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




Jérôme Joy


Composer and artist, Jérôme Joy is teaching since 2010 at École Nationale Supérieure d'Art de Bourges (National School of Arts) http://www.ensa-bourges.fr/, (after has been teaching at Villa Arson École Nationale Supérieure d'Art de Nice (National School of Arts) 1992-2010). 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, USA, Egypt and Japan. He's continuously working on various projects : Sobralasolas !, nocinema / Interludes, picNIC, Collective JukeBox, radio works and next live improvised concerts with guests (DinahBird, Kaffe Matthews, Emmanuelle Gibello, 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, at The Thing NYC, and at the NTT ICC Tokyo Japan, and as lecturer in various international colloquiums: Architectones Arc-et-Senans (2008), ICMC'08 SARC Belfast, Mois 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, NoMusic, Festival SonoR Nantes, Festival Radiophonic 07 Brussels, Das Kleine Field Recordings Festival Berlin, Festival Indisciplines Sonores Nice, AV Festival Radio Abroad Cast Newcastle, Centre IMAL Brussells, Festival SMASH Mùsica Contemporànea Salamanca, Suona Francese Napoli, noplacard Paris, Mostra Sonora Sueca, Rencontres Paris-Berlin Centre Reina Sofia Madrid, Centre Oboro Montréal, Urban Screens Manchester, Festival Expo Brighton, Festival Plektrum Tallinn, Espace Synesthésie Biennale Art-Grandeur-Nature Paris, etc.

His radiophonic works are produced by silenceradio.org in Brussels and JetFM in Nantes. He's webmaster of various art websites since 1995 on thing.net and nujus.net.

http://joy.nujus.net/files/doc/2007_sbrlsls/jerome.jpg

Ph.D. University Laval Quebec

Since 2011, Ph.D. in audio art and experimental music, Individualized PhD, Ad Hoc PhD program, Research director : Suzanne Leblanc.

Subject : Internet Auditoriums

ACADEMIC EXPERIENCE

- Since sept. 2010, tenured professor (sound art practices, sonic & music spaces), École Nationale Supérieure d'Art de Bourges (School of Arts) (F)

- 1992-2010, tenured professor sound art practices, École Nationale Supérieure d'Art de Nice Villa Arson (School of Arts) (F)

- 2003-2004, mission concerning sound art teaching at l’École Supérieure d’Arts Plastiques de la ville de Monaco (School of Arts) (MC)

- 2002-2003, University of Montpellier III and University of Nîmes (F)

- 2001-2005, Visiting artist School of The Art Institute of Chicago (US)

Bibliography (selection)

• Joy J. (1997). Conversation Malcolm Goldstein / Jérôme Joy. Publication pour Revue&Corrigée, trimestriel, n°35, (pp. 10-16), édité par Nota Bene, mars 1997.

• Joy J. (1998). Hypermusique, Programmation, Composition. In Actes du Colloque Imagina "Les sens du numérique : nouvelles perceptions", (pp. 30-44), INA / Ministère de la Culture et de la Communication, Monaco, mars 1998.

• Joy J. (1999). Net audio projects. In proceedings International Conference - ção : Thinking the Next Millenium, http://www.itaucultural.org.br/invencao/invencao.htm, Roundtable Sonic Interactions, avec Andrea Polli, Stefaan van Ryssen, Andrea McCartney, ISEA, Arts Leonardo ISAST, CAiiA-STAR, Itaù Cultural Institute, São Paulo (Br), avril 1999.

• Joy J. (2000). Forum Hub / Collective JukeBox. In ".Net arts/réseaux", sous la direction de Jean-Philippe Halgand, AEC, cd-rom, Bordeaux, 2000.

• Joy J. (2001). Les Dispositifs Coopératifs – Prospective 21ème siècle. In Revue électronique Archée, rubrique cyberthéorie, http://archee.qc.ca/ , Montréal, avril 2001. Et aussi in « Electroshop », (pp. 54-59). Catalogue Hôtel des Beaux-Arts, manifestation artistique pluridisciplinaire, Délégation aux Arts Plastiques, Ministère de la Culture et de la Communication, Nancy, avril 2001.

• Joy. J. (2002). Construction de Situations Collectives d'Invention – Homestudios et Dispositifs Audio. (sous le pseudonyme LABO). In revue Volume ! Autour des Musiques Actuelles, Volume 1, Numéro 2, année 2002, (pp. 19-42), Clermont-Ferrand : Éditions Mélanie Seteun, février 2003 ; Et aussi : In Revue électronique Archée Montréal, rubrique cyberthéorie, http://archee.qc.ca/ , Montréal, avril 2003.

• Joy J., Pouts-Lajus S., Sevin J-C., Tiévant S. (2002). Composer sur son ordinateur. Les pratiques musicales en amateur liées à l'informatique. Rapport Département des Études, de la Prospective et des Statistiques DEPS, Direction de la Musique, de la Danse, du Théâtre et des Spectacles vivants DMDTS. (70 p). Ministère de la Culture et de la Communication, 2000-2002.

• Joy J. (2003). Les Dispositifs Coopératifs – Collective JukeBox, Lascaux2.org. Conférence au Collège International de Philosophie, 2000. In L'Art Contemporain et son Exposition, sous la direction de Catherine Perret, Vol. 1, (pp. 89-103), Paris : Éditions l’Harmattan, 2003.

• Joy J. (2004). Dispositifs artistiques coopératifs (Collective JukeBox, picNIC, PacJap, ForumHub, etc.) ― Vernetzte AudioSysteme. In ‘NetzMusik/NetMusic’. Edited by Golo Föllmer, (pp. 29-30), Wergo Ed., Neuen Zeitschrift für Musik, Berlin, revue & cd-rom, septembre / octobre 2004.

• Joy J. (2004). De la Monstration aux Téléchargements : Pollénisations et Émancipation ― Approches des dispositifs collectifs en réseau. In revue Culture & Recherche, n° 102, (pp. 18-20), publié par Mission de la Recherche et de la Technologie, Ministère de la Culture et de la Communication, juillet-août-septembre 2004.

• Joy J. (2004). Sound Art Exhibitions Timeline - 1964-2004. (Online article) http://jeromejoy.org/

• Joy J., Argüello S. (2005). LOGS, micro-fondements pour une émancipation sociale et artistique. sous la direction de Jérôme Joy et Silvia Argüello. Programme de recherche AGGLO, 2001-2005. (128p). Éditions è®e, Paris 2005. http://www.editions-ere.net/projet56

• Joy J., Sinclair P. (2008). Networked Sonic Spaces (Les Espaces Sonores en Réseau). In GlobalWare Corporation (Ed.) Roots/Routes, International Computer Music Conference ICMC’08 (Panel : Networking Performance) (pp. 553-555). Belfast : SARC, Sonic Art Research Center, Queens University, & International Computer Music Association ICMA (Publishers).

• Joy J., Sinclair P. (2009). Espaces Sonores en Réseau - pratiques de la recherche en art, Locus Sonus. In "Recherche & Création - Art, Technologie, Pédagogie, Innovation", sous la direction de Samuel Bianchini, (pp. 122-139). Paris: Éditions Burozoïque / Les Éditions du Parc, École Nationale Supérieure d’Art de Nancy, 2009.

• Joy J., Sinclair P. (2009). Networked Music & Soundart Timeline (NMSAT): A Panoramic View of Practices and Techniques Related to Sound Transmission and Distance Listening. In Contemporary Music Review, "Network Performance", Vol. 28, Nos 4/5, (pp. 351-361), Taylor & Francis Group, Oxford: Routledge (UK), 2009.

• Joy J. (2009). Networked Music & Soundart Timeline (NMSAT) Excerpts of Part One: Ancient and Modern History, Anticipatory Literature, and Technical Developments References. In revue Contemporary Music Review, "Network Performance", Vol. 28, Nos 4/5, (pp. 449-490), Taylor & Francis Group, Oxford: Routledge (UK), 2009.

• Gauthier M. (2009). No Beginning No End. Jérôme Joy: Modes d'emploi. Commandé par la revue Intermédialités, CRI Université de Montréal (QC). (15p). (inedite)

• Joy J. (2009). La Musique en Réseau. (extrait de l'article en cours, Introduction à une Histoire de la Télémusique). Article Wikipedia, 2009.

• Joy, J. (2009). Chantal, de Luc Ferrari. In livret du cd « Luc Ferrari – Chantal ou le portrait d'une villageoise », publié par Jérôme Joy et Brunhild Ferrari-Meyer, (pp. 5-8), label Ohm Avatar, Ohm 051, Québec, 2009.

• Joy J. (2010). Une Époque Circuitée ― Réflexion sur l'organologie des arts en réseau : le passage de l'Internet à un état musical. In Revue Intermédialités - Histoire et Théorie des Arts, Lettres et des Techniques - April, 2010, No. 13 - Programmer, (pp. 57-76), CRI, Centre de Recherche sur L'Intermédialité, Université de Montréal (QC), 2010.

• Joy J. (2010). La Musique Étendue - « En Plein Air » (Extended Music - Out in the Open). French, English and Chinese versions. In Around, catalog of the sound festival, (pp. 104-149), Transl. by Celine Cruickshanks. Edited by Yang Yeung, Soundpocket, Hong Kong (HK), 2010.

• Joy J. (2011). What NMSAT says about Sonification. In AI & Society : Knowledge, Culture and Communication, Proceedings of Locus Sonus Symposium : Sonification, Guest editor Locus Sonus, Volume 27:2, 2011. London : Springer (Pub.). (en cours de publication)

• Joy J. (2012). L'Ultime – David Ryan & Jérôme Joy. (en cours de publication)

• Joy J. (2012). Auditoriums & Audiences – The Out in the Open « Shakkei » Listening Experience. In On Listening, sous la direction d'Angus Carlyle, CRiSAP University of the Arts London. (en cours de publication)


Discography, complete bio and catalog of works

http://jeromejoy.org/


Webography

http://jeromejoy.org/

http://nocinema.org/

http://locusonus.org/

http://nujus.net/



Peter Sinclair


Peter Sinclair is a digital media and sound artist. He is a tenured professor at École Supérieure d'Art d'Aix en Provence where he has been responsible for the sound department since 1996, http://www.ecole-art-aix.fr/. He is also currently a member of the scientific council for research and studies at the DAP (fine arts department) of the French Ministry for culture and research director with Jérôme Joy of Locus Sonus which is a collaboration between École Supérieure d'Art d'Aix en Provence, École Nationale Supérieure d'Art de Nice Villa Arson and Université de Provence - Aix/Marseille LAMES CNRS-MMSH.

Peter Sinclair is known for his sound installations and other cross-disciplinary works which use sound as their principal medium. Excited by technology but handling it with critical irony, his work has moved from burlesque mechanics, through the misuse of computers to performance that parodies modern media language in transatlantic streamed-collaborations.

Aside from his personal artistic productions Peter Sinclair participates in various collectives such as "PacJap" and "Daisy Chain" and he has been working with New York based artist GH Hovagimyan since 1996. Their collaborative works, which include Exercises in talking, a soapopera for laptops, Heartbreak Hotel, Shooter and ''Rant rant back back rant', have been shown frequently in Europe and the US.

He's co-founder and co-director of Cap15, artists studio complex situated in Marseille.

Recent conferences & symposiums
  • "Sound, Politics and Burlesque Mechanics". UC Irvine Dec 04
  • "Philosophy and Electronic Music": Aix en Provence, Rencontres Place Publique. Sept 04
  • "The Role of The Artist within Technological Systems" Rencontres Arts et Nouveaux Medias, ECM, Marseille. Oct 03
  • "Use of NTIC (New Technologies Information & Communication) and their interactionnal emplacements", Université de Provence - Aix/Marseille LAMES CNRS-MMSH. nov 2003


http://www.brettbalogh.com/bblog/wp-content/uploads/2006/09/peter_ball.jpg

Ph.D. CRiSAP LCC University of the Arts London

Using real time data flux in art – the mediation of a situation as it unfolds / RoadMusic – an experimental case study. (Peter Sinclair) (Direction de recherche : Angus Carlyle) :

The use of real-time data in art raises a specific problem: How can the work be dependent on external flux and simultaneously have form that we can consider as artistic. The practice driving this research is called RoadMusic. The project uses a small computer based system installed in a car, which composes music from the flux of information it captures about the journey as it unfolds. Time, immediacy and the everyday are recurring questions in art and music and I review historical practices that address these questions. However, the art of sonifying data extracted from the environment is arguably only as recent as the computer programs it depends on. I review different practices that contribute towards a corpus of sonification-art, paying special attention to those practices where this process takes place in real-time. I discuss where RoadMusic fits in this spectrum. To deepen my interrogation of the specificity of an art of real-time I consider philosophical theories of the fundamental nature of time and immediacy and the ways in which the human mind ‘makes sense’ of this flux. After extending this scrutiny via theories of system and environment, I proceed to extract concepts and principals leading to a possible art of real-time flux.

I describe the evolution of the RoadMusic project and add user testimonials, audio and visual documentation. I discuss the particularities of this artwork and the subsequent questions it poses in terms of public presentation, of the actual existence of the work and the way in which I respond to these issues.

Expositions, Installations, Spectacles, Performances (sélection)

2003 ______ Paris - "Shooter". festival La Gaité lyrique; Split, Festival de Cinema et de Nouveau media, Croatie; performance, Marseille. concert avec le collectif Pacjap Festival MiMi

2002 ______ Amsterdam - "Heartbreak Hotel". exposition personnelle STEIM; Nagoya, Japon avec le collectif PacJap. performance ISEA; Split, Festival de Cinema et de Nouveau media, Croatie; installation Eyebeam, Beta Launch, NewYork, USA. exposition collective

2001 ______ Marseille. Galerie du Tableau exposition personnelle; Marseille. GMEM exposition personnelle; Marseille Chateau de Serviere, , avec le collective Daisy Chain. installation; SVA, New York, USA. Digital Salon exposition collective

2000 ______ Belfort. installation Festival Interferences; Baillargues. avec GH Hovagimiyan. exposition personnelle Aldebaran

1999 ______ MAC de Lyon Musiques en scène. avec GH Hovagimiyan. exposition collective; New York,USA. Void avec GH Hovagimiyan. performance; Belfort. avec GH Hovagimiyan. performance Festival Les Nuits Savoureuses; New York,USA. avec GH Hovagimiyan. Postmasters Gallery exposition personnelle

1998 ______ New York,USA. avec GH Hovagimiyan. performance Postmasters Gallery; avec GH Hovagimiyan. performance Festival Les Musiques, MAC Marseille; Montpellier. performance Derives Magnétiques

1997 ______ San Francisco, USA. performance Exploratorium; Festival Out of Doors, New York,USA. installation Lincoln Center; Trembley en France. avec Marc Tompkins.; spectacle Mai Danse

Academic Experience

Has taught at:

  • L'Ecole Supérieure des Beaux Arts de Lyon 1987.
  • L'Ecole Supérieure des Beaux Arts de Metz 1988/89.
  • L'Ecole Nationale Supérieure des Beaux Arts de Dijon 1995.
  • L'Ecole Supérieure des Beaux Arts de Aix-En-Provence 1996/2005.

He has taught workshops in numerous institutions in France an abroad including:

  • La Villa Arson, Nice France.
  • San Francisco Art Institute.
  • School Of Visual Arts New York.
  • Mohr Institute, Groningen, Netherlands.
  • National college of Arts, Lahore, Pakistan.


Webography

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

http://www.sklunk.net/IMG/jpg/ar40399.jpg

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.



Webography

http://www.roquigny.info

http://www.wj-s.org