Posting is here: http://file.org.br/file_sp_2016/peter-van-haaften
Abstract is: “E.L.A.P.S.” is an [e]xpressive [l]ive [a]lgorithmic [p]erformance [s]ystem which looks to use algorithmic systems as tools that bind together humans and computational processes in order to question established conceptions of the instrument, the performer, the composer, and the score.
A sound recording of this project had been released on Bordille Records and you can still by the limited edition tape:
File runs from: July 11 – August 28 in São Paulo, Brazil.
SIG.INT is a live A/V performance exploring the different contexts of sound synthesis and visualization. The S.A.T.’s dome and multiple speakers system become a central element of the composition and performance. As a reference to John Chowning synthesis and acoustic pioneer, SIG.INT adresses the idea of using the space as an element of the synthesizer. From hardware modular system based sound synthesis to complex ambisonic spatialization processes, SIG.INT plays with the space. This event is part of IX 2016 symposium Sonic Perspectives and is followed by a workshop.
Live performance: Wednesday 1 June 2016 at 21:15, Satosphère / Workshop: Thursday 2 june at 15:00, Société des Arts Technologiques (S.A.T.), 1201, Boulevard Saint-Laurent, Montréal (Qc), H2X 2S6, Canada.
The samples for Deutsches Symphonie-Orchester Berlin’s remix contest derive from the fourth and last movement of the Symphony n°4 in E-flat major by Anton Bruckner (1824-1896). The first prize goes to London based Frenchman François Larini aka S/QU/NC/R who convinced the jury with his track Mäßig bewegt. The second prize goes to Lambert Windges from Grevenbroich in Westphalia, the third prize to Rabon Aibo alias AIBOS from Lübeck. Toronto-born Oscar Finch aka VennDiagramm receives the fourth prize. The fifth prize is shared by Berlin based Swiss Alexandre J. Maurer aka Arctic Joy and V. B. Kühl aka Volker Bahmer from Frankfurt. Sounds + more info here
Review of S/QU/NC/R’s OUA_BF by Richard Allen on A Closer Listen website:
“Once in a while, we receive a sonic document that breaks the boundaries of art and becomes important in other arenas: historical, political, personal. OUA_BF is one of those recordings. Without the background, it’s an engaging piece, but with the background, it’s an emotional treatise, an elegy and a plea.” (read the full review here)
SHAPE platform: Julien Bayle talks about his former IT security job, modular synths and controlled chaos…
Julien Bayle is one of the artists selected for the Creative Europe-supported SHAPE platform for innovative music and audiovisual art. The artist selection for the platform’s second year traditionally places a diverse selection of audiovisual projects and sound artists alongside musical acts that range from post-grime and techno to free improvisation and experiments with field recordings. The artist roster has been created disregarding divisions of genre, age or popularity. Rather, creative novelty and successful experimentation have served as core values, with additional emphasis on the inclusion of upcoming and underexposed artists as well as representing local scenes of involved festivals and art centers.
S/QU/NC/R (François Larini) is one of the artists selected in Blind Plural at Hundred Years Gallery (London, UK). This group exhibition explores the issue of hostility, from the roots of such feeling in the individual, to larger scale forms of collective violence. HA/HA consists of a sound piece and a short text, based on a field recording realised in Ouagadougou (Burkina Faso), a few days after the 15 January 2016 terror attack…
This sound piece is part of S/QU/NC/R’s new release OUA_BF
François Larini will be in conversation with artists Naifei Wu and Rodrigo B. Camacho, moderated by Sara Rodrigues (NME | Artistic Director) and Gabriele Cavallo (NME | Editorial Director) on Wednesday 16 March, 15.00 – 17.00.
3 – 19 March 2016, Hundred Years Gallery, 13 Pearson St. London E2 8JD (opening 3 March 19.00 – 21.30 as part of the First Thursdays Open until Late organized by Whitechapel Gallery)
Tuesday – Friday 11.00 – 18.00 ; Saturday 16.00 – 23.00 ; Sunday 12.00 – 19.00
The notion of traces constitutes a connecter between temporal perspectives usually dissociated. Between spaces, what can be comprehended? Remembered? Reinterpreted? OUA_BF consists of two tracks, born from the encounter of a personal archival collection and an unpredicted event. This event – a terror attack in Ouagadougou (Burkina Faso) on 15 January 2016 – triggered a memorial and emotional process that connected two very different temporalities and questioned the relationship one develops with a place. A once foreign place, progressively loaded with personal memories, feelings and life events…
HA_HA (track 1 + a downloadable text) is based on a short field recording realised in one take, at night, as an urgent need, a few days after the attack. The loss of a relative and the sudden irruption of violence in a peaceful and beloved country completely disturbed and blurred my perception and memories of my sixteen-year relationship with this place. The multiple layers of sound, interacting with each other, address this shattering.
Wend Paanga D (track 2) comes exclusively from materials recorded on cassettes from January to February 2000, in the north of Burkina Faso (today an inaccessible region, because of the terror threat). These recordings contain hours of oral archives in Mooré (language of the Mossi people, Burkina’s main ethnic group) relating local mythology, dancing masks and traditional political institutions. I have kept them ever since, without any specific idea about their usage. Retrospectively, through delay and feedback processing, they suddenly become the testimony of the archive’s fragility and the loss of a knowledge we are now unable to access…
ALPHA is a live performance merging sound and visuals into a dense and immersive matter, recorded during ELEKTRA Festival in Montréal, Canada, on May 15th, 2015.
“I designed and composed the first version during the summer 2014 by using a very new creative process. I progressively grew music structures and designed the visuals generation system at the same time. The visual system analyses sound in real time and dynamically generates the elements and structures displayed on the screen during the performance. I created the sound analysis system in order to extract the meaningful elements from the sound at each moment of the performance, feeding the visual generator with information about the noisiness of the sound, its spectrum content and basic time-based data. The visual generator is a complex system I wanted to be able to react to the sound each time differently. I left room for chance (I am talking about “constrained chance”) as a part of the performance. There are no pre-recorded footages used in ALPHA, only 3D rendering, with the idea of producing and generating each time a new matter.
ALPHA is linked to my work about continuum and disruption, initiated with the Monaco/London-based project Disrupt!on, curated by François Larini and commissioned by Nouveau Musée National de Monaco in 2014. The performance is an exploration of a global and constantly moving structure, disturbed, pushed and distorted by the sound itself. On stage, I only tweak the sound and the sequences generated, and the visuals reacts as a co-performer playing with me. This is what I call “impulse/response concept”, a concept I am going to develop further in 2016, in a new project called reverb/anti verb.” – Julien Bayle.
You can order ALPHA (live recording) here.
This limited edition Digipak (edition of 75) contains:
* a CD with the live performance at ELEKTRA (38′ 26)
* a booklet with a text by François Larini
* a unique print generated by ALPHA’s algorithm (signed by the artist)
The recording is an improvisation with modular synthesizers and is Julien’s first one to be made “from silence to silence”. Using two low-frequency oscillators instead of a global master clock to drive all modules, he creates a combination of rhythmic patterns that sounds like a collapse indefinitely delayed. Julien uses machines to catch the electric noise of the equipment (electric parasites, as it were), amplifies and compresses it – hence the title. “Parasites Compressor” is, essentially, a recording of machinery ordering chaos. (Tadas Svencionis – Secret Thirteen)
You can stream and download this recording on the amazing secretthirteen.org website…
(photo: Denis Laffont)
br005 live at residence is an improvised sound piece by Julien Bayle and S/QU/NC/R, created from experiments with processed field recordings, sine waves, contact microphones and modular synthesizer. It was recorded live at Residence in Upper Clapton (London) on Friday 30 October 2015.
You can download live at residence here for free;-)