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• research directors : Jérôme Joy, Peter Sinclair Jérôme JoyComposer and artist, Jérôme Joy is teaching since 1992 at Villa Arson École Nationale Supérieure d'Art de Nice (National School of Arts) and since 2004 he's research director with Peter Sinclair of the research group Locus Sonus - Audio in Art. Having delivered multiple performances of both instrumental and electro-acoustic music since the early 1980s, he has devised numerous international, networked projects since 1995. His interests encompass the vast realm of sound composition and improvisation, alighting upon and inspired by electronic and radiophonic production, programming and streaming technologies, performed and networked systems, shared databases and the interplay and local gaps of narration between the organic (human, fallible, playable, awareness) and artificial (modular, detached, limitless) : Collective JukeBox, picNIC, nocinema.org, PacJap, pizMO, Lib_, Sobralasolas !, etc. In recent years he has been invited in many international festivals and events (in SFMOMA San Francisco, Brussels2000, Open Radio CCCB Barcelona, Kunst in der Stadt Bregenz Austria, Avatar Quebec, ISEA Nagoya, etc.) and various granted residency status in Spain, France, Egypt and Japan. He's continuously working on various projects : Sobralasolas !, nocinema, picNIC, Collective JukeBox, radio works and next live improvised concerts with guests (DinahBird, Kaffe Matthews, Eric Leonardson, ...) Jérôme Joy has been invited these last years as resident composer at the LIEM CDMC Madrid Spain, at the CIRM Nice France, at the Institut Français Alexandrie Egypt, and at the NTT ICC Tokyo Japan, and as lecturer in various international colloquiums: Multi Québec (2007), Engrenages Radio Festival Marseille (2006), Scopitone Festival Nantes (2005), CCCB Barcelona (2004), ISEA Nagoya (2003), Northwestern University Evanston (2002), School of the Art Institute of Chicago (visiting artist since 2001), Philosophy International College Paris (2000), CIREN Univ. Paris VIII (2000), Bauhaus Weimar University (1999), Invencao Sao Paulo (1999), Imagina Monaco (1998 and 2005), etc. He has participed to various events and festivals: 99 Generators Concerts Vancouver, Murs du Son Villa Arson Nice, Art Entertainment Network Walker Art Center Minneapolis, Festival Manca Nice, Festival Lust London, Brussels2000, SoundBox Helsinki, Kunst in der Stadt Bregenz, Ars Acustica San Francisco, Arts Electroniques Festival Rennes, Musiques en Scène Lyon, GMEM Festival Marseille, JuniRadio Berlin, Resonances Festival Nantes, Festival send+receive Winnipeg, 33RPM SFMOMA San Francisco, MIMI Festival Marseille, Festival d'Automne Paris, Silenceradio.org Brussels, Festival SonoR Nantes, Festival Radiophonic 07 Brussels, Das Kleine Field Recordings Festival Berlin, etc.
Involved in critical and borderline questions about systems and processes of composition and improvisation (musical writing, comprovisation, programming codes, recording, streaming, etc.) and listening situations (and of perceptions), his work extends the conditions and the operabilities of a today organology, under the name of 'extended music'. The systems he's using and he conceives are varying between "playable" forms and automatic ones, whose sound contents and materials are continuously malleable and modular, until to improvise with what looks like stable and fixed: from which his explorations and experimentations of various forms and media used and involved in his works. This investigates (or invests) the interrogation of renewals of musical forms and practices across the extended using of time scales and playing with memory (persistence and resistance) and of the permeability of sound materials between silence, materiality, contextual references and flux (permanently updated). Using last technologies - digital, electronics, programmings and telematics - and in the same time its relationships with historical and next to last ones, and crossing over musical and sound genres - electroacoustic, radiophony, performance, concert, and so on -, he's experimenting these systems to reveal (musical) practices and possible impacts, like places of local inventions, into our daily life and social contexts. The live and realtime practices are essential along his works: live improvisation and music, streaming, live cinema, live radio, etc. This is always asking practices of recording, of pre-recorded systems, and so on. From instrumental and computing environments to be performed and to be evaluated by the act of listening in the same time by the audience and the performer(s) - as local workspaces and agreed coop-systems -, the question of the composition (as constitution) of society and individuals is essential to approach the openness of critical spaces, so about musical production and representation, and to consider it as a moment of pollinization (against viruses and undergone dependences) and of silence, revealing the surrounding contexts and questions, more than the own status of the artwork. • Murs du Son / Murmures. Exposition sonore Villa Arson Nice, 1995. • Hypermusique, programmation, composition. in Actes du Colloque “les sens du numérique : nouvelles perceptions”, Monaco, 1998. • Forum Hub / Collective JukeBox. in .Net arts/réseaux, sous la direction de Jean-Philippe Halgand, AEC, cd-rom, 2000. • Musaic, the merging of all soundspaces, par Josephine Bosma, CrossFade, SFMOMA, San Francisco, 2000. • Les dispositifs coopératifs, in Revue Archée, Montréal, 2001. In Volume !, Paris, 2001. • Ryan & Joy / Joy & Ryan, un projet collectif 1982-1985, par Patrick Ferri, Livre du Frac Aquitaine, 2002. • Lascaux2.org. in L'art contemporain et son exposition, sous la direction de Catherine Perret, Éditions l’Harmattan, 2003. • Construction de situations collectives d'invention, homestudios et dispositifs audio en réseau, Revue Archée Montréal, 2003. in Volume ! n°2, Paris 2003. • Musical Experience and Online Communication, par Dante Tanzi, Crossings Vol.3 Issue 1, 2003. • Peer-to-peer : the collective, collaborative and liberated memory, par Alessandro Ludovico, Neural.it, 2003. • Celui par qui le code est parlé. Pour une lecture expressive du phénomène hacker, par Olivier Blondeau, Thèse de sociologie politique, Sciences-Po, 2003. • Dispositifs artistiques coopératifs (Collective JukeBox, picNIC, PacJap, ForumHub, etc.). in NetzMusik/NetMusic, sous la direction Golo Föllmer, Éditions Wergo, Neuen Zeitschrift für Musik, Berlin, revue et cd-rom, 2004. • Samplons sous la truie, par Ariel Kyrou, Samizdat Multitudes, 2004. • L'orchestre au 21° siècle, par Apo33, Revue Volume ! n°3, 2004. • LOGS, micro-fondements pour une émancipation sociale et artistique, sous la direction de Jérôme Joy, Éditions è®e, Paris 2005, Programme de recherche AGGLO, 2001-2005. • Experimental Music in 2005, par Warren Burt, World Literature Today, Univ. of Oklahoma, 2005. • Une époque circuitée, in Actes du Colloque "Metamedia", Avatar, Québec, DVD, 2007. • Networked Sonic Spaces, Locus Sonus, in Proceedings ICMC'08 International Computer Music Conference, SARC Belfast, 2008. • Espaces Sonores en Réseau - pratiques de la recherche en art, Locus Sonus, publication en cours, Recherche et Création Interactives, sous la direction de Samuel Bianchini. • Networked Music & SoundArt Timeline (NMSAT), Locus Sonus, publication en cours. • "No Beginning, No End - Jérôme Joy : Modes d'emploi, Mario Gauthier, in Revue Intermédialités, Programmer'', Montréal, 2009.
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 Alejo Duquehttp://co.lab.cohete.net/ Alejandro Duque artiste colombien est diplômé de l'École d'Art de Medellin en Colombie. Il est actuellement doctorant en thèse de Philosophie de la Communication en Suisse à l'EGS (European Graduate School http://www.egs.edu, Switzerland). Sa recherche traite du piratage et de la manière dont les idées sont pillées sur les réseaux (sociaux, internet..) et comment des concepts de communautés marginales sont détournées et confrontées aux philosophies du monde occidental. Ses centres d'intérêts tournent principalement autour des technologies et des logiciels libres. En Colombie il a mis en place un réseau communautaire sans fil et ouvert un "Hacklab" (dorkbot-medellin ^k.0_lab^ où toutes sortes de projets "indisciplinés" y ont été développés. Alejandro Duque s'intéresse principalement aujourd'hui à des sujets liés à la sonification de données, le streaming, et les projets collaboratifs en réseaux. II travaille sur des plate-formes Linux, les applications chat IRC tiennent lieu pour lui de "seconde vie" . Les technologies sans fil et gps font partie de son champ artistique d'expérimentation. 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.
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.
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. In the process of defining the topic of my PhD dissertation project I've decided to intensively use network technologies for a few years more to be better prepared before writing 150 pages or more of elaborated theoretical arguments tracing connections between our present networked life and its philosophical background. I consider the Locus Sonus project a unique chance to further investigate and collaborate inside a common field of interests. I will certainly be a catalyzer, a bridge to bring in other levels most of them in a vector that points to South America and the spanish speaking communities among others and most importantly a full of enthusiasm "extranaut". Scott Fitzgeraldhttp://ennuigo.com/ Scott Fitzgerald est artiste, enseignant et chercheur américain. Il invente et fabrique des outils technologiques, des programmes, des logiciels et des circuits électroniques dédiés et sur mesure pour ses propres projets et pour ceux qu'il développe avec d'autres artistes et collaborateurs. Il est diplômé du Département ITP, (InteractiveTelecommunications Program) de l' Université de New York NYU, il a aussi une expérience de travailleur social, de réalisateur de documentaires et de DJ pour la radio. Il a dispensé des cours de robotique et de programmation dans des Écoles Supérieures et il enseigne depuis plusieurs années les sciences physiques, la vidéo et les nouveaux média à la NYU . Ses installations sonores et lumineuses ainsi que ses performances sont souvent développées dans des contextes collaboratifs. Sa démarche crée des liens entre les mondes numériques et physiques et traite de la manière dont les technologies favorisent ce rapprochement pour détourner et transformer la perte d'information pour recréer du sens. 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 ?
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. Jérôme JoyPour une présentation complète : Lab coordination Anne RoquignyPour une présentation complète : Lab coordination Peter SinclairPour une présentation complète : Lab coordination
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Lab 2013/2014: Elena Biserna, Stéphane Cousot, Laurent Di Biase, Grégoire Lauvin, Fabrice Métais, Marie Müller, (Julien Clauss, Alejandro Duque), Jérôme Joy, Anne Roquigny, Peter Sinclair. 2008/2014 — Powered by LionWiki 2.2.2 — Thanks to Adam Zivner © images Locus Sonus webmaster & webdesign : Jérôme Joy contact: info (at) locusonus.org 2004-2014 Locus Sonus |
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