plus vite que l'auditeur et le traverse presque sans s'en rendre compte ?
La bulle se forme perceptivement par le déplacement de l'auditeur. La source, son rayonnement et l'aire acoustique couverte sont des données physiques. Elles existent tant que la source rayonne, mais l'aire sonore n'apparait à l'auditeur que lorsque celui l'arpente et s'assure en passant d'un point à un autre que le même son s'y trouve. En trajectorisant son écoute, l'auditeur concrétise l'espace sonore comme on fait apparaitre le paysage en essuyant à un doigt une fenêtre embuée."
...
"L'écoute est naturellement musicale ou communicationnelle. Elle se satisfait de message, d'harmonie, de rythme et de détail. Elle est immatérielle et se soucie peu de l'espace. Un signal spatial y est généralement une information ou une gène. L'écoute plastique suppose le son matériel. Elle s'intéresse aux façons de renseigner l'espace, d'altérer ou modifier sa perception, de créer, former, sculpter ou teinter des volumes sonores. Elle met en présence des matérialités hétérogènes : la différence de corporeité entre le corps de l'auditeur et l'espace sonore qui l'environne constitue une situation perceptive à la frontière entre le toucher et l'écoute."
2/ '__TOPOSONE : performance erratique en champ libre__'
TOPOSONE est une performance réalisée dans des sites naturels ou dans des espaces publics urbains. Trois à cinq performeurs équipés chacun d'un dispositif de diffusion sonore portable et connectés via un réseau sans fil parcourent un site. Chacun synthétise et modèle des sons qu'il diffuse et spatialise sur l'ensemble des dispositif embarqués. Ils créent ensemble une sculpture sonore de grande dimension qui s'inscrit acoustiquement dans le site dans lequel ils évoluent.
Cette étendue sonore formée de sons en mouvement couvre une esplanade, un carrefour, s'étend du haut d'un immeuble jusqu'à l'extrémité d'une place, se concentre sur une portion de rue, se déploie sur un stade de quartier ou un terrain vague. Toposone est une forme sonore nomade jouée à l'échelle d'un site. Elle peut s'apparenter à une sculpture ou à un mobile dont les éléments en équilibre ne seraient pas matériels mais purement sonores : différents sons sont déployés dans l'espace environnant puis mis en équilibre et en mouvement les uns avec les autres pour créer une occupation discrète, cinétique et spatiale dans l'environnement.
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''Mon travail interroge de façon récurrente la perception de l'espace et la place de l'homme dans son environnement. Par environnement, j'entends un lieu, mais j'inclue aussi le proche et le lointain, le passé et le futur. Le présent est trop court pour faire autre chose que le respirer.''
''La préoccupation du paysage est liée à cette recherche, mais plutôt que de le placer au centre de mon travail, je le laisse interférer à la façon d'un satellite, toujours présent, pas nécessairement visible, faisant parfois de l'ombre ou de la lumière. L'espace environnant est travaillé dans sa dimension physique, celle d'espace vital et de milieu vibratoire. Ici l'air est un vecteur d'ondes : sonores, hertzienne, de chaleur, lumineuses, ... et un support de l'oxygène.''
''Je m'intéresse aux moyens permettant de proposer une perception transverse de ce milieu et de réorienter notre façon de nous situer dedans. Par un éclairage légèrement de biais, j'essaie de mettre en lumière une autre facette de notre réalité. L'investissement du corps dans la perception, accompagné par le jeu des sensations, participe de cette recherche. Convaincu que c'est dans la durée et le non événement que se transmet un lieu et ne maîtrisant pas les techniques de streaming, j'ai réalisé des prises de son passives (micro fixe et enregistrement ouvert par bloc d'une heure) à différentes heures du jour et de la nuit à Berlin, Paris et Lauris où était montrée l'installation. J'ai ensuite joué en parallèle les 3 enregistrements faits au même moment de la journée, en en ouvrant jamais plus d'un à la fois, avec des fenêtres temporelles variables. J'ai composé 5 heures de bande-son en jouant sur l'heure des prises de son et la taille des fenêtres. Pour adjoindre une composante continue, j'ai mixé en parallèle des prises de son faîtes aux mêmes endroits à travers des tuyaux en pvc. Les sources de la prochaine version seront probablement des web micro...''
''Le streaming m'apparaît comme un moyen privilégié d'opérer sur le temps et la distance. En temps que flux, il permet de relier un passé plus ou moins proche avec le futur immédiat. Adjoint d'un buffer, il peut s'étendre plus loin dans le futur, ou comme trace du passé. Si les réseaux de microphones ouverts permettent de rejouer les installations de Bill Fontana avec facilité (déplacements et croisements d'espaces), ils offrent à présent la possibilité de pousser plus avant ces expérimentations.''
''La dimension du réseau en tant qu'espace est incontestable (cf Second Life etc...) et souvent questionnée, notamment par le net.art. Par contre la façon dont le temps opère dans ce "temps presque réel" l'est nettement moins.''
''Ainsi ces "coupures ou frontières entre le numérique et le physique, et ce que l'on comprend par temps réel et par différé au regard de l'expérimentation des flux", posent la question d'un temps mixte ou partagé, composé de durées tirées du réel et du virtuel. Ce jeu d'alternances et de simultanéités me semble central dans la construction de nouvelles scénarités. Cette approche de nouvelles scénarités implique de définir un cadre à la réception à ce flux.''
''Sortie des situations spectaculaires (installations, concerts...), la mise à disposition du public d'un flux de web micros via internet décontextualise l'écoute et soulève la question du contexte indispensable à toute écoute. En effet, les situations usuelles ou idéales d'écoutes sont clairement et culturellement établies pour tous les méida, pour toutes les musiques tant par le lieu que la durée ou la position d'écoute (concert acoustique pour la musique classique, club pour le jazz, rave pour la techno, cuisine pour les informations radio etc...). La situation hors normes du streaming de micros ouverts impose de s'interroger sur son contexte de réception. Une approche fonctionnelle des mécanismes d'écoute peut contribuer à cette réflexion.''
''Pour conclure, les recherches menées par Locus Sonus qui me semblent le plus liées à mes domaines d'activités sont les moyens d'interprétation/traduction des notions d'espace, de distances, de géographies et de mise en forme (dans le temps et l'espaces), les dispositifs de contrôle et/ou d'émissions sonores des streams et le développement d'interfaces instrumentales adaptées à la nature des réseaux''
'''[More info|Proj Clauss]'''
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{small}http://co.lab.cohete.net/{br}http://del.icio.us/alejo{br}2006 - ... : PhD Candidate at The European Graduate School. Switzerland{br}2003 - ... : opensource software & hacklab developer{br}2001 - 2002: new media arts teacher in Bogota and Medellin at the Universidad Nacional de Colombia{br}1999 - 2001: D.E.A Master degree from the Art Department at the Universidad de Castilla-La Mancha, Spain{br}1992 - 1998: Fine Arts Diploma degree (Universidad Nacional de Colombia){br}1990 - 1995: Advertising Diploma (Universidad Pontificia Bolivariana){/small}
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! Alejo Duque
{small}http://co.lab.cohete.net/{br}http://del.icio.us/alejo{/small}
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[Projects access|Proj Duque]
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{small}2006 - ... : PhD Candidate at The European Graduate School. Switzerland{br}2003 - ... : opensource software & hacklab developer{br}2001 - 2002: new media arts teacher in Bogota and Medellin at the Universidad Nacional de Colombia{br}1999 - 2001: D.E.A Master degree from the Art Department at the Universidad de Castilla-La Mancha, Spain{br}1992 - 1998: Fine Arts Diploma degree (Universidad Nacional de Colombia){br}1990 - 1995: Advertising Diploma (Universidad Pontificia Bolivariana){/small}
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With a background in video Alejandro Duque colombian artist was graduated from the school of fine arts of Medellin in Colombia in 1998.
He actually pursues a PhD on philosophy of communication at the EGS (European Graduate School http://www.egs.edu Switzerland) and his dissertation topic deals with finding ways for smuggling ideas across different networks, "trafficking" concepts crossing marginalized communities and western philosophies.
His basic interests deal around new technologies and open source software. In Colombia he has set up a communitary wireless network and opened a hacklab (dorkbot-medellin ^[k.0_lab^]) where all sort of indisciplines were gathered .
His main interests today deal around the topics of data sonification, streaming media, and network collaborations. He is mostly working under gnu/linux and IRC is a sort of his "second" life role game. He has some experience with wireless and GPS technologies from a very experimental creative approach.
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[http://locusonus.org/documentation/img/LAB/duque1.jpg|left]
''One of my main interests since the late 90's it's been to find tactics to help build, from the realm of the digital, the different social groups to witch I relate and belong. After having stepped and made some work in the digital territories (altred-medellinwireless-soup), a strong ethos developed in parallel to a growing trust on the potentialities of network technologies. Today it now sums up as everyday inspiration towards opening a chance and possibility to propitiate a space where the event of translocal truths can collide, via collaboration and knowledge sharing. Networks are made out of this resourceful complicity that's why my envisioned research project for the PhD degree relates strongly to Computer-Mediated Social Relations. From the phenomenological touch to the artistic and political perspectives of social and individual affects blended in Social Software Development. A research deeply involved with the present socio-technological systems and open to be defined by the collaborative process itself.''
''New topographies generated by network technologies known as locative/pervasive media, RFID, RSS content syndication, Voice over I.P, streaming video, wireless networks, physical computing and free culture. All of them will need to be explored in a tone and style that could be well the one of the How-To's and the DoItYourself manuals, leitmotiv of the network culture.''
''I have no big real interest in working by myself in the style of the artist-artwork traditional relation, I find that a bit boring. There is far more pleasure through the enrichful exchange with others. Sharing ideas since there's always and somewhere the call from the Other. I don't believe that network art can be consider an autistic practice. (even AI -Artificial Intelligence- chatting bots are in itself attempts to make a community even wider by engaging into communication). Creative processes are always the work of 2 or more. No ideas are pure. To recognize the presence of the other in oneself is already a good beginning towards the openness that a collaboration requires.''
''In practical terms, I will like to address my constant work over the years on few mailing lists (all related to projects I have initiated with friends and colleagues in Colombia). It has been the case of a sustained effort in the long run.''
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''The lack of theoretical bases to decide why or how to use a certain technology, the decision of incorporating one but not the other, the ethical implications and responsibilities that come along with each dispositive we use be it "new" or "old" media. Is crucial for any art project today. In the Colombian case there is a need to define terms obliged by the political and economical situation of not only the society in general, but most importantly of each of the students who attended my workshops. One needs to work in balance to the context and for this reason I began using as much as possible Open Source Software along as to support the free/libre movement, although I do still use OS X, a MacIntosh is still my personal choice to do image editing and fast cuts with quicktime. I'm no "evangelist" of one or the other. One should simply use what best fits the situation. Nowadays in South America GNU/Linux is the way to go.''
{small}http://ennuigo.com/{br}2007 - ...: Digital Lab Manager, Pratt Institute, New York, NY.{br}2005 - 2007: Assistant Adjunct Professor, Multimedia and Design Program, Borough of Manhattan Community College, City University of New York.{br}2005 - 2007: Assistant Adjunct Professor of Communications, Interactive Telecommunications Program, Tisch School of the Arts, New York University.{br}2004: Master of Professional Studies in Interactive Telecommunications, New York, NY, Tisch School of the Arts, New York University.{br}2003 - ...: Interaction Designer.{br}1999 - 2002: Senior Producer, Court TV, New York, NY.{br}1998 : Filmmaking & Animation, Massachusetts College of Art, Boston, MA.{br}1997 : Bachelor of Arts in Psychology, Boston, MA.{/small}
'''[More info|Proj Duque]'''
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! Scott Fitzgerald
{small}http://ennuigo.com/{/small}
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[Accès aux projets / Projects access|Proj Fitzgerald]
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{small}2007 - ...: Digital Lab Manager, Pratt Institute, New York, NY.{br}2005 - 2007: Assistant Adjunct Professor, Multimedia and Design Program, Borough of Manhattan Community College, City University of New York.{br}2005 - 2007: Assistant Adjunct Professor of Communications, Interactive Telecommunications Program, Tisch School of the Arts, New York University.{br}2004: Master of Professional Studies in Interactive Telecommunications, New York, NY, Tisch School of the Arts, New York University.{br}2003 - ...: Interaction Designer.{br}1999 - 2002: Senior Producer, Court TV, New York, NY.{br}1998 : Filmmaking & Animation, Massachusetts College of Art, Boston, MA.{br}1997 : Bachelor of Arts in Psychology, Boston, MA.{/small}
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Scott Fitzgerald is an artist, educator and technologist. He builds tools for himself and others to express themselves in unique and idiosyncratic fashions. He holds a Masters degree from New York University's Interactive Telecommunications Program (NYU ITP), and has a variety of previous experiences as a social worker, documentary filmmaker, and radio DJ.
At NYU, Scott has taught Physical Computing, Video for New Media, and Expanding Interactive Video for the last several years, working with students to expand their interactions with machines, and explore the boundaries of video installation and performance. He has also taught high school and undergraduate students robotics and programming, hoping to inspire them with the same fervor with which he approaches his work.
Many of his sound and light installation and performance works are created in a collaborative context. Scott also works as a consultant for other artists and firms to help them achieve their goals and satisfy their vision (Nicole Cohen, Leo Villareal, Vibeke Jensen, architecture firm Skidmore, Owings and Merril...).
He is interested in bridging the digital world with the physicality of our bodies, and how different tools can encourage and enable this integration.
Much of the work he does entails the creation, or use of digital tools. These tools facilitate communication with people in ways we could have never imagined. however, in the translation between the physical/analog world and the digital, there is a disconnect, a loss of information and a transformation into something different. He likes to explore the information that is lost, and what happens to it. How does this transformation change the meaning of these new signals and what does it do to our sense of communication ?
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''As an undergraduate in college, I worked for the radio station, a non-commercial station that played punk rock during weekdays, experimental music and noise art at night. We were given free range to experiment, at one point in time I had "movie night" on the air, where I got a few other people to come over and watch a silent movie for the duration of the program. This enraged some listeners, but many others joined in, creating a vast network of people connected through transmission of silence, or occasional laughter and side talk. This sense of community and togetherness was on a small scale, maybe a dozen kilometers in diameter, but it imprinted on me the notion that audio, alone, can be as powerful as an form of media, particularly when combined with a community (no matter how distant).''
''I feel that Locus Sonus is in much the same position as this radio station was, but now, 10 years after I had that audience, the potential for community and listening is vaster, thanks in large part to the tools available to us. Audio as an art form, is growing in recognition in galleries and museum spaces, particularly with regard to installation and spatialized settings. Streaming technologies and control systems are part of the new infrastructure that allows people from around the wold to create their aural environment. there is a wealth of opportunity. People now have the ability to define their space, and how they acquire the content to create that environment.''
''As we attempt to define spaces for ourselves, we are faced with a myriad of questions that range from the sociopolitical to the aesthetic. Culturally, this ability to craft our own environment is more important than ever, as the majority of media is put out by fewer and fewer people, it is imperative that we maintain an independent voice, allowing a freedom of expression that is not expressed when profit or power is at stake.''
''New forms of communication that circumvent channels of official control are increasingly important and a way of disseminating cultural and relevant informations to people. Like radio in the early 20th century, technology allows us to now communicate with people in far away places, people with whom we may never meet. this distribution, while virtual, can offer a sense of immediacy and interconnectedness on a scale unparalleled in human history.''
''By creating content that lives outside of mass market considerations, the expression of the signal can be examined from many different viewpoints. With digital tools, we have the ability to examine data from virtually any angle, and reinterpret the content in any context as we wish. Be it as a physical installation by itself, as an accompaniment to another work, or in a virtualized space, online. This ability not only allows us to reconfigure the content to our needs, but also allows the individual to repurpose it for themselves.''
''This contextual content is something that works best of there is an active community that supports and sponsors this work. As a collaborator on projects, I feel that it is important for everyone to have their voice be heard, as this has the ability to strengthen the work over time.''
''Even if a singular vision guides a work in a very specific direction, it does not exist in a vacuum, and is ultimately influenced by the larger community.''
''In my work, collaboration has played a significant role, and is responsible for, what i feel, to be some of my better work. It also enables people to approach concepts from different places, oftentimes yielding unique results.''
''Like the radio station in Boston, a strong sense of community can be fostered around new forms of expression. Radio, and transmission based arts gave us a taste of what is possible for community on a small localized scale. Now we have the ability to create that community in a gallery, and across oceans. As an academic and artistic entity, Locus Sonus has the ability to create this community through several different outlets ; artistic work, publications, symposiums, conferences. I hope that I could contribute to its growth as I did in that sound booth in Cambridge.''
'''[More info|Proj Fitzgerald]'''
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! Jérôme Joy
{small}For a full presentation : [Lab coordination.en]{/small}
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! Anne Roquigny
{small}For a full presentation : [Lab coordination.en]{/small}
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! Peter Sinclair
{small}For a full presentation : [Lab coordination.en]{/small}
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