{"id":5460,"date":"2020-02-22T20:35:09","date_gmt":"2020-02-22T20:35:09","guid":{"rendered":"http:\/\/apo33.org\/?p=5460"},"modified":"2021-04-26T09:50:06","modified_gmt":"2021-04-26T09:50:06","slug":"audioblast-8-concerts-en-ligne","status":"publish","type":"post","link":"https:\/\/apo33.org\/?p=5460","title":{"rendered":"Audioblast 8 – Concerts en ligne"},"content":{"rendered":"

du 22 au 23 f\u00e9vrier 2020<\/strong><\/p>\n

Festival de cr\u00e9ation sonore utilisant le r\u00e9seau comme lieu de diffusion et permettant l\u2019\u00e9coute de nombreuses pratiques audio : musique exp\u00e9rimentale et \u00e9lectronique, drone, noise, field recordings\u2026 (concerts, retransmissions et performances).<\/p>\n

LISTEN AUDIOBLAST FESTIVAL LIVE NOW!!<\/h6>\n

ou lire dans votre lecteur son pr\u00e9f\u00e9r\u00e9 <\/a><\/p>\n

Samedi 22 f\u00e9vrier<\/h4>\n

14h30 – Giaso<\/strong> – lost humanity<\/p>\n

15h30 – Osvaldo Cibils<\/strong> – chaotic popurri – the art of knobs<\/p>\n

16h00 – AudeRrose<\/strong> – miroir et fragment fantastique<\/p>\n

16h30 – Annie Abrahams & Daniel Pinheiro<\/strong> – Utterings
\nUtterings is a project by Annie Abrahams (FR) and Daniel Pinheiro (PRT) with Constan\u00e7a Carvalho Homem (PRT), Curt Cloninger (US), Nerina Cocchi (BE) and Derek Piotr (US) as invited artists.<\/p>\n

17h00 – Seamus O’Donnell<\/strong> – knifeloop<\/p>\n

17h30 – Horacio T\u00edo Trio<\/strong> – Communication 5<\/p>\n

18h00 – Philippe Cavaleri<\/strong> – D\u00e9rives<\/p>\n

Dimanche 23 f\u00e9vrier<\/h4>\n

14h30 – AlgoNoiseOrchestra<\/strong> – Codage intempestif<\/p>\n

16h – Hagai Izenberg<\/strong> – Radio Concrete<\/p>\n

16h30 – Andr\u00e9 Fernandes Perim<\/strong> – Chaman (Xam\u00e3)<\/p>\n

17h00 – Psychic<\/strong> – Oxydation<\/p>\n

17h30 – Oracle Musical<\/strong> – \u00c9 M I S S I O N<\/p>\n

18h30 – Paulo Hartmann<\/strong> – Carbon Diwans 80’s<\/p>\n

Le th\u00e8me de cette ann\u00e9e est :<\/strong><\/p>\n

Global E-missions \/ E-missions Globales<\/h4>\n

Nous sommes arriv\u00e9s \u00e0 un temps presque sans retour, tous les facteurs sont aux rouges et la situation devient alarmante. Un nouveau concept est apparut : le overshoot day (jour du d\u00e9passement), date de l\u2019ann\u00e9e, calcul\u00e9e par l\u2019ONG am\u00e9ricaine Global Footprint Network, \u00e0 partir de laquelle l\u2019humanit\u00e9 est suppos\u00e9e avoir consomm\u00e9 l\u2019ensemble des ressources que la plan\u00e8te est capable de r\u00e9g\u00e9n\u00e9rer en un an. Pass\u00e9e cette date, l\u2019humanit\u00e9 puiserait donc de mani\u00e8re irr\u00e9versible dans des r\u00e9serves \u00ab non renouvelables \u00bb. Peu importe la fa\u00e7on de calculer et la r\u00e9alit\u00e9 exacte de cette th\u00e8se, nous nous posons, en tant qu\u2019artistes, musiciens, compositeurs, po\u00e8tes \u2026 des questions quant \u00e0 la fa\u00e7on dont nous agissons sur le monde, quel peut-\u00eatre notre impact carbone mais aussi comment construire des solutions viables pour tous. Si nous avons trouv\u00e9s, l\u2019individu conscient ou certains politiques, activit\u00e9s\u2026, des solutions plus ou moins p\u00e9rennes pour nous-m\u00eame en tant qu\u2019\u00eatre singulier et pour une petite partie de la population, elles sont loin de pouvoir r\u00e9soudre le probl\u00e8me de fa\u00e7on global, \u00e0 la fois tant que l\u2019industrie et le syst\u00e8me n\u00e9o-lib\u00e9ral continueront leur marche forc\u00e9 de la surconsommation et de la production \u00e0 outrance mais aussi tant que nous continuerons \u00e0 fermer les yeux devant les probl\u00e8mes de notre expansion auto-centr\u00e9 sur terre.
\nDans le cadre d\u2019Audioblast, cette notion d\u2019\u00e9mission nous int\u00e9resse plus particuli\u00e8rement, d\u00e9veloppant le concept comme E-mission globalis\u00e9 : bien s\u00fbr les \u00e9missions de dioxide de carbone mais aussi les transmissions ou les Emissions \u00c9lectroniques (E-missions) en lien avec ces possibilit\u00e9s de transmettre du son de fa\u00e7on globalis\u00e9, le son et l\u2019air fonctionnant de pair, sans air pas de son (en effet le son fait vibrer l\u2019air qui se transmet \u00e0 notre oreille). Alors qu\u2019est ce que cela nous inspire? Comment nous sentons-nous investis par ces questions? Comment traitons nous la probl\u00e9matique des \u00e9missions globales, du overshoot day, de la surconsommation, de la r\u00e9sistance, des propositions alternatives ou encore des tentatives de faire r\u00e9agir politique ou de d\u00e9stabiliser la toute puissante et destructive sph\u00e8re n\u00e9o-lib\u00e9rale?<\/p>\n

Giaso<\/h4>\n

\"\"<\/p>\n

GREAT INTERNATIONAL AUDIO STREAMING ORCHESTRA<\/strong>
\nUn orchestre en ligne international d\u00e9velopp\u00e9 par Apo33 dont le but est de cr\u00e9er un lieu pour la performance en r\u00e9seau.
\nLe \u201cGreat international Audio Streaming Orchestra\u201d utilise une plateforme multiplexe bi-directionnelle pour performer et mixer diff\u00e9rentes sources audio (streaming). Dans le temps de la performance, les streams (transmission) sont re-compos\u00e9s dans l\u2019espace de diffusion \u00e0 travers une spatialisation bas\u00e9e sur un syst\u00e8me de transmission internet libre et multi-flux. GIASO cr\u00e9e une nouvelle forme de composition orchestrale o\u00f9 les compositeurs deviennent des entit\u00e9s virtuels qui \u00e9mergent d\u2019une communaut\u00e9 de noeuds \u2013 explorateurs audio et performeurs en r\u00e9seau.<\/p>\n

osvaldo cibils<\/h4>\n

\"\"<\/p>\n

Uruguay 1961. Artiste, performeur.<\/p>\n

Chaotic popurri, double random, live from the video of the series “osvaldo cibils en el arte de las perillas (the art of knobs)”, noisy soundart actions with electronic gadgets and the body exaggerated with things.<\/p>\n

https:\/\/www.youtube.com\/watch?v=9yTfwdvwLVQ<\/a> https:\/\/osvaldocibils.com\/EN\/accionessonorasruidosas.html <\/a><\/p>\n

AudeRose<\/p>\n

\"\"<\/p>\n

AudeRrose is multi-disciplinary artist working with performance, photography, sound and projection. She regularly presents her performances in international festivals. Her imagery plays with narrative structures, developing dreamy and intimate universes, exploring various forms of interplay between body, images in motion, deconstructive narrations and self-mythology. Her performances articulate live scenography protocols integrating projection as an environment medium, considering the black box as a possible oneiric space, where sounds and images communicate in a poetic and narrative journey.<\/p>\n

Une foret \u00e9lectrique qui \u00e9blouie et envoute le spectateur avec de miroirs et la vibration du theremin, des fragments d’illusions et de souvenir d’un monde m\u00e9dus\u00e9 par un sc\u00e9nario catastrophe r\u00e9enchantement par une note d’ironie.<\/p>\n

Annie Abrahams & Daniel Pinheiro<\/h4>\n

\"\"<\/p>\n

Annie Abrahams, artist and performer based in Montpellier France, investigates the possibilities and limits of communication under networked conditions. She is known worldwide for her netart and collective writing experiments and is an internationally regarded pioneer of networked performance art. Daniel Pinheiro, performer and visual artist based in Porto, Portugal has been developing work in the field of Telematic Art mostly as a resource to discuss and reflect upon the impact of technology on everyday life. Daniel and Annie work occasionnally together since 2014. One of the projects they share, and that is related to our proposal, is \u201cDistant Feeling(s)\u201d. In this project participants are invited to join remotely in a moment of shared togetherness (eyes closed, no talking).<\/p>\n

“Utterings” is a sound-only networked performance experiment where Annie Abrahams (FR) and Daniel Pinheiro (PRT) along with four other invited artists* commit to an hour long exchange across distance only using their body. Connecting from remote locations the artists gather online and, while blindfolded, they engage in utterings as communication, building on solo’s, duo’s, chorals and silence, creating an on the fly \u201cnew\u201d language, that forwards attention, trust and affects above rationality. The protocol for the performance will be written collectively in the week before the performance and will be available online. The six sound streams are interlaced and entangled in one single polyphonic composition shared live in the audioblast program. * One of them is Curt Cloninger (US) with who Annie made \u201cDouble Blind (love)\u201d, a related online soundperformance, in 2009.<\/p>\n

S\u00e9amus O\u00b4Donnell<\/h4>\n

\"\"<\/p>\n

S\u00e9amus O\u00b4Donnell (kNiFeLoOp) works as artist and organiser on different sound art projects since 1999. Solo or collaborative projects (for performance or installations) can include FM radio experiments with receivers and self built mini-transmitters; reel-to-reel tape machine loop or relay set ups; or a live set with any mix of manipulated field recordings, self made devices and other more traditional instruments, objects, voice and machines. As an organiser he co-founded Salon Bruit e.V. in 2002 that has facilitated many sound artists in Berlin over the years and now spends most of his spare time with Colaboradio (co-founded in 2011), a part of Freie Radios Berlin, to promote outsider radio.<\/p>\n

What is inaudible is made audible. The sounds of electro-magnetic fields around highly charged devices are relayed, with the help of induction coil microphones, to a multi track looper and digital delay where they are manipulated to resemble coherent sound patterns. This enables the audience to find a relationship to what had previously been inaudible. With these tools the secret sound waves of different electric devices are discovered and exploited and made audible in the moment. The source materials from which the electromagnetic fields radiate are not all that is important. The procedure that their sounds are put through in the act of creation, sonification and impromptu re-interpretation give an intriguing insight into the invisible, inaudible world around us. With this in mind the work process is an inherently open one. The frankness of the techniques shown in the work enables the audience to easily understand the relationship between the physical and the sonic, and so enhance the subjective perception of the moment.<\/p>\n

Philippe Cavaleri<\/h4>\n

\"\"<\/p>\n

Philippe Cavaleri multi-disciplinary work explores the relationship between body, space & time, how they interact & affect each other \u2026 He uses all possible media & materials, without restriction : photography and the moving image (video, stop motion, super 8 films, \u2026), drawings, sounds experimentations (home made sound generators, turntables, cassettes & tapes, field recordings, \u2026) He likes to combine everything in installations, where images meet sounds in the space\u2026 . He is interested in gesture\/movement, granularity, residues, \u2018everyday banality as poetry\u2019, territories & limits, parasites, communication & linguistic (language \u2013 as arts? \u2013 is suppose to be the human way to understand \u2018reality\u2019 and share it).<\/p>\n

Tous les debats seraient devenus de st\u00e9riles formes de communications, nous avons toujours peur de mourir. La collapsologie comme nouvelle religion, sans espoir de retour vers le bon vieux temps dont plus personne ne se souvient, \u00e0 pr\u00e9sent que tous se demandent s’il serait d\u00e9j\u00e0 trop tard. Ne restera que le bruit, le bruit rassurant avant le silence. .. Ma proposition d’une heure m\u00ealera sons \u00e9lectroniques et enregistrements d’ambiances, deconstruction de discours politiques et remise en question de la place du sonore dans la nouvelle pens\u00e9e \u00e9cologique. L’improvisation sonore conceptuelle permettrait elle d’appr\u00e9hender nos incertitudes, l’absurde n\u00e9ant dans lequel notre soci\u00e9t\u00e9 technologique nous maintient?<\/p>\n

AlgoNoiseOrchestra<\/strong><\/p>\n

Musique \u00e9lectronique abstraite, orchestre d\u2019ordinateurs et codage du programme en direct.<\/p>\n

Hagai Izenberg<\/h4>\n

Radio Concrete is an experimental project focused on sounds we\u2019re exposed to every day in the public and domestic spheres, often in passing or involuntary. It’s composed out of field recordings, amplified objects & toys, live sampling of am\/fm radio and other live sources – all mixed up and manipulated in realtime to create multi-layered restless composition; a compressed sonic experience of our daily lives. I play it with live in festivals, art & experimental music events and also as a monthly radio-art show, broadcasted on Resonance Extra (UK) and WGXN (NY) and Halas.am (ISR).<\/p>\n

https:\/\/www.hagaizenberg.com\/radioconcrete12.php<\/a> https:\/\/www.hagaizenberg.com\/<\/a> https:\/\/www.facebook.com\/radioconcrete<\/a> https:\/\/soundcloud.com\/hagaizenberg-1\/<\/a><\/p>\n

Oracle Musical<\/strong><\/p>\n

\"\"<\/p>\n

Oracle Musical est un laboratoire de cre\u0301ation de poe\u0301sie sonore o\u00f9 il est question d\u2019atmosphe\u0300re. Nicolas Faigniez (-C-i-E-L-) travaille avec la musique et le son, Anai\u0308s Scherrer (Flamme) travaille avec les mots et la voix. L\u2019e\u0301criture est protocolaire. Le vocabulaire parle\u0301 et sonore traduit des concordances lie\u0301es a\u0300 des concepts, des personnes, des dates ou des e\u0301ve\u0300nements. Le jeu musical est fait d\u2019improvisations d\u2019ambiances sonores base\u0301es sur un principe d\u2019astronomie. Par l\u2019atmosphe\u0300re et la poe\u0301sie, une augure se compose en une dimension paralle\u0300le ou\u0300 le monde des ide\u0301es cohabite avec la re\u0301alite\u0301.<\/p>\n

Dans une enqu\u00eate \u00e0 travers la puissance des mots et des symboles, nous irons d\u00e9cortiquer le mot \u201c\u00e9mission\u201d en p\u00e9n\u00e9trant l\u2019int\u00e9rieur de chacune des lettres dans une logorrh\u00e9e \u00e9volutive atmosph\u00e9rique. Sans air pas d\u2019onde. Sans onde pas de son. Sans son pas de mots. Sans mots pas de langage. Sans langage pas de po\u00e9sie. Alors chargeons l’air comme on consacre une amulette. Susurrons lui des formules secr\u00e8tes et le vent vibrera de ce murmure invisible, lui seul qui sait faire courber chacune des herbes de la plan\u00e8te enti\u00e8re. Une incantation au vent.<\/p>\n

http:\/\/oraclemusical.fr\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

du 22 au 23 f\u00e9vrier 2020 Festival de cr\u00e9ation sonore utilisant le r\u00e9seau comme lieu de diffusion et permettant l\u2019\u00e9coute de nombreuses pratiques audio : <\/span><\/span> <\/a><\/p>\n","protected":false},"author":1,"featured_media":5290,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":""},"categories":[511],"tags":[2454,527,570],"_links":{"self":[{"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/posts\/5460"}],"collection":[{"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5460"}],"version-history":[{"count":8,"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/posts\/5460\/revisions"}],"predecessor-version":[{"id":7400,"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/posts\/5460\/revisions\/7400"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/media\/5290"}],"wp:attachment":[{"href":"https:\/\/apo33.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5460"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5460"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}