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+ | ====== A vision of Sound art, architecture and sound practices in the field of Sonic Urbanism ====== | ||
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+ | **Julien Ottavi – October 2020.** | ||
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+ | I have been independently organising the curatorial and research project of APO33, which I founded in 1997, in Nantes. The Association defends the sound arts and experimental intermedia practices by providing space for research, pedagogy and public presentation of these practices. | ||
+ | I am applying for this post-doctoral position because I find the project has a strong resonance with my own artistic practice and academic research. I would like to have the opportunity to extend my own research on urban sound environments, | ||
+ | Since the end of the 90’s I have been involved in many projects, exhibitions, | ||
+ | I started my research in 1996 when I was hosting a radio show, for a local radio station where I started to experiment with sound from radio broadcasts, city soundscapes, | ||
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+ | In 1999, Jaap Blonk invited me to propose a work for voice and architecture published in Leonardo Music Journal - Volume 15 - December 2005 – p.83-84, where I drew a relation between listening, sound poetry and acoustic space. | ||
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+ | In the meantime I moved away from the radio studios towards urban spaces, creating performances with radio transmitters and receivers (micro pirate radios) using the soundscapes of the surrounding environment to produce real time sound transformations and to send these back through radio into the acoustic space of the city. | ||
+ | From 2000 – 2006, I worked with other artists from the Apo33 group on a specific research project called : Mobile radiophonic device. The aim was to create multiple aural architectures using city soundscapes and live urban radio transmissions. We created a regular mobile laboratory at the Villette center in Paris, across different neighborhoods in Nantes to the streets of Brooklyn in New York City with the support of free103point9 and Sound Drop (Nuit Blanche Paris and Mu Collective) in order to organise what I called a transmutation of city soundscapes between different city. | ||
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+ | **Over 2 years (2004 - 2006)** – I established a research project called Poulpe (Grant Research Dicream-CNC - 2004), with Apo33: an ongoing experiment to create a new form of art using the sound of architecture, | ||
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+ | Radio Transarchitecture – is a concept that involves cross transformation and architecture. It forms the bases of a project I started working on in 2007, through which I continue my research to transform urban architecture and spaces with radio transmission and sound from the environment. In 2008 I participated in 2 major exhibitions for this project, the first one in London at Tenderpixel gallery, the principle was to transform the street of the gallery into a radio transmission spiral. Every shop and every part of this ancient gallery & bookshop street mutated into radio waves generators, the people passing through became interference to finally change the resonant property of the transmissions and of the space. | ||
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+ | Performance in the streets of London; I invited the public to perform by walking and calling a phone number which was transferred through a radio transmitter. While the performers narrated their surroundings, | ||
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+ | **In 2008** I was also working at Area 10 Medialab in London, a space I co-founded with Jenny Pickett, as an extension of Area10 Project Space, Peckhams’ activities. I began working on a project called BOT in Nantes and in London. The BOT: a Continuous online lab uses artificial Intelligence with city soundscapes and audio streaming to mutate space - BOT/BioBOTs make up a virtual community with a view to assemble a collection of entities in one location in order to diffuse their production to many more places. They were part of a new to digital phenomena : networks, multi motionless geo-location, | ||
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+ | I presented this work in different galleries and festival in collaboration with different artists: Jenny Pickett (Sollefteå, | ||
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+ | **In 2009**, Apo33 received grant (Dicream-CNC) to research new artistic method (through gaming) to work with sound, urbanism and public spaces, we proposed the 5th dimension – audio mapping of urban soundscapes – collective research on how urban sound could build new artistic project and a better understanding on how sound is being listen in our cities. | ||
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+ | **From 2009 to 2011**, my art and research concentrated on the crossing of urban soundscapes, | ||
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+ | Dream Sweepers is a sound installation work, using speech (narration) and sound related to concepts of memory and experience of the city. The audio souvenirs, perceived ambiances and the received sonic life of the city delivers its unconscious impressions / expressions and simultaneously transmits those via remote telephonic narratives and resounding cut ups echoing across different cityscapes (London, Marseille, Nantes, Amiens...etc). In-situ installations were exhibited at Morley Gallery, Amiens Art School, and at Apo33’s Sound art gallery in Nantes, Riam Festival in Marseille...etc). Dream Sweepers takes the form of Graphical Score – structured and unstructured elements refer to the possibility of alternative audio compositions of the inter-city soundscapes and aural architecture or sound narration. This research was published in Brandon Labelle and Claudia Marthinho’s second edition of Site of Sound. - Dreams Sweepers & the murmur of Imaginary architectures, | ||
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+ | The same year PAJ published a catalog of artists on Transmission arts, Artists and airwaves – in relation to transmission arts and sound of the cities (Public works, interactive and networks) | ||
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+ | **During 2011 and 2013**, I continued my research in Field recording, Streaming and sound mapping - and I actively participated at Locus Sonus research on international sound mapping with live microphones; | ||
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+ | As well as co-authoring and coordinating ‘Opensound’ a pan European Project on sound arts, for which Apo33 received a two years European grant (Grundtvig 2013) - mapping sonic experience and experimentation in Europe involving seven sound-based organisations. The project focused upon non-formal adult learning, contemporary European sound practices (with a particular emphasis upon open-source technologies, | ||
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+ | OA#1. Listening and Mapping the Sonic. Plurality and Wayfaring: Writing the OpenSound Project - J. Milo Taylor, Carlos Alves, Xabier Erkizia, Julien Ottavi, Wajid Yaseen (Peer review) and on a CD (Fibrr/ | ||
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+ | In addition APO33 received a cross disciplinary research grant from the European Cultural Foundation for the project We Have A Situation! (an ongoing series of live, trans-border, | ||
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+ | **In 2014 and 2015**, I raised a grant for 2 years research with Subtecture – a framework for research on sound (using sub frequencies) and architecture to produce critical response and installations in different contexts. Subtecture is an ensemble of varying configuration, | ||
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+ | My research on noise music extends over many years with a particular interest in its relation to urban noise. I have worked extensively towards recording sound using noise generators for performance, | ||
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+ | Electromagnetic Antenna and participatory workshop-performance have become a very important part of my art and research practice on inaudible urban soundscapes, | ||
+ | In 2016, I formalised this research in an article ‘Considerations on audio-geographical dérives or how to listen to the electromagnetic spectrum - Urban Dérive and electromagnetic spectrum’. Starting from one position and walking across the city; meeting somebody by chance; getting lost; observing what is beyond the real; finding yourself once more at the point you started from. | ||
+ | The Dérive - an approach to urban walking that has been widely developed by the Situationist movement, especially after Guy Debord' | ||
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+ | The article is published L'art Des villes, Presses Universitaire de Pau | ||
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+ | The project was also published and presented at ISEA 2016 in Honk Kong | ||
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+ | **In 2017 and 2018**, I spent a significant amount of time finalising my thesis on “New forms of networked sound practices: collaborative practice, shared creation, the Internet as a non-space, | ||
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+ | This thesis addresses these creative projects, practices and expertise and articulates a theoretical methodology which draws together current forms of artistic language relating to cutting edge music and poetry and networked practices. | ||
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+ | **For the last 2 years** I have been developing the project called Archisonic (sonic architecture) to work on sound and architecture – the transformation of acoustic spaces using resonant frequencies of buildings and city soundscape mapping with multiple pirate radio transmission. (Exhibition at Plateforme Intermedia, Nantes, Shoe Factory social Club, Norwich, Piksel Festival, Bergen). Sound and architecture have an ambiguous interaction in their relationship to one another. Sound used to be one of the main criteria for constructions of buildings such as churches and cathedrals. Complex construction where sound was a key element in the consideration of the structural design and indeed the sonic organization of a space would inspire the composition of that space. Today sound is the poor sibling of architecture dominated by the visually based dictate of contemporary construction. As an added extra sound is often overlooked and thus a virtually non-existent feature of modern architecture. | ||
+ | In 2019, I directed a new version of Electropixel international – a festival across Europe on Sound art, urban soundscapes and its relation to resonant architecture. During this tour over Europe (London, Norwich, Brussels, Berlin, Paris, Nantes) I proposed different projects related to Sound, architecture, | ||
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+ | 20Khz Orchestra at Turbine Hall in the Tate modern – performance with ultrasonic sound and transformation of the acoustic spaces, moving sound and silent interaction with the audience. (12/ | ||
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+ | Publication in Process on the subject with an article co-written with Jenny Pickett - Haunting memories : Radio statics, spectre research and Body Antenna | ||
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+ | [[Architectural sound construction]] | ||
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+ | [[Sound as architecture / architecture as sound]] | ||
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+ | [[sound objects & acoutics material]] | ||
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+ | [[Computer & acoutics]] |