15 May 2019 - 16h

Next Level

Médiathèque de Tarentaize

Musician versus machine. A piece with a duration of exactly 1000 seconds. 1000 seconds of pure concentration, because the adversary is a computer that doesn't make mistakes...

Flutist Alicja Lizer-Molitorys has imagined a concentration game based on the piece Composition Arithmétique by Polish composer Artur Zagajewski.

It is a piece for piccolo flute and sound file that requires the performer to be very precise. The sounds of the piece recall those of 80's video games - a musical course full of adventures and plot twists.

Performed with the Sampo.

This event is organized in the framework of the Artex Katowice artistic exchange project, supported by the Institut français à Paris and the City of Saint-Etienne.


16 May 2019 - 20h

Déjà-vu

Cinémathèque de Saint-Etienne

 

picto JAS2019b

False or repressed memory? Juxtaposition of perception and memory? A sign of previous life, an illusion, a temporal anomaly? The eternal return of the same? The feeling of déjà-vu intrigues both artists, philosophers and scientists.

As part of the Art & Science Days, Musinfo proposes to composers and artists from around the world to participate in a call for a sound or multimedia work.

This multimedia concert will present a selection of works from the 6th Call for works on the theme Déjà-vu.

It is the opportunity to enter singular sound and visual universes, to explore the various visions these artists have on the given theme. 

Kay Abaño (Philippines / Spain) and Maria Ponce (Mexico)

             

Notes Across Time
Francesco Bossi (Italy)   Bâtons intérieurs minimaux
Omar Del Real (USA)   Palindrom (Entropy means nothing to me)
Cristian Fierbinteanu (Romania)   Adore
Konrad Handschuh (Poland)   Discobolus
Panayotis Kokoras (USA)   Mnemonic Generator
Richard Pressley (USA)   “…ailes sans plume” 
Ruud Roelofsen (USA)   On intimacy II
Dimitrios Savva (Cyprus)   Stous Theous
Berndt Schumann (Germany)   Planquadrat II

17 mai 2019 - 18h

Impressions

Bourse du Travail de Saint-Etienne

 

Alicja et MarieThe acoustic sounds of the cello and of the flute mix with electronic sounds from Sampo in a delicate relation where they influence each other, depend on each other, complete each other to the extent of giving the impression that all sound arises from a single source.

The works evoke different worlds and eras, from traditional instruments to almost machine-like sounds.

 

End of residency concert for soloists Marie Ythier and Alicja Lizer-Molitorys and for the winner composers of the Composition contest for acoustic instrument and Sampo, Jean-François Charles and Hongshuo Fan. The composers will present their works personnally during the concert, and a moment of exchange will be reserved to meet the artists.

 

Sampo is an innovative instrument manufactured in Saint-Etienne, whose purpose is to augment the sounds of any acoustic instrument and therefore free musical creativity.

This event is organized in the framework of the Artex Katowice artistic exchange project, supported by Institut français à Paris and the City of Saint-Etienne.

Programme:

José Luis Campana

Jean-François Charles

Hongshuo Fan

Przemyslaw Scheller

Isabel Urrutia

Krzysztof Wolek

 

* World premiere

          

Crossroads *

Masse pétrie *

Flowing Form *

Geometry of the Paradox *

Haziak *

Arguro

 

 

          

cello and Sampo

cello and Sampo

flute and Sampo

flute and Sampo

cello and Sampo

flute and Sampo

 

 

 

Performers:

Opus Centrum Ensemble: Alicja Lizer-Molitorys – flute and Sampo, Marie Ythier – cello and Sampo


18 May 2019 - 18h

A Night Journey

Musée de la Mine

 

On the occasion of the European Museum Night, Nicolas Vincent will play different instruments of popular traditions, transformed with Sampo. His performance will take you for a journey to other worlds.

Combining musical moments and presentations, Nicolas Vincent and Alexander Mihalic, creator of Sampo, make you discover the instruments used during this special night in the historic environment of the Mining Museum.

15 - 18 May 2019

picto JAS2019

New perspective

False or repressed memory? Juxtaposition of perception and memory? A sign of previous life, an illusion, a temporal anomaly? The eternal return of the same? The feeling of déjà-vu intrigues both artists, philosophers and scientists.

The 2019 edition of the Art & Science Days will be held for the first time in Saint-Etienne. While offering new encounters and discoveries, this 6th edition will include some reminders from previous editions – all this in a new context.

We dedicate this 2019 edition of the Art & Science Days to déjà-vu in its different dimensions.

picto JAS2019

Saint-Etienne – May 2019

False or repressed memory? Juxtaposition of perception and memory? A sign of previous life, an illusion, a temporal anomaly? The eternal return of the same? The feeling of déjà-vu intrigues both artists, philosophers and scientists.

As part of the Art & Science Days, Musinfo proposes to composers and artists from around the world to participate in a call for a sound or multimedia work.

We dedicate this 2019 edition of the call for works to the phenomenon of deja vu in its different dimensions.

Michael Choi (USA)

Born in Urbana-Champaign, Illinois, Michael W. Choi is a Korean-American composer, conductor, and filmmaker specialized in writing music for film, animation, games, and new media. He is currently based in Los Angeles, composing music for film, animation, and other media arts. He graduated from the Berklee College of Music: Valencia Campus, receiving a Master degree in Scoring for Film, Television, and Video Games. Also, he proceeded to take classes at the SAIC (The School of the Art Institute of Chicago) where he graduated with the Bachelor of Fine Arts in 2014, where he studied film, video, new media, sound, and fine art.

One Second in the Light

"The truth isn't always a blinding light. Sometimes it's deep and dazzling darkness, that illuminates - and burns - just as surely."
Albert Einstein

Time is an invention of human that defines the natural phenomenon in repetitive cycles. Nature has the required parameters that helped humans represent time, but on its own time does not exist.

This music portrays an image of great scientists in the grand scheme of their theory of time. With using few selected instruments such as strings, piano, and arpeggiated synthesizers, the music demonstrates a suspending mood and sensation of time with the timbre and specific advanced techniques of the instruments that play a pulse of a second, giving a passive yet immersive musical-inspiration of time.


Omar Del Real (USA) 

Born in Zacatecas Mexico, composer Omar Del Real is finding new sounds from everything and nothing. Del Real studied guitar and music theory with Rafel Hernandez Hidalgo. Omar is pursuing his studies to concentrate in Multimedia and algorithmic compositions. Currently student at CSUN composition program under the spectralist composer Liviu Marinescu, Del Real is trying to push the boundaries of timbre with microtonality and electronics. Omar's compositions have been performed in Los Angeles, Zacatecas Mexico, Monterrey Mexico.

Palindrom (Entropy means nothing to me)

A composition that tries to escape the chains of physics by not being constrained by the arrow of time. Inspired by Messiaen non-retrogradable rhythms, this composition tries to make a true sonic palindrome that sounds the same if you play it forwards or backwards in time. In a live setting the percussion would be played against a recording of themselves playing the same thing backwards the second and third time. !A AIA A! with a mirror in the middle..


Sergio Gurrola (Mexico)  

Sergio Valente Gurrola Álvarez.
Composer and sound artist. His works address the limits between noise and music, testimony and poetry.
Sergio's pieces undertake an aesthetic exploration and also ethical questions: the relationship between art and the world.
The most recent creation of Sergio has as its central axis the human voice as a sign of resistance.
The project "Vivirvive" includes a series of works based on testimonies from marginal beings: forgotten artists, imprisoned children ...
The pieces explore the micro-tonality. They were composed, interpreted and recorded from the instruments invented by the Mexican composer Julián Carrillo (1875-1965), creator of Sound 13.
The "San Clemente" project is also the soundtrack of the movie "El Premio".
"San Clemente" has been played at "Nuremberg International Human Rights Film Festival", "New Horizons International Film Festival" in Wroclaw Poland, Radio France and Cinesecuencias radio in Mexico.

The runner without a trace

The ancient rarámuri civilization, mysterious and vigilant of their traditions. Hermits live in ravines and canyons in one of the highest parts of the Sierra Madre mountain range in México. “Men with winged feet”. Their most important ritual is running for days with scarce food. The notion of temporality and trekking through the complexity of the world around us on our own feet is a worldview that has been with them for millennia. This piece is the moving portrait of Silvino Cubesare, a runner experienced enough to make new paths with his own feet.
Despite the massacres and a brutal oblivion, Silvino reappears with a strong step in races to help his own.

The rarámuri know that utopia is on the unreachable horizon and it serves to stay in constant movement. The rhythm is halfway through silence, and conscience is the conjunction of an enigmatic stimulus.


Tim Howle (UK)  

Tim Howle is Professor of Music at the University of Kent. He has also worked at the Universities of Hull and Oxford Brookes. He read music at Keele University, studying under Roger Marsh and Mike Vaughan completing a doctorate in composition in 1999. His work centers on electronic music including fixed media pieces, and also for performer and live electronics and pieces involving visual media. His work has been performed throughout the US, Asia and the EU..

False Memory of Normandy

The piece is based on a poem by J M Fox. A man, in the present, remembers playing as a child on a playground in the 1960s pretending that he was at D-Day in 1944. From the present, adult and childhood memories become intertwined. The acousmatic music treats time in a similar fashion by interweaving periodic and aperiodic material over a pulse that shifts throughout the work to suggest the altered past. Some sounds were recorded recently and some 30 years ago to support the approach perceived altered state. It is an attempt the stretch the notion of reduced listening by making the time-based dislocation to what is, in our case, a maximum.


Filipe Leitao (USA) 

Award-winning, innovative, highly technical professional with 10+ years of music creation experience, Filipe Leitao is a Brazilian-born composer, music producer, and orchestrator based in Tuscaloosa, AL. Filipe’s works reflect his unique voice originated from a mix of classical music, popular music, Brazilian music, and film music.  Filipe received the MFA degree in Music Production and Sound Design for Visual Media at the Academy of Art University (San Francisco, CA). Currently, Filipe is pursuing a DMA degree in Music Composition at The University of Alabama.

Time Goes By

Minimalist, atmospheric soundscape work featuring piano and varied samples of the tic tac clock sound evoking passing of time.


Andres Lewin-Richter (Spain)

(Spain,1937). Teaching assistant at the Columbia Princeton Electronic Music Center (1962-1965), working with V.Ussachevsky, M.Davidovsky and E.Varèse. Co-founder and director of the Phonos Electronic Music Studio in Barcelona since 1974, at present part of the Music Technology Group of the Pompeu Fabra University, Barcelona (president Xavier Serra), was organizer of the ICMC 2005 and the SMC 2010.

Time Machine with Voices

Any musical piece is a time score, sounds flow along time. In this case I decided to use strict rhythmical patterns with voice samples, after experimenting with multiple recordings produced in our recording studio extracting transients and choralizing single voice fragments, since the choral samples became untreatable due to the frequency dispersion.


Clovis McEvoy (Auckland)  

Clovis McEvoy is a 30-year-old composer, lecturer and sound engineer based in Auckland.
Clovis currently lectures at Auckland University School of Music in the field of sonic arts and music production. Clovis has worked with, and has been commissioned to write for, members of the Auckland Philharmonic Orchestra, and has written soundtracks for short films, documentaries and live theatre.
Clovis’ works have been performed in Seoul, South Korea and Leuk, Switzerland.
Clovis was the 2017 recipient of the APRA-AMCOS Professional Development Award in contemporary composition.

A Study In Virtual Reality Music

This work is designed to be viewed on virtual reality systems such as the HTC Vive or the Oculus Rift - however it can be viewed on traditional 2D screens as a study.


Paolo Pastorino (Italy)  

Paolo Pastorino (08/12/1983) is an Italian guitarist, sound designer, and composer.
Since 2006 he starts to work as sound engineer for some Rock, Industrial and Nu-Metal bands. He studied and graduated in computer music and sound technology at the Conservatory of Sassari and he is specialized in new music technologies at the Conservatory of Cagliari.
In his compositions, he uses electronic instruments and algorithms realized by software, as well as electronically elaborated traditional instruments and other concrete elements.
His compositions have been performed in Europe (Italy, France, Spain, Germany, UK) and abroad (USA, Argentina, Japan, Mexico).

Velocità limite

This work is triggered by a from a series of considerations: The main one concerns speed in relation to time and its perception (time); The second one concerns the amount of information which we are exposed to in each moment of our lives and of human actions. Less time more speed.
The problem clearly focuses on a very narrow temporal dimension (from the 1980s to the present) which includes technological, and consequently socially very important changes. The path taken by Western societies, ranging from pre-industrial to post-industrial age, seems to be characterised not by a linear trend but by a steep curve.
Speed and time are central parameters in our daily life, but we must take into account the damage that these can cause to our consciousness. Our inner balance is at risk as mankind races towards the future reaching a limit speed, to which we are struggling to adapt; this leaves less time for important processes such as critical attention and thinking.


QUOD (Spain)  

Quod is a video music and video art group born in 2016 and integrated by the artist Inés Uribe (Bilbao, Basque Country. Spain) and the composer Miguel Matamoro (Vigo, Galicia. Spain).
Those two artists have participated in various festivals, cycles or spaces such as:
MARCO (Museum of Contemporary Art, Vigo, Spain), CGAC (Santiago de Compostela, Spain), BBVA FOUNDATION (Bilbao, Spain), Cibeles center (Madrid, Spain), Kursaal (San Sebastian, Spain), FMEC (Cadiz, Spain), Sinkro Festival (Vitoria, Spain), University of Houston (USA) or Schola Cantorum (Paris, France), Photomuseum (Zarautz, Spain) or White Lab Galery (Madrid, Spain), Festival PUNTO DE ENCUENTRO (Granada, Spain), Bernaola Festival (Vitoria, Spain), ArteAbierto (Casa Decor, Madrid, Spain) Festival Gaztapiles (Madrid, Spain), ASPA Contemporary (Madrid, Spain) and many others.
Quod has also been a shortlisted project for the BienalSur 2017 (South America).

D E S V E L O

What my virtual self does when I´m not in the virtual world. A lapse of inexistance.

Idea - Quod (Inés Uribe and Miguel Matamoro)
Main Character - Enrique Díez
Violin - Roberto Alonso.


Berndt Schumann (Germany)

Born 1979 in Chemnitz, Germany; currently living in Göttingen. Sound engineering, composition and electroacoustic music studies in Detmold, Bremen, Hamburg and Leipzig; 2004-07 working as a sound engineer for several recording companies, 2007-11 sound engineer at Anhaltisches Theater Dessau, since 2011 at Deutsches Theater Göttingen; mainly working in electroacoustic and instrumental fields, occassionally also theatre music, short texts and experimental films; several prizes e.g. Czech Society of Electroacoustic Music, Innova Musica Competition and Counterpoint Composition Competition. Performances in Western Europe, Russia, Mexico and the USA.

Planquadrat II

A short cinematographic essay about the absurdity of human ambition in the face of time.


David Snow (USA)

The compositions of David Jason Snow (b. 1954) have been performed in concert by the Ensemble Intercontemporain, La Banda Municipal de Bilbao, the New Juilliard Ensemble, and other artists and ensembles internationally. His Das Lied von der Magnetosphäre was one of ten electroacoustic works selected by MAARBLE, the European‐American space research project, as winners of its “Sounds of Space” musical composition contest. Snow has also been the recipient of composer fellowships from the National Endowment for the Arts, two grants from the Maryland State Arts Council, an ASCAP Foundation grant, composition awards from BMI, and composition prizes from Musician magazine and Keyboard magazine, and he has been an artist resident at Yaddo in Saratoga Springs and the Millay Colony for the Arts in Austerlitz, New York. He holds degrees in composition from the Eastman School of Music and the Yale School of Music..

La relativité pour les nuls

La relativité pour les nuls is a poetic depiction of time dilation. Passengers on a spacecraft accelerating away from earth are subject to time passing at a slower rate relative to those who are earthbound, the effect becoming more radically pronounced as the vehicle approaches the speed of light. The subjective experience of the passage of time will be the same for both classes of observers, but a clock on the spacecraft will fall behind that on the ground. The composition depicts this temporal disparity by means of accelerating tempi and accumulating density of musical events: to the earthbound observer, the tempo and event density do not change; relative to the listener, who symbolically assumes the role of near-light-speed cosmic traveller, the passage of earth time accelerates.


Simon Šerc (Slovenia)

Simon Šerc (b. 1972) is a sound and video artist, recording engineer, performer and label founder. He studied philosophy and computing, and has been active in the field of experimental music since 1990. He has participated on various festivals with his audio-video projects: Sound Thought (Scotland), New Texture (South Korea), Gravity Assist (U.S.A.), Black & White (Portugal), Kiblix (Slovenia), Lieblichkeit und Sexualität (Austria), Art & Music (Croatia), Expo 2000 (Germany), Instants Vidéo Numériques et Poétiques (France), Sguardi Sonori (Italy) etc. As a sound and video artist, he has collaborated with other artists/collectives from various fields of art and he is also active in a number of different musical projects (PureH, Cadlag, KSVLKSV etc.) He is the founder of the Pharmafabrik production and label, which, according to music critics – significantly enriches Slovenian audio diversity with its consistent and clearly defined methodology of sound explorations.

Martina Testen (Slovenia)

Martina Testen was born in 1976 in Postojna, Slovenia. She works in visual and sound communication through video, soundscapes (field recordings) and digital photography. Recently Martina participated at the festival Numérique et Poétique in France, Videofestival Natures in Slovenia and presented her sound sculpture at the World Listening Project. She lives in Nova Gorica.

Before The Time

The premonition of spore power and fragility of giants creates a feeling of weakness and a fear of being trapped into multilayered systems. The stringing of events almost runs out of time to make an impression. The connection of particles is not interrupted by the jeopardy of solitaires. What is the place of man in this sequence, characterized by the destruction of the environment, genetic engineering and perception of life as a very short period of time?


Fredy Vallejos (Ecuador)

Fredy Vallejos, musician of Columbian origin, holds degrees in percussion, musicology, computer music and composition (Columbia, France, Switzerland). His aesthetic preoccupation, characterized by the exploring of a multiple and heterogeneous sound universe, is based on ethnomusical research formalized using CAC tool (Computer assisted composing), and on the relationship betwee sound and other forms of art. Currently he is lecturer at the School of sound art of the Equatorial University of the Arts.

Relative Patterns 4

« Si rien n'a précédé la répétition, si aucun présent n'a surveillé la trace, si, d'une certaine manière, c'est le « vide qui se recreuse et se marque d'empreintes », alors le temps de l'écriture ne suit plus la ligne des présents modifiés. L'avenir n'est pas un présent futur, hier n'est pas un présent passé »
(“If nothing has preceded repetition, if no present has kept track of the trace, if, in a certain way, it is “emptiness that deepens and gets marked with fingerprints”, then the time of writing no longer follows the line of altered presents. The future is not a future present, yesterday is not a past present”.)

J. Derrida: L’écriture et la différence

The series Relative Patterns is the fruit of a rhythmical analysis of traditional music of oral Afro-Colombian origin. The material will be used to construct a mechanism originating in the opposition of contrasting timbres which evolve and attain a complex polyrhythm - calculated entirely with the aid of Open Music - and also an almost imperceptible transformation of the durations which make up that polyrhythm. The result follows a process of vague periodicity by way of complex polyrhythms which remain ever mobile.


David Ventura (Portugal)

Cizus is a visual label focused on light, video and sound works, with the purpose of stimulating and influencing the human perception, opening new approaches in the universe of optical and sensory illusion.

.hexakai

Audio visual installation / performance

The relation between space and time and its deconstruction, creating volumetric forms of light, and consequent patterns.
an ecosystem of light that exceeds human perception, giving us a perspective composed by several dimensions.
inspired by the gravitational system that surrounds us, through science, physics, as a unified geometric entity.


Vortichez (UK)

Electroacoustic composer Vortichez is from the UK and has lived in several countries in Europe, Asia and Africa over the last 8 years. She attended the Rarescale Electroacoustic Composition course with Michael Oliva, and the Stockhausen Kürten course in Sound Projection. Her piece Hatshepsut’s Harem for octophonic setup premiered at BEAST FEaST April 2018 in the Elgar Concert Hall. She’s opening a music venue in Brazil next year.

Want Water

The electronics in this piece are entirely the manipulated sounds of thirsty trees, as recorded with highly sensitive acoustic sensors and generously shared by physicist Alex Ponomarenko.
Trees under drought emit short ultrasound "clicks" whose origin is not clear, but discovered by Alex to be linked to the appearance of bubbles. The short clicks have been expanded by the composer in order to engage with the tree’s slower timescale.
As we communicate with trees, their thirst can be made known to us. Indeed, scientists can use these findings to reconcile stressed trees to long periods of drought brought on by climate change.

Kay Abaño (Philippines / Spain)

Filmmaker formally trained in Visual Communication at the University of the Philippines & in Cinematography at the Escuela TAI in Spain. Worked as a Set & Costume Designer for the Film & TV industry for 12 years and won an Academy Award for Best Production Design for her work in the feature film "Markova: Comfort Gay" (2000). With her works, she speaks about people, the space they inhabit & the broader themes of Movement & Change.

Maria Ponce (Mexico)

Sound artist, Radio Producer & Events organiser with a Masters Degree in Sonic Arts from Queen’s University Belfast & an Audiovisual Communication degree from Universidad del Claustro de Sor Juana in Mexico. Worked for 15 years in various radio stations in Mexico & on the production of podcasts for the London School of Economics in the UK & the Empire of Dreams podcast in Berlin. With her radio work, won Honorary Mentions at the International Contemporary Film Festival of Mexico City & at the 6th International Radio Biennial.

Notes Across Time

A CONVERSATION between 2 paths that have unwittingly merged - that of Kay Abaño (Filipina Filmmaker) & Jose Rizal (Filipino National Hero). When Kay migrated to Europe, she became interested in her own country's history. Digging deeper than what was taught in school, she discovered that the man considered to be the "First Filipino" had taken the same path & lived in the same cities. Rizal's novel “Noli Me Tangere,” which inspired the Philippine revolution against Spain in 1896, was finished & published in Berlin, where Kay currently resides. But were her choices as a migrant-artist her own decision or mere premonitions of a future already told? Every particle in our body is said to know that all of time coexists – the future is the present as much as the present is also the past. Could she then have picked up on decisions of a past that's still with us?

A COLLABORATION that came out of our musings about our own migration, inspired by our experiences with traversing both space & time.


Francesco Bossi (Italy)  

Francesco Bossi is a composer whose work includes acoustic and electroacoustic music, video and multimedia installations. He holds degrees from the University of Bologna and Conservatorio di Milano where he graduated with highest honours. His research is currently focused on algorithmic computer based custom synthesizers. His effort is to share contemporary music beyond academic audiences. His works are selected by international festivals and concerts. He has been awarded first price in "The Sounds of Music" competition, (Villa Arconati Milan, 2012). Recently he has been invited to Naples (2012), Florence (2014 and 2016), Padua, Venice (2014), New York City (2014, 2015, 2016 and 2017), Denton (Usa) - ICMC (2015), Singapore (2015), Valencia (2015), Statesboro USA (2016), Bourges (2016), Sao Paulo (2016), Matera (2016), St. Cloud, Usa (2017), Livorno (2017), Como (2017), Seul (2017), Cyprus (2018), New York City (NYCEMF 2018), Daegu (ICMC 2018), Firenze (“Diffrazioni", March 2019).

Bâtons intérieurs minimaux

The increasing attention of the electroacoustic composers to audiovisuals developed a particular form of expression, in which frames and music seem to be united in a common language.

Accordingly with the Deja Vu theme, this is a work in which you can find something of my inner history: a variable number of sticks that react to vibrations (like the Mikado game), and a piano riff that resembles something you maybe heard in the past (The inner mounting flame of The Mahavishnu Orchestra, to be precise).

The basic idea is represented by the artistic evolution of the oscilloscope. The idea is that there is almost no sound that is not related to its visualization. The perception of sound depends on our visualization of it, then time is always relative. Our experience of it is shorter than the effect itself.


Cristian Fierbinteanu (Romania)  

Cristian Fierbinteanu is an independent artist, member of the diplomat-artpop music duo Fierbinteanu. Active in Bucharest/Romania, Fierbinteanu have performed live on several important European scenes, including Berlin Konzerthaus, and released albums via Local Records and Music Boy (independent labels). Their work have been presented at international contemporary art, performance, music and film festivals, Fierbinteanu being the winners of multiple "best" video and music awards.

Adore

The piece is an ear-candy attempt at hipgnosis, one of the methodes used to reproduce experimentally the sensation of Deja Vu.

Memory-based explanations of the phenomena might be tested under well-controlled experimental conditions, evoked by the septic aesthetics of the sounds involved.


Konrad Handschuh (Poland)  

Konrad Handschuh (born in 1996) is a young Polish composer specializing in contemporary music. He developed his passion to contemporary music and composition at the Academy of Music in Poznan. During his studies was qualified to Paderewski Chamber Choir and as a member of this ensemble he has performed contemporary repertoire and succeeded in prestigious competitions in Europe. He was co-author of the radio program “New-serious” about contemporary music. In 2017 he began studying electroacoustic composition in class of Rafał Zapała. Now he is focusing his attention on composition, sound design and working in studio. His current work includes developing new ways of producing sounds, the use of live electronics, building his own instruments, designing sound installations and making attempts in video art.

Discobolus

DISCOBOLUS is an audiovisual presentation of an athlete. The choice of discobolus is not a coincidence. Every sound is made by electric powered small rotary discs. The only instrument used in this piece was upright piano with removed hammer mechanism. Spinning discs caused string vibrations.

The composer wanted to expand the idea and drew a slow motion animation of a discobolus. The slow process of forcing a particular string to vibrate matches with every unnoticeable detail of the moving body.

Instead of a score there was a timeline of muscle movements - very precise, repeatedly practiced.

The message of the piece is clear: it doesn't matter if you are an artist or an athlete, every time you practice, every time you perform, you have experience of deja vu. But this time you have a chance to look closely at it.


Panayotis Kokoras (USA) 

Kokoras is an internationally award-winning composer and computer music innovator, and currently an Associate Professor of composition and CEMI director (Center for Experimental Music and Intermedia) at the University of North Texas. Born in Greece, he studied classical guitar and composition in Athens, Greece and York, England; he taught for many years at Aristotle University in Thessaloniki. Kokoras's sound compositions use sound as the only structural unit. His concept of "holophonic musical texture" describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing, his music calls upon a "virtuosity of sound," a hyper-idiomatic writing which emphasizes on the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece.

Mnemonic Generator

Mnemonic Generator creates a surreal soundscape of an ancient construction site. Like a time machine the soundscape is slowly developing into a heavy industrial delirium. The reality is amplified and the concrete sound is transformed into an abstract sound object. Complex rhythms introduce archaic soundscapes with powerful gestures. Ecological patterns determine the compositional structure and become resources for further development.


Richard Pressley (USA)

Richard Pressley has enjoyed performances of his music in the U.S., Europe, even Brazil and Australia. He began his musical career in rock music in his early teens, playing and touring with rock and punk bands. He then attended Butler University, the University of Cambridge, and the University of Minnesota (Ph D); with post-doctoral study at the Karlsruhe Musikhochschule and Darmstadt in Germany. His composition instructors include Wolfgang Rihm, Sandeep Bhagwati, Dominick Argento, Judith Lang Zaimont, Alex Lubet, Daniel Chua, and Michael Schelle. He lives in Charleston, South Carolina where he is Assistant Professor of Music Theory at Charleston Southern University.

"...ailes sans plume"

Memory reorders, it is not chronological, and has its own rules of time; it changes our impressions of the past — and affects us in turn. It distorts, blurs, omits, juxtaposes, exaggerates, alters, fades, and is unfaithful. It is ephemeral — an alchemy. This piece remembers five works of mine (acoustic and electronic) from the past eight years — or does it?


Ruud Roelofsen (USA)  

Ruud Roelofsen, *16-11-1985 Rhenen (NL), studied percussion in Arnhem (NL), Münster (D) and Brussels (B). He received masterclasses in composition with Dmitri Kourliandski, Martijn Padding, Richard Ayres, Carola Bauckholt, Hanna Hartman, Ted Hearne, Tristan Murail, Mark André and Hèctor Parra. Since the fall of 2018 he is a PhD candidate in Music Composition at Northwestern University’s Bienen School of Music studying with Jay Alan Yim, Hans Thomalla, Alex Mincek and Chris Mercer.

On intimacy II

'On intimacy' is a series of pieces in which I explore the sound world of ASMR; something I myself am very sensitive to.


Dimitrios Savva (Cyprus)  

Dimitrios Savva was born in Cyprus, 1987. He received his Bachelor degree (distinction) in music composition from the Ionian University of Corfu and his Master degree (distinction) in Electroacoustic composition from the University of Manchester. In January 2015 he started his fully funded PhD in Sheffield University under the supervision of Adrian Moore and Adam Stanovic. His compositions have been performed in Greece, Cyprus, United Kingdom, Germany, Italy, Belgium, France, Mexico, Chile, Brazil and USA. His acousmatic composition Erevos won the first prize ex aequo in the student category of acousmatic composition competition Metamorphoses 2012 and his composition Balloon Theories has been awarded with the Franz List residency-scholarship and the public prize at the composition competition Metamorphoses 2014.

Stous Theous

Stous Theous (To the Gods) is a journey initiated from a prayer, a calling to the God. Momentarily the prayer opens for the devotee that prays a higher cosmic dimension. Within this dimension the devotee experiences a deja vu of himself before becoming a human, when he was part of the cosmos, part of his calling God.

Emilio Adasme (Chili)

Bachelor of music at Universidad Católica de Chile with double major in composition and musicology. He is an active member of the Electroacoustic Community of Chile [CECH], producer of the international electroacoustic music festival AI MAAKO and producer of Café con Cables: electronic arts fair in Santiago de Chile. His works range from electroacoustic, modern classical to noise. He is also an active member of the composed-theater company “Oído Medio”. He has participated at multiple festivals in Chile, Argentina, USA, Belgium, Austria, UK, Spain and Taiwan. He currently works for the archive of the National Chamber Orchestra of Chile.

Mini-rage

This miniature is a representation of the whole process of mirage perception. Three moments are depicted in this piece: the sighting of an unusual element on the ground, the illusion of water, and the rapid disappearance of it. This miniature was composed specifically for this occasion.


Erich Barganier (Canada)  

Erich Barganier (b. 1991) is a composer and multi-instrumentalist hailing from St. Petersburg, Florida, who currently resides between New York City and Montreal. He writes chamber, orchestral, film, solo instrumental and electronic music that explores microtonality, extended techniques, improvisation, generative processes, the perception of noise and new forms of notation.

Data Morgana

In nature, a Fata Morgana is a complex form of superior mirage that significantly distort the object or objects on which they are based, in many cases to the point that the object reflected is completely unrecognizable. Often, a Fata Morgana changes rapidly, while being comprised of several inverted and erect images that stack on top of one another. In the piece Data Morgana, I took inspiration from this phenomenon and crafted an audiovisual work where a series of videos become distorted and merge into each other through the use of data bending and damaging the video code. This creates a similar effect to Fata Morgana of a constantly shifting object that appears familiar yet distorted simultaneously. I paired the visuals with an algorithmic musical track made in Supercollider that strives to accomplish the same effect sonically. familiar sounds are distorted through mathematical processes to become unrecognizable, quickly shifting back to the familiar again.


Jules Bryant (United Kingdom)  

Jules Bryant is a sound artist working with a range of instruments and sound sources. Much of his work has a visual element that combines with the sound to create a single piece of artwork. He works with a variety of media including photography and video and occasionally uses sight specific locations as the visual stimulus to his art. His audio work could be described as minimalist, using simple structures and effects to draw out and uncover interesting features within. His pieces make use of the quality of instrument sounds and as the composer he seeks to frame them appropriately for presentation to the audience.

Aural Refraction

A mirage is visual effect caused as a result of the variation in refracted light through air segments at different air temperatures. This phenomenon was interpreted in a audio sense through the reversal of a sound clip and the subsequent mixing in parallel of this clip to the original. The result is a piece that appears to shimmer as the notes play off against one another.


Nathan Corder (USA)  

Nathan Corder is an Oakland-based composer of works for electronics, objects, and arrays of people. His work heavily focuses upon the development of emergent properties and structures developed through feedback processes, physical computing, and improvisational strategies. Corder’s research has recently culminated in the publishing of “Determining Conditions: Towards an Aesthetic of Emergence in Electronic Music”. Active as a composer and improviser on custom designed electronics and guitar, Corder has collaborated with artists such as Roscoe Mitchell, Jaap Blonk, Tatsuya Nakatani, William Winant, Jack Wright and Barbara Golden. His discography includes releases on Cleanfeed, Flaming Pines, Amalgam, SEAMUS Records, Noise Pelican, and Coup Sur Coup. He is an active member of the groups TONED, monopiece, Jitters, and Nude Tayne. Nathan is pursuing a PhD in Composition at UC Berkeley.

Sine Study (when the ear is coupled to the eye by a tongue that moves the body)

A transducer fixed to the back of a mirror drives a sine wave (from 0-20Hz) through a mirror, altering the mirror's image and physical stability. The mirror acts as the embodiment of both sources of sound and vision, collapsing the two modes of expression into a singularity.

*This event was captured using a stationary video camera placed in front of the mirror.


Zuriñe F. Gerenabarrena (Spain)  

Zuriñe F. Gerenabarrena studied composition with C.Bernaola and Franco Donatoni.
International forums: Contemporary Music FBBV, Quincena Musical, SINKRO, Bernaola Festival, PHONOS, Festival Synthése, BKA Theather. Pyramidale, Sonoimágenes, Visiones Sonoras, EMU Festival, Elektrophonie, Wealr 09 Fullerton, Musica Viva, Borealis, Musiques & Recherches, eviMus, “Down the Dori” (TWSTokyo), EAM Festen Frost, 7º Musica Electric Nova, MUSLAB, NYCEMF 2017, BIFEM 2017, Noh X Contemporary Music, SICMF 2018 (Seoul), Matera/Intermedia 2018 (Prize Acousmatic), Musica Nova 2018 (Honoray Mention), San Francisco Tape Music , Mise-En Music Festival 2019, (ICMC/NYCEM 2019 (NY), Atemporánea Festival, Helicotrema Festival,Ecos Urbanos (2019)… several Cds. Artist in residence: LEC (Lisbon), USF. Bergen (Norway), VICC, (Sweden), Tokyo Wonder Site (Japan), Shiro Oni ( Japan), ZHdk, ICST (Zurich), EMS (Stockholm), NOTAM (Oslo). Professor of Counterpoint and Harmony at MUSIKENE. www.zfgerenabarrena.com

BihotzBi

"BihotzBi” is the title formed by the union of the two words in Basque language Heart and Two (Bihotz-Bi), and in turn the word Bihotz contains the words (two-voice, Bi-Hotz).
In this case the work refers to the sound of childhood and nearby sounds, collected as a learning in the transit of life.
The word is treated as an illusion built on the reality of the sound object, the alphabet as a childhood dream linked to the utopia of trying to recover that state.
Superposition of layers, extension of phonographic memories that sway in howls of a second, covering the 4 rooms where life wakes up every day.


Konrad Handschuh (Poland)  

Konrad Handschuh (composition/video/sound) is a young Polish composer specializing in contemporary music. He developed his passion to contemporary music and composition at the Academy of Music in Poznan. He was co-author of the radio program “New-serious” about contemporary music. In 2017 he began studying electroacoustic composition in class of Rafał Zapała. His current work includes developing new ways of producing sounds, using live electronics, designing sound installations and creating video art.

Aleksandra Olkiewicz (Poland)  

Aleksandra Olkiewicz (choreography/lights) is a young choreographer and a dancer. She graduated her Master degree in Eurhythmic from the Academy of Music in Poznan. During her studies she took part in many choreographies and performed on several eurhythmics conferences in Poland (lately on the 4th International Conference of Dalcroze Studies in Katowice, 2019). The choreography for T.O.U.S.E.F.O.O.L. was created for her Master diploma.

T.O.U.S.E.F.O.O.L.

T.O.U.S.E.F.O.O.L. poses a question. Who are you in technology chain? A tool? A user? Or maybe just a fool? Question in itself is not the end of trouble, because we live in a world where boundaries between those links are very difficult to determine. Even the world (or worlds) seems to be refracted.

Composer used NATO phonetic alphabet to create rhythmic patterns. The recorded speech was subjected to spectral analysis which provided the basis for creating melodic themes.

T.O.U.S.E.F.O.O.L. can easily illustrate confusion accompanying the mirage. The sense of image and sound comes from waves. Some of them are warped, some mean something different. Without a code you cannot understand words. Without a wide context you cannot define yourself. Maybe you are in control, you are the user. Maybe you think you have control, but you are just a tool in someone’s hand. One thing is certain. Every time you experience this kind of mirage you will see (and hear) different things and just wonder.


Nicolas Hermansen (Belgium / Spain) 

Nicolas Hermansen is a multidisciplinary artist working in performance, sound and visual arts. He’s the founder of la [SIC], a live performance arts company. His work, as a solo artist or with La [SIC] has been presented in many European countries and the Americas. He presented 'And suddenly an engine started' at the In-Sonora Festival (ES), collaborated with Mischa Kuball for the piece ‘‘Res·o·nant’ – Jewish museum – Berlin (DE), and in the International Performance Festival 2018(DE), in Cyprus Buffer Fringe Festival and in Mute Festival(BE) with his performance ‘Après la Chronique’. In 2019 he presented ‘Après la Chronique’ at Acud Theatre, Berlin (DE), Presente/Futuro Festival (IT) (was awarded - Premio Presente Futuro, Critic’s Choice Award and Cobas Award) and Altofest in Naples. He also took part in File Festival(BR) and his sound installation ‘D-Days’ was presented during Radiophrenia – Glasgow Centre for Contemporary Arts (UK).

Another Term

'Another Term' uses the concept of aliases as its compositional process. It uses the Nyquist theory to develop aliases based on a main oscillating sound.
If 'undesampled', Nyquist theory states that in the AD/DA process, ghost frequencies will appear as not enough sample points were used to correctly reproduced the sampled frequency. Aliases are like mirages, we can see them or in our case hear them, but they're not part of the initial set-up. To compose 'Another Term', I've use various downsampling method to create a nest of alias frequencies which then inter-modulates an initial tone, giving as a result a constant 'moving' or modulated sound composition based on 'mirage' frequencies.


Brian Mark (USA)

Award winning composer Brian Mark has had works performed by ensembles such as the BBC Singers, Atlas Ensemble, Choral Chameleon, Ensemble Signal, Chelsea Symphony, the Ligeti quartet, members of the London Symphony Orchestra, and at festivals including Bang on Can, London Contemporary Music Festival, June in Buffalo, and Spitalfields. He has held residencies with the Chelsea Symphony, I-Park Artists’ Enclave, and Ucross Foundation. His symphonic work The Persistence of Time received an honorable mention from the 2015 American Prize in Orchestral Composition. In addition, he was appointed as an Associate Member with the London Symphony Orchestra’s Composer Soundhub Scheme from 2015-2017, which culminated of a video installation performance comprising of members from the LSO. He completed his PhD at the Royal Academy of Music, studying with Gary Carpenter, and is also a graduate of the San Francisco Conservatory of Music, Berklee College of Music, and Boston University.

Frozen in Ecstasy

Frozen in Ecstasy, for solo piano, was written for David Conte’s 60th birthday celebration. Conte is Chair of the composition faculty at the San Francisco Conservatory of Music, and had requested twenty-four of his former students to pick a piece from Chopin’s sets of preludes and write their own short prelude for piano. I decided on the Prelude in E Major Opus 28. No. 9. Frozen in Ecstasy takes excerpts of bars from Chopin’s prelude and places them in the background, intertwined through various improvised techniques with the foreground key centre of E major. Therefore, the title is a reference to a timeless state of euphoria, transcending generations of musical development. Frozen in Ecstasy was premiered at the San Francisco Conservatory of Music Concert Hall on 1 November, 2015, performed by Keisuke Nakagoshi. The video installation premiere had taken place at Ensemble in Process... "Migration in Sounds" event at the Areté Venue & Gallery on 19 January, 2020.


Giovanni Paris (Italy)  

Composer and sound artist. Master degree in electronic music at the University of Rome "Tor Vergata. Professor of new technologies in film music at the Conservatory G.B.Martini of Bologna. Member of the experimental collective "E.t.e.r.e.", featured in different festivals and museums like Maxxi Rome, Macro Rome, Artefiera Festival Bologna, Retina videoart Festival Rome, Doctorclip film poetry festival Rome. Art director of the music section of the festival "Shamans of the digital era", featuring experimental musician such as My Cat is an Alien. Resident composer for the multiartistic collective "Tropique Noir", (Paris, France) and the theatre company Palamente. As a composer, he scored original music for movies, documentaries, TV shows, advertising for brands such as Biotherm, L'Oreal, YSL, Bnp Paribas, Nokia. His film music was showed at the David di Donatello festival (2015), Mostra del Cinema di Venezia (2011) and Cannes.
www.giovanniparismusic.com

Strata (Inferior/Superior)

Strata is a musical vision of the scientific knowledge about mirages, featuring different sound synthesis techniques to achieve the sonic result and to sonically represent the travel of light through cold and dense/warm and rarefied air strata, imagined as clusters of frequencies.
In the first part (Inferior), like in an inferior mirage the cold air/high frequencies below the line of sight intermingle with the rarefied warm air/low frequencies, while an analog glissando sonically reinterpret the travel of the ray of light and it's deformation, causing the creation of an apparent reality.
In the second part (Superior), the lower frequencies are moving, interacting with the more stable and rarefied high frequencies, floating above the line of sight like in a superior mirage.
The use of long textures project the listener in the apparition of the unseen, while metallic gongs remember the timing of the entrance/exit of a ritual of altered consciousness state.


Dimitris Savva (Cyprus)  

Dimitris Savva was born in Cyprus, 1987. He received his Bachelor degree (distinction) in music composition from the Ionian University of Corfu and his Master degree (distinction) in Electroacoustic composition from the University of Manchester. In January 2015 he started his fully funded PhD in Sheffield University under the supervision of Adrian Moore. His acousmatic composition Erevos won the first prize ex aequo in the student category of acousmatic composition competition Metamorphoses 2012 and his composition Balloon Theories has been awarded with the Franz List residency-scholarship and the public prize at the composition competition Metamorphoses 2014. In 2019 for his composition Moments of Liberty II: Falling Within he received a “mention” in the acousmatic composition competition Metamorphoses 2018, the 4th prize in the SIME 2019 International Electroacoustic Music Competition and the 3rd prize in the Iannis Xenakis International Electroacoustic Composition.

Noise Triangle

Infant cries become the mirage for the perceiver. A mirage that stands for the distorted image of perception that cannot tolerate the cries and their signification of tragedy. A distortion that as it becomes increasingly intense forms a new mirage, that of noise. Noise expands and evolves leading to a new mirage, that of sinusoidal (sound) waves. What does all these mean the perceiver wonders? If these are "glimpses of the unseen", what could this "unseen" be?


David Snow (USA)  

The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain at the Centre Georges Pompidou in Paris, the Banda Municipal de Bilbao at the Euskalduna Palace in Bilbao, The New Juilliard Ensemble at the Museum of Modern Art in New York, and many other artists and ensembles internationally. His fixed media audio and visual works have been performed at the Musinfo Journées Art & Science Festival in Bourges, the Festival Exhibitronic in Strasbourg, the Festival Internacional de Video Arte y Música Visual in Mexico City, the Sound Thought Festival in Glasgow, Echofluxx in Prague, and the Toronto International Electroacoustic Symposium. Snow has been the recipient of awards and grants from the National Endowment for the Arts, the Maryland State Arts Council, the ASCAP Foundation, and BMI, and he has been an artist resident at Yaddo in Saratoga Springs, New York, and the Millay Colony for the Arts in Austerlitz, New York.

The sum of all differences

The sum of all differences is an 8-channel sound work that exploits the phenomena of sum and difference frequencies to generate "mirage" tones that are not present in the source recording. The 8 channels are organized as 4 stereo pairs, each pair identical except that pairs 2, 3, and 4 are pitch shifted up by 50, 100, and 150 Hz respectively relative to stereo pair 1. The resultant interaction of sound waves in the air generates deep low frequencies and shimmering high frequencies in real time during performance.


Yun Ming Tai (Malaysia / Singapore)  

Year 2 undergraduate at Yong Siew Toh Conservatory of Music (YSTCM), National University of Singapore (NUS)

Tesseract

This piece is my exploration of ways to portray trength, the spatial representation of the fourth dimension known as space-time. The first clue of the fourth dimension came in Einstein's law of relativity. Though mathematically true, 4D is still unable to be experienced in our physical realm. Hints taken from experiments still prove that this dimension Is beyond our reach, as we are 3D beings temporally trapped, just like our music. However, scientists have devised a physical model of this higher dimension called tesseract or hypercube. The trength of a tesseract is the dimension perpendicular to a cube that revolves over time. Theoretically, 3D objects cast 2D shadows; 4D objects would cast 3D shadows. What would a musical shadow of a tesseract be?

Bourges – 25 / 29 June 2018

interchange, education, culture, sciences


25 June 2018 - Day I / Knowledge

 

Prazske dukaty petit

Conference-debate: The Calendars       

Nicolas Vincent-Morard                                        

18h - Galerie Pictura  

 

Exhibition: Time and its (Hi)stories

Galerie Pictura


26 June 2018 - Day II / Exploration

 

Hiatus petitPerformance: Hiatus                              

Claire Marchal and David Boinnard

17h - Médiathèque de Bourges


Exhibition: Time and its (Hi)stories

Galerie Pictura


27 June 2018 - Day III / Discovery

  

Tempus4petit

Multimedia concert: Tempus                                                               

A selection of sound and multimedia works from the 2018 Call for works

17h - Médiathèque de Bourges

Exhibition: Time and its (Hi)stories

Galerie Pictura


28 June 2018 - Day IV / Creation

  

Souffle petitConcert: The time of a breath                       

Serge Bertocchi (sax), Monika Streitová (fl) perform works by winners of Composition contest 2017 and 2018

18h - Médiathèque de Bourges

 

Exhibition: Time and its (Hi)stories

Galerie Pictura


29 June 2018 - Day V / Sharing

 

3saxos petitRound table: Sampo in music education     

Return on experience and debate around the RéDi-Musix project

10h - Médiathèque de Bourges

Concert: Highlights     

Concert by students of partner conservatories

17h - Médiathèque de Bourges

Exhibition: Time and its (Hi)stories

Galerie Pictura

25-29 juin 2018

Time and its (Hi)stories

Galerie Pictura

 

Could the question of Time be so vast that a thousand lives wouldn't be enough to resolve its problems? But in fact: what problems? Could time be having problems at this moment, and more than before? And why TIME? Are there not TIMES in plural? So many questions that will be modestly presented through 4 didactic panels:

1. Time and Sciences.

2. Major theories about the concept of Time.

3. Societal Time and its history.

4 : Interpreting Time (Musics and Arts in plural): this last panel being the most important as it will present original prints by major artists of the 17th to 19th centuries, as well as a "cabinet of curiosities" with a number of items having been used to measure time and eternity.

Temps histoires petit

 26 June 2018 - 17h

Hiatus

Médiathèque de Bourges

dessin scene Hiatus petit

Borrowed from Latin, hiatus, "the action of opening, opening", then, in linguistics, "the occurrence of two vowel sounds without pause or intervening consonantal sound"..
… the encounter of two vowels belonging to different syllables, appearing either from the succession of two words, or inside a word : re-enter, media, audio...

Words including hiatus — words chosen and joined together according to their possible approximations — give miniature improvisations ; then a longer improvisation harnessing the ideas of these miniatures.

Hiatus is an improvisation performance project with flute and clavecin whose sounds are triggered by the performer's movements.

Hiatus articulates the sounds of the flute (played directly) and those of th eclavecin (played via motion capturers) movements of one person and a single musical idea, in order to make a strong and perceptible musical gesture.

 

performer: Claire Marchal

Capture decran 2017 10 09 a 10.07.52

 

Performance followed by a presentation by David Boinnard, harpsichord builder.David Boinnard

For almost 40 years, David Boinnard has been shaping wood to restore the sounds of harpsichords as they could be heard in the Baroque period. For the sake of historicity, he seeks to understand how his predecessors from the 15th to 18th centuries manufactured instruments. Imbued with knowledge of the history and culture of an era, he rebuilds forgotten sounds by copying spinets, virginals and other clavecins. In his research of authenticity, he exercices curiosity and entrepreneurship: he is the first person to copy typical French instruments such as Thibault de Toulouse's harpsichords ; he doesn't hesitate to test natural gut strings on big instruments; with audaity he is the first one to restore a medieval portable clavicytherium according to a simple iconographic material. This eclecticism and curiosity naturally lead him to modern instrument making.

Benefiting from his profession of recreator of sounds, David Boinnard hasbeen working for a few years already on equipping his own acoustic instruments with MIDI capturers to connect them to current sound systems.

Hiatus, contact

arteintime.com

david-boinnard.com


27 June 2018 - 17h

Tempus

Médiathèque de Bourges

 

Tempus4petit

“What then is time?” wondered Augustine of Hippo. “If no one asks me, I know what it is. If I wish to explain it to him who asks, I do not know.”

Diffusion of multimedia works realized by artists worldwide - a selection from the 5th call for works for composers and multimedia artists.

It is the opportunity to enter different sound and visual universes, to explore the various visions these artists can have on the theme "Time". 

 

Programme :

 

Michael Choi (USA)                              

Omar Del Real (USA)                                   

Sergio Gurrola (Mexico)                               

Tim Howle (UK)                  

Filipe Leitao (USA)                                         

Andres Lewin-Richter (Spain)               

Clovis McEvoy (Auckland)                                

Paolo Pastorino (Italy)                     

QUOD (Spain)            

Berndt Schumann (Germany)                  

David Snow (USA)                     

Martina Testen and Simon Šerc (Slovenia)                        

Fredy Vallejos (Ecuador)                  

David Ventura (Portugal)  

Vortichez (UK)                                          

One Second in the Light

Palindrom (Entropy means nothing to me)

The runner without a trace

False Memory of Normandy

Time Goes By

Time Machine with Voices

A Study In Virtual Reality Music

Velocità limite

D E S V E L O

Planquadrat II

La relativité pour les nuls

Before The Time

Relative Patterns 4

.hexakai

Want Water

 

selection of works :

Fabien Cothenet, Mikhail Malt

video editing :

Alexander Mihalic


28 June 2018 - 18h

The time of a breath

Médiathèque de Bourges

P9050031 extrAlight2

Two wind instruments and a much wider range of sounds. That pretty well summarizes this unique concert with Sampo, an instrument of the 21st century.

Sampo is an innovative instrument that expands the sound field of acoustic instruments. Winner composers of the Composition contest for acoustic instrument and Sampo, Theodore Teichman (USA), Luis Carlos Martinez Wilde (Bolivia), Nikos Koutrouvidis (France / Greece) and Maurilio Cacciatore (Italy) make you discover new sounds with four world premiere works.

The concert programme also includes works selected by the performers, Monika Streitová and Serge Bertocchi, from the repertoire of mixed music: Barthélémy, Blardony, Cavanna, Gubitsch, Oliveira.

Thus we suggest a programme jointly constructed in their image by the winner composers and the performers.

Nikos Koutrouvidis and Maurilio Cacciatore, in residency in Bourges during the 2018 Art & Science Days, will be present to meet the public and personnally present their works.

 

 

Concert programme:

Composition contest for acoustic instrument and Sampo

Winners 2018 - prize ceremony

Concert

Claude Barthélémy

Sergio Blardony

Maurilio Cacciatore  

Bernard Cavanna

Tomas Gubitsch          

Nikos Koutrouvidis                                 

Luis Carlos Martinez Wilde  

João Pedro Oliveira            

Theodore Teichman

Gazébo

Nada al otro lado de la valla *

Pulse(s) *

Goutte d'or blues 

Des bords déments  

Le Presque-rien *

Cantamen *  

A Escada Estreita

Corporeal *

(saxophone and Sampo)

(flute and Sampo)

(saxophone and Sampo)

(saxophone and Sampo)

(saxophone and Sampo)

(flute and Sampo)

(flute and Sampo)

(flute and Sampo)

(saxophone and Sampo)

* (world premiere)

 

performers:

Opus Centrum Ensemble : Serge Bertocchi – saxophones and Sampo, Monika Streitová – flute and Sampo


29 June 2018 - 17h

Highlights

Médiathèque de Bourges

 

Concert by conservatory students in the framework of the RéDi-Musix project. Partner conservatories have had Sampos at their use during one year, each of them having been able to use it as they wished playing either repertoire pieces or creating new works. This concert gives an insight to their work during this year 2017-2018.

 

Programme :

Gaëtan Gaborit

Quentin Judic

Jean-Claude Risset

Michel Zbar 

Continuum *

Petite pièce pour Saxo alto et Sampo *

Voilements

Continuo

(saxophone, video and Sampo)

(saxophone and Sampo)

(saxophone and Sampo)

(violin and Sampo)

 * (world premiere)

 

performers:

Elisa Fouquoire - violin and Sampo

Quentin Judic - saxophone and Sampo

Corentin Nagler - saxophone and Sampo

The Calendars

Prazske dukaty 10 10If one is to believe the most simple definition of the word "calendar", it is simply a "system to keep track of dates in the course of time". And it is an essential tool since extremely long time back, not to say since the beginning of time.

Indeed, to be able to complete any activity correctly, we need to place it in time, predict the return of migrant aimals to hunt, or the return of winter...

And yet, making a calendar that follows seasonal phenomena is, contrary to what it seems, far from easy.

All great civilizations have tried to resolve this delicate problem, since the Babylonians (of whose calendar ours is a distant descendent) to the Egyptians, Greek and Romans.

This conference explains the origin of our way of dividing time. The origin of "hours", of weeks, of the names of weekdays...

 

Nicolas Vincent-Morard

Nico Vincent

With a scientific background, Nicolas VINCENT-MORARD quickly engages at the Observatory of Lèbe in France to share his passion and his knowledge in Astronomy. Holding a university degree in astrophysics, he's fond of vulgarisation. Passioned about zoology and botanics, he works at the meeting point between science, history and knowledge. He develops conference cycles and participates in numerous events (afternoons of science at the theatre of Bourg-en-Bresse, Museum of Lochieu, summer lectures in Montpellier...) He leaves the Observatory when the latter is recentering its activities. Nicolas pursues for a while his lectures with "Des histoires pour Savoir - Stories for Knowing". He then changes orientation and devotes his time to his other passion: music. Great admirer of Jean-Claude AMEISEN, writer of the television show "sur les traces de Darwin - on Darwin's footsteps" on FRANCE INTER, Nicolas regains his desire to share the complementary of his knowledge, the environment of humans being one whole.

Polish music

Wednesday 15 May at 15h - Médiathèque de Tarentaize

MusiquePolonaise

Poland occupies a privileged place in contemporary music with many composers who have influenced their peers as well as younger generations.

Composer Przemyslaw Scheller from the Music Academy of Katowice will provide a brief overview of contemporary music in Poland. To illustrate his presentation, flutist Alicja Lizer-Molitorys from the New Music Orchestra in Katowice, in residency in Saint-Etienne during the Art & Science Days, will perform some extracts of compositions.

The conference will be followed by a performance by Alicja Lizer-Molitorys based on Composition Arithmétique by Polish composer Artur Zagajewski. See more details: Next Level.

This event is organized in the framework of the Artex Katowice artistic exchange project, supported by the Institut français à Paris and the City of Saint-Etienne.

 


Przemyslaw SchellerScheller

Composer of instrumental and electronic music, Przemyslaw Scheller gets inspiration from literature and popular sciences, taking an interest in the functioning of the human brain, as well as in philosophical and theological matters. As a composer he is regularly sollicitated to write new works that are performed in the most important festivals of contemporary music in Poland. Scheller is also the artistic director of Silesian Composers' Tribune festival.

Assistant at the New Media Department of the Faculty of Arts at the University of Silesia in Katowice, he holds a double doctorate from the Music Academy of atowice and the Conservatoire National Supérieur de Musique et Danse of Lyon. He is member of the Polish composers' Union since 2015.


The Calendars

Thursday 16 May at 19h - Cinémathèque

Prazske dukaty 10 10If one is to believe the most simple definition of the word "calendar", it is simply a "system to keep track of dates in the course of time". And it is an essential tool since extremely long time back, not to say since the beginning of time.

Indeed, to be able to complete any activity correctly, we need to place it in time, predict the return of migrant aimals to hunt, or the return of winter... And yet, making a calendar that follows seasonal phenomena is, contrary to what it seems, far from easy.

All great civilizations have tried to resolve this delicate problem, since the Babylonians (of whose calendar ours is a distant descendent) to the Egyptians, Greek and Romans.

This conference explains the origin of our way of dividing time. The origin of "hours", of weeks, of the names of weekdays...

 

Nicolas Vincent-Morard

Nico Vincent

With a scientific background, Nicolas Vincent-Morard quickly engages at the Observatory of Lèbe in France to share his passion and his knowledge in Astronomy. Holding a university degree in astrophysics, he's fond of vulgarisation. Passioned about zoology and botanics, he works at the meeting point between science, history and knowledge. He develops conference cycles and participates in numerous events (afternoons of science at the theatre of Bourg-en-Bresse, Museum of Lochieu, summer lectures in Montpellier...) He leaves the Observatory when the latter is recentering its activities. Nicolas pursues for a while his lectures with "Des histoires pour Savoir - Stories for Knowing". He then changes orientation and devotes his time to his other passion: music. Great admirer of Jean-Claude AMEISEN, writer of the television show "sur les traces de Darwin - on Darwin's footsteps" on FRANCE INTER, Nicolas regains his desire to share the complementary of his knowledge, the environment of humans being one whole.

 Serge Bertocchi (saxophone)

BertocchiAn eclectic musician born in Albertville (Savoy), he founded the following ensembles : XASAX, the Thuillier-Bertocchi (tuba-saxophones) duo, the Trio Lézards Dégénérés (guitar, tubax, drums), the Baritone Trio (F. Corneloup, D. Lazro), The “40 after JC” quartet, the Amiens Sax Project saxophone ensemble, Ars Gallica quartet ; he plays with Yochk'O Seffer, Art Zoyd, Musiques Nouvelles Mons, the Radio-France Philharmonic Orchestra; he played under Myung Wung Chung, Armin Jordan, Peter Eötvös, Arie van Beek, Sylvain Cambreling, Pascal Rophé, Luca Francesconi ... Soloist, chamber musician or improviser, he also plays and records solo, with tape or computer : in Europe, Northern América, Middle East and Asia. Serge Bertocchi is a laureate of the Paris Conservatory (1st prize with unanimity in saxophone and chamber music), along with 6 International competitions.
He is recognised as a specialist of the baritone saxophone since the foundation of the Ars Gallica quartet in 1985, and of XASAX in 1991. More recently, he adopted (and plays regularly) extreme, rare or forgotten instruments of the saxophone familly : Tubax, soprillo, C-melody tenor, c-soprano and even the F Mezzo-soprano. He premiered around 200 new pieces by composers of all kinds, and recorded 38 CDs to this day.

 

 


 Monika Streitová (flute)

StreitovaMonika Streitová, The flutist, researcher of INET- MD and Assistant Professor of the University of Évora. She graduated from the Music and Performing Arts Academy of the Bratislava University, Slovakia, where she also completed her PhD at Contemporary Music Performance in 2005. (Thesis about the Sublimation in Music "Ad Libidum".) Her current research interests are concentrated in search and application of contemporary flute techniques that may contribute to the creative development of sonority. In 2006 her CD "Luminiscence" obtained the highest award from musical critic from Czech Radio.
In 2007 she received a scholarship from FCT (Foundation for Science and Technology Lisbon) to realize her postdoctoral project at the Aveiro University, Portugal. During her research she has been cooperating with contemporary composers, namely R. Berger, J. Y. Bosseur, D. MacMouline, B. Schaffer, J. Guillou e J. P. Oliveira, and has premiered several of their works in most prestigious international contemporary music festivals.

 

 

 


 Claire Marchal (flute)

MarchalWith her flutes (modern and baroque), through performance, creation and improvisation, Claire Marchalexplores music and life. She seeks her personal voice/way that allows her to touch her audience, in a dynamic and sentitive vision of music. in the Melle GLC instrumental ensemble (ancient instruments and contemporary music), she plays baroque flutes and moves historical, aesthetic and aural boundaries of the instrument. In the same vein, the "typophonie" project that she shares with graphic artist Céline Boinnard, makes one both see the aural energy and hear the movement drawn by a line in the same time.

In the emerging "Hiatus" project, the improvised exchange that she conducts alone frm her flute to a virginal (a clavecin) equipped with motion sensors, seems to recall the paradox inside every human being.
These are a few examples of Claire's ways of expression that describe her musical universe with constantly moving borders.

25 - 29 June 2018

Tempus4petit

Seizing time

“What then is time?” wondered Augustine of Hippo. “If no one asks me, I know what it is. If I wish to explain it to him who asks, I do not know.”

The present, the past, the future... Basic material for the composer, an object of study for the researcher... Everyone, in their way, watches time pass by, measures it, observes it, uses it. Yet the question remains: what then is time?

We dedicate this 2018 edition of the Art & Science Days to sound and visual / scientific and imaginary time.