{"id":5692,"date":"2020-05-02T12:15:25","date_gmt":"2020-05-02T12:15:25","guid":{"rendered":"http:\/\/apo33.org\/?p=5692"},"modified":"2020-05-04T10:12:46","modified_gmt":"2020-05-04T10:12:46","slug":"filiason-10-6-samedi-2-mai","status":"publish","type":"post","link":"https:\/\/apo33.org\/?p=5692","title":{"rendered":"Filiason #10.6 &#8211; Samedi 2 mai 2020"},"content":{"rendered":"<p style=\"text-align: center;\"><span style=\"color: #666699;\"><strong>FILIASON #10.6 &#8211; CONCERT LIVE INTERNET<\/strong><\/span><\/p>\n<p><strong>Samedi 2 mai 2020 &#8211; 20h30 &#8211; 00h30<\/strong><\/p>\n<p><strong>Filiason #10<\/strong> est un rendez-vous hebdomadaire, pour continuer \u00e0 d\u00e9couvrir des artistes en live pendant le confinement. Pour l&#8217;instant six dates pr\u00e9vues pour vous en mettre plein les oreilles ! Musique exp\u00e9rimentale, nouvelle, bruitiste et croisement en tout genre.<\/p>\n<p>Le plus : \u00eatre confortablement install\u00e9 chez vous, tout en chattant avec les artistes \ud83d\ude42<\/p>\n<h6>voir ici en vid\u00e9o live :<\/h6>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/k4bO3YZolVw\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<table border=\"Opx\">\n<tbody>\n<tr>\n<td width=\"50%\">\n<h6>\u00c9COUTER LE CONCERT L\u00c0!!<\/h6>\n<p><audio preload=\"auto\" controls=\"controls\"><source src=\"http:\/\/apo33.org:8000\/filiason\" type=\"audio\/mpeg\" \/><\/audio><br \/>\nEn \u00e9coute ici \u261b <a href=\"http:\/\/apo33.org:8000\/filiason\">http:\/\/apo33.org:8000\/filiason<\/a><br \/>\nVenez chatter avec les artistes ici \u261b <a href=\"http:\/\/apo33.org\/index.php\/fr\/contact\/\">http:\/\/apo33.org\/index.php\/fr\/contact\/<\/a><\/td>\n<td width=\"50%\"><iframe style=\"border: 0; float: right; width: 100%; height: 350px;\" src=\"https:\/\/kiwiirc.com\/client\/irc.freenode.net\/?nick=apo33-|?#apo33\" width=\"300\" height=\"150\"><\/iframe><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>MERCI DE VOS DONS POUR LES ARTISTES!<\/strong><br \/>\n<iframe id=\"haWidget\" style=\"width: 100%; height: 750px; border: none;\" src=\"https:\/\/www.helloasso.com\/associations\/apo-33\/formulaires\/2\/widget\" width=\"300\" height=\"150\" scrolling=\"auto\"><\/iframe><\/p>\n<p><span style=\"color: #0000ff;\"><strong>ARTISTES AU PROGRAMME<\/strong><\/span><\/p>\n<h5><strong>20h30 &#8211; William Nurdin<\/strong><\/h5>\n<p>Nurdin William aka NW \u00bbRIR1009\u00bb \/\/ (fr-nancy) &#8211; Serendipit\u00e9 \u2248 ASMR.<br \/>\nN\u00e9 en 1980, multi-instrumentiste actif depuis 1998. Impr\u00e9gn\u00e9 par un d\u00e9sir existentiel de lier la musique bruitiste \u00e0 la performance. Actionisme et S\u00e9rendipit\u00e9, un accident d\u00e9natur\u00e9 de maitrise.<br \/>\nFondateur en 2011 du Label RoHS Prod, il vit actuellement \u00e0 Nancy en France.<br \/>\nWilliam Nurdin, comme dirait Seb Radix et Anouck, c\u2019est un mec qui p\u00e8se dans le game du noise. Ma\u00eetre Nurdin est une sorte de savant fou en proie \u00e0 un syndrome aigu d\u2019exploration transmusicale. Un imaginaire foisonnant au service du bruit.<\/p>\n<p><a href=\"https:\/\/twitter.com\/williamnurdin\">https:\/\/twitter.com\/williamnurdin<\/a><br \/>\n<a href=\"http:\/\/nwwn.fr\">http:\/\/nwwn.fr<\/a><\/p>\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1911658300\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http:\/\/nnww.bandcamp.com\/album\/once-upon-these-times\">Once upon these times by nw<\/a><\/iframe><\/p>\n<p><iframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/users\/3651196&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true&amp;visual=true\" width=\"100%\" height=\"300\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<div style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"><a style=\"color: #cccccc; text-decoration: none;\" title=\"william nurdin\" href=\"https:\/\/soundcloud.com\/nwwn\" target=\"_blank\" rel=\"noopener\">william nurdin<\/a><\/div>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/hnmrNARJA5U\" width=\"694\" height=\"391\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><iframe title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/258000954\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h5><\/h5>\n<h5><strong>21h30 &#8211; sains\u0175n<\/strong><\/h5>\n<p>\u300anoisesound\u300b&#8217;:\/^^*!#&#8217;+~%\u00a4`\u00ba\u00ba`&gt;&lt;&lt;{}=\u20a9|\u00d7=\u00f7&lt;:\u00a4`~\u00ba!&#8217;_::\/^*!~`\u00a4\u00a4\u00f7\u00d7\u00a1_\u00bf\u00ba!#\/&#8217;:&amp;^*\/(()+\u00bf&gt;_~\u00f7&gt;*&#8221;&gt;`\u00ba\u00ba%}{\\|!#\/^&#8221;;::,*((-&#8216;!#\/*^;:,-&#8220;&#8221;_+`&lt;}%|\u00bf\u00ba`\u00a4\\_,(@)`^'&#8221;:\/~&#8217;#&#8217;\/<br \/>\nsains\u0175n (Pays de Galles) (prononc\u00e9 &#8220;sine-soon&#8221;) explore le son, la narration et la mat\u00e9rialit\u00e9 dans de multiples formes de praxis incluant les beaux-arts, la sculpture, la performance, l&#8217;installation et la po\u00e9sie critique.<\/p>\n<p><a href=\"http:\/\/suborg.net\/tag\/sainswn\/\">http:\/\/suborg.net\/tag\/sainswn\/<\/a><br \/>\n<a href=\"https:\/\/www.instagram.com\/sain_swn\/\">https:\/\/www.instagram.com\/sain_swn\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<h5><strong>22h30 &#8211; Lucio Capece<\/strong><\/h5>\n<p>Musicien italo-argentin bas\u00e9 en Europe depuis 2002, plus pr\u00e9cis\u00e9ment \u00e0 Berlin depuis 2004. Apr\u00e8s avoir \u00e9tudi\u00e9 la musique classique au Conservatoire de Mor\u00f3n en Argentine pendant 10 ans, et le jazz en Argentine, \u00e0 Lyon et \u00e0 New York, Capece a \u00e9t\u00e9 tr\u00e8s actif sur la sc\u00e8ne de la musique improvis\u00e9e r\u00e9ductionniste \u00e0 Berlin (2002-2010) et sur la sc\u00e8ne minimale radicale li\u00e9e au collectif Wandelweiser, collaborant principalement en tant que membre du collectif Konzert Minimal (2008-2018) et, depuis 2006, et toujours en activit\u00e9, avec Radu Malfatti.<br \/>\nDepuis 2010, il se consacre \u00e0 offrir des \u0153uvres centr\u00e9es sur l&#8217;exp\u00e9rience Perception, qu&#8217;il interpr\u00e8te principalement en solo et dans le cadre de collaborations occasionnelles bas\u00e9es sur le m\u00eame int\u00e9r\u00eat. Il compose ses propres pi\u00e8ces qui peuvent inclure de l&#8217;improvisation et diff\u00e9rentes fa\u00e7ons d&#8217;\u00e9crire. Il utilise des outils comme les Flying Speakers suspendus \u00e0 des ballons d&#8217;h\u00e9lium, les Speakers as Pendulums, le synth\u00e9tiseur analogique, les G\u00e9n\u00e9rateurs d&#8217;ondes sinuso\u00efdales et de bruit, les Drum Machines, les lampes ultra-violettes, les capteurs autant que les instruments dont il joue depuis 25 ans : Clarinette basse et soprano et saxophone \u00e0 coulisse. Au-del\u00e0 de l&#8217;instrumentation et des outils, l&#8217;intention principale est de se concentrer sur l&#8217;exp\u00e9rience humaine physique-sociale-spatiale.<\/p>\n<p><a href=\"https:\/\/www.ursss.com\/2020\/01\/lucio-capece\/\">https:\/\/www.ursss.com\/2020\/01\/lucio-capece\/<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/lucio.capece.1\">https:\/\/www.facebook.com\/lucio.capece.1<\/a><\/p>\n<p><iframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/users\/39410534&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true&amp;visual=true\" width=\"100%\" height=\"300\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<div style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"><a style=\"color: #cccccc; text-decoration: none;\" title=\"Lucio Capece 2\" href=\"https:\/\/soundcloud.com\/electro-batimento\" target=\"_blank\" rel=\"noopener\">Lucio Capece 2<\/a><\/div>\n<p><a href=\"https:\/\/luciocapece.bandcamp.com\/\">https:\/\/luciocapece.bandcamp.com\/<\/a><br \/>\n<iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1753929662\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http:\/\/luciocapece.bandcamp.com\/album\/things-and-language\">Things and Language by Lucio Capece<\/a><\/iframe><\/p>\n<h5><strong>23h30 Cerpintxt<\/strong><\/h5>\n<p>Un rapport d&#8217;\u00e9tape post-apop\u00e9e de la maison de fous cosmique, par le biais de la voix, de l&#8217;autodestruction et de la performance r\u00e9gressive, des exp\u00e9riences de conversation de protocole guid\u00e9es par le vent, doucement ritualistes et discordantes.<\/p>\n<p><a href=\"https:\/\/soundcloud.com\/alaayussry\/sets\/combing-her-torso-to-a-pile\/s-7BsqCFJ1YSN\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/soundcloud.com\/alaayussry\/sets\/combing-her-torso-to-a-pile\/s-7BsqCFJ1YSN&amp;source=gmail&amp;ust=1588238054361000&amp;usg=AFQjCNFf_in71wrjwaGEalXWvQDpoKOWeg\">&#8220;Combing Her Torso To a Pile<\/a>&#8221; est le deuxi\u00e8me volet de l&#8217;exp\u00e9rience musicale men\u00e9e dans Dialectically Mediated Distance From Oneself, un jeu musical ax\u00e9 sur le discours dans la perception du soi et de ses extensions, dans le cadre du r\u00e9seau symbolique des relations intersubjectives. Dans cette couche, \u00e9voqu\u00e9e par la repr\u00e9sentation et la construction d&#8217;une palette de fragments cognitifs qui maintiennent des flux ; les \u00e9v\u00e9nements sonores comme des \u00e9v\u00e9nements r\u00e9els ind\u00e9pendants de leur source, maintiennent une vie propre. Une \u00e9tude dans la concr\u00e9tisation des r\u00e9cits, faisant allusion aux fondamentaux manquants, et des exp\u00e9riences de simulation de l&#8217;environnement ut\u00e9rin. Le travail consiste \u00e0 naviguer dans un r\u00e9pertoire de souvenirs, de r\u00eaves, d&#8217;\u00e9v\u00e9nements et de r\u00e9cits, afin de cr\u00e9er un d\u00e9p\u00f4t pour les subtilit\u00e9s partag\u00e9es collectivement dans l&#8217;exp\u00e9rience. Cette couche utilise des enregistrements de clarinette, de voix et de terrain.<\/p>\n<p><a href=\"https:\/\/alaayussry.wixsite.com\/antisense\">https:\/\/alaayussry.wixsite.com\/antisense<\/a><\/p>\n<p><iframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/users\/28628959&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true&amp;visual=true\" width=\"100%\" height=\"300\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<p><iframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/583190730&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true&amp;visual=true\" width=\"100%\" height=\"300\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h5><strong>0:00<\/strong><br \/>\nPhill Niblock &amp; Katherine Liberovskaya<\/h5>\n<p><small>Dans ce live set Liberovskaya m\u00e9lange la vid\u00e9o avec Jitter\/Max\/MSP \u00e0 partir d\u2019une vaste base de donn\u00e9es personnelle de clips tourn\u00e9s au cours des quinze derni\u00e8res ann\u00e9es. Niblock m\u00e9lange des morceaux audio bas\u00e9s sur des enregistrements de terrain tr\u00e8s diff\u00e9rents de ses compositions musicales.<\/small><\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/JryBOCyzRzU\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n<a href=\"https:\/\/phillniblock.com\/\"><strong>https:\/\/phillniblock.com\/<\/strong><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<h5><strong>00h30 &#8211; Alexandra Cardenas<\/strong><\/h5>\n<p>compositeur\/programmeur\/improvisateur\/codeur en direct<br \/>\nN\u00e9e \u00e0 Bogot\u00e1, Colombie, en 1976. A \u00e9tudi\u00e9 la composition \u00e0 l&#8217;universit\u00e9 de Los Andes, o\u00f9 elle a obtenu son dipl\u00f4me en 2000. Elle a \u00e9galement \u00e9tudi\u00e9 la guitare classique et les math\u00e9matiques. Ses \u0153uvres ont \u00e9t\u00e9 jou\u00e9es dans plusieurs salles de concert en Colombie, au Venezuela, au Mexique, aux \u00c9tats-Unis, en Europe, en Chine et en Inde et ont \u00e9galement \u00e9t\u00e9 jou\u00e9es par de nombreux solistes et ensembles de chambre diff\u00e9rents.<\/p>\n<p><a href=\"https:\/\/cargocollective.com\/tiemposdelruido\">https:\/\/cargocollective.com\/tiemposdelruido<\/a><br \/>\n<a href=\"https:\/\/twitter.com\/tiemposdelruido\/\">https:\/\/twitter.com\/tiemposdelruido\/<\/a><\/p>\n<p><iframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/users\/356732&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true&amp;visual=true\" width=\"100%\" height=\"300\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<div style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"><a style=\"color: #cccccc; text-decoration: none;\" title=\"tiemposdelruido\" href=\"https:\/\/soundcloud.com\/tiemposdelruido\" target=\"_blank\" rel=\"noopener\">tiemposdelruido<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"<p>FILIASON #10.6 &#8211; CONCERT LIVE INTERNET Samedi 2 mai 2020 &#8211; 20h30 &#8211; 00h30 Filiason #10 est un rendez-vous hebdomadaire, pour continuer \u00e0 d\u00e9couvrir des<a class=\"moretag\" href=\"https:\/\/apo33.org\/?p=5692\"> <span class=\"dashicons dashicons-plus\"><\/span><span class=\"dashicons dashicons-plus\"><\/span> <\/a><\/p>\n","protected":false},"author":3,"featured_media":5951,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":""},"categories":[91,2516],"tags":[2575,325,2568,2557,2555,323,2539,2518,2541],"_links":{"self":[{"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/posts\/5692"}],"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\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5692"}],"version-history":[{"count":14,"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/posts\/5692\/revisions"}],"predecessor-version":[{"id":5998,"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/posts\/5692\/revisions\/5998"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=\/wp\/v2\/media\/5951"}],"wp:attachment":[{"href":"https:\/\/apo33.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5692"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5692"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/apo33.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}