locus sonus > Lab coordination.en

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  Page Index :


• Jérôme Joy
• Peter Sinclair
• Anne Roquigny

• research directors : Jérôme Joy, Peter Sinclair
• administrative coordination : Anne Roquigny

Jérôme Joy

Composer 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.

http://jeromejoy.org/

→ http://jeromejoy.org/

→ http://nocinema.org/

→ http://locusonus.org/

→ http://nujus.net/

Peter Sinclair

→ http://petersinclair.org/

→ http://nujus.net/~petesinc/

→ http://nujus.net/

Anne Roquigny

Anne Roquigny, media arts curator, has specialised during these last ten years in the production, coordination, promotion and curating of hybrid digital projects linked to networks and to the Internet.

After a professional experience related to teaching and adult education, Anne Roquigny (www.roquigny.info)) specialised during these last ten years in the production, programming, co-ordination and promotion of multimedia events.

From 1995 to 1998 she devised and organised the cultural programs of events of the Web Bar, an internet café cum art gallery in Paris . For three years she presents several hundred electronic music concerts, live performances, theatre and dance shows, video and cinema projections, interdisciplinary events, multimedia installations, network performances, debates and conferences

Anne Roquigny is the founder and president of Association d’idées (a non-profit organisation aiming at the promotion of artists and their works) from 1994 to1999. In March 1999, she designs an internet site for the General Delegation for the French Language, on the occasion of the second Fête de l’Internet. The site presented 50 digital works specifically designed and conceived for the web. (http://www.culture.gouv.fr/culture/dglf/idees/)

In April 1999, she joins the CICV Pierre Schaeffer as artistic co-ordinator and programmer of the international urban multimedia arts festival, Les Nuits Savoureuses de Belfort in 1999 (http://www.nuits-savoureuses.net/1999/ ) and the Interferences festival, which comprised 350 artists from more than 40 countries in 2000 (http://www.interferences.org/).

From December 2000 to October 2002 she assists Pierre Bongiovanni (www.bongiovanni.info), director of the CICV Pierre Schaeffer, an experimental arts centre. This internationally orientated production and residence site welcomed approximately a hundred artists every year. It was closed in 2004 but placed the issues of image, sound media and networks at the very heart of its activity for fifteen years: audio-visual production / visual arts / performing arts in relation to new stage technology / musical creation / visual immersion environments / online performances and events / web-casting / debates and colloquiums / educational projects (http://www.next-movies.com/, www.cicv.fr).

From October 2002 to June 2004, Anne Roquigny is in charge of the general co-ordination of the preliminary project for a future Digital Arts Centre in Paris, dedicated to digital production and to music of our time, at La Gaîté Lyrique http://gaite.arscenic.org. The Mayor of Paris, Mr Bertrand Delanoé, entrusted Pierre Bongiovanni with this mission before the construction of the new building.

Anne Roquigny now develops the web performances project WJS http://www.wj-s.org. and co-coordinates with Peter Sinclair and Jérôme Joy the project Locus Sonus a research lab specialized in audio art and it's relation to space and networked audio systems. Ecole supérieure d'Art d'Aix en provence, Ecole nationale d'art de Nice Villa Arson.

http://www.roquigny.info

http://www.wj-s.org