Revue Audimat (French Edition)

Audimat Magazine

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This sound bank of ethnological and naturalist music is dedicated to researchers and is not open to public.

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The person in charge of this audio collection was frustrated because he had a massive quantity of music from all over the world, but he could not make it public to different types of audiences. The Vietnamese do not listen to music the way we do. It is a communist country, people are not used to listen to what they want to. We were curious about what would electronic music be in a context of a country where there is no electronic music scene apart from Japanese and Korean pop.

In Europe, people are more individualistic. The way we perceive music through our bodies says a lot about the way we consume it. It was very interesting to experience the fact that people do not listen to music the same way we do. When we were in Congo to organise an edition there, we realised that music has a different meaning there.

You should have a look at our web-documentaries to discover the density of these experiences abroad. We did that 3 or 4 years ago. The objective was to gather people who wanted to experience and hack machines. These are meetings for people who work in technology and make music — workshops, conferences — centred around the question What is music today?

His work is interesting, because it has changed over the years. With Guillaume Heuguet he created a label called In Paradisum. In Paradisum is clearly one of the new labels that have been burgeoning in Paris since Then we suggested Lorenzo Senni. The way he is approaching a popular sub-genre of music, which is well-know but pretty badly appreciated by connoisseurs, and turning it into some kind of pure sonic artefact, is stunning.

This is Jesus changing water into wine! There is now a whole bunch of scenes and sub-genres that are crossing the bridges between European and African dance music but Kuduro is maybe the most vibrant and ecstatic. Do these artists have something in common? Do you think they explore the question that you as the festival also asks? These artists are making something idiosyncratic. It is hard to put them into a specific genre of music. The art of listening is at the heart of our job. The difference between a good and a bad festival is all about the art of listening, the condition you are providing to the audience to experience the music at its best.

We try to question ourselves all the time. We try to create something that can be responsive to public movements. Maybe we will also further develop the Parisian edition. The reception is also very important, the quality of sound and the places to listen to music. Bass-heavy kicks meet tangled textures and create a sound that is somewhat triangulated in the middle. Highly attuned to the subtlest of…. Sarah Farina sprinkles positivity over the darkest bass. EOD started making music around , self-releasing online for a while until being picked up by several record labels around Europe Stonedwave,….

Sinosc is an artist, designer, and DJ currently based in Dresden. By blending cinematic ambient soundscapes, spoken language, and deconstructed Industrial passages,…. Through listening to Alice…. Under the moniker Sourdure, Ernest Bergez works within a hybrid sound field, combining raw electronics modular synths, feedback , acoustic instruments violin, voice,….

Mika Oki is a French-Japanese visual and sound artist, living and working in Brussels. With a background in sculpture and electro-acoustic music,…. With a quiet, gauzy intensity that finds emotional…. By deconstructing compositions, the Isama Zing project refers to…. Informed by her experience with…. Beste Aydin achieved notable acclaim as a classically trained pianist, yet her latest project sees her transform into a different creature altogether….

Mitch is a key player in the burgeoning instrumental grime movement. Whether through his own grime mutations, or from the ever…. The tracks of Lyon-based producer My Sword blur the lines between original composition, bootleg and blend. Most of his compositions involve both…. The chdh collective studies the relationship between image and sound by creating audio and visual algorithmic synthesizers. They mainly use these audiovisual instruments during live performances.

Erika Szurcsik is a multifaceted graphic artist deeply rooted in music and poetic imagery: At an early age, Jimi took viola…. MoTA is a museum without physical space. Its programmes are realised in different locations and contexts, both in physical and virtual space…. Alex Augier is an electronic musician based in Paris. His work explores digital aesthetics in a transverse prism, including sound, visual and….

Basement Revue: Where art meets reconciliation

Based in the beautiful surroundings of Athens,…. Waclaw Zimpel is a classically educated Polish clarinetist. Gabey Tjon a Tham NL transforms spaces into a sensory environment through kinetic machines, light and sound. She observes simple behaviours and…. Franck Vigroux is both a musician and a director. As a composer-performer he has the rare capacity to produce a very wide….

This kind of categorisation…. Fraction Eric Raynaud is a French musician, composer and producer of experimental electronic music whose work explores the boundaries of spatial sound…. Her performances are as much disruptive as they are refined and can easily stand next to the most heavily produced club sounds….

Evgeniy Vashchenko aka V4W. The Hungarian experimental staple returns for another edition of concerts, talks and workshops this October. UH Fest is one of the 16…. Olivia has been a key player on the Polish electronic music scene for 12 years, both solo and performing as Chrono Bross…. His debut EP, entitled Ecologies, launched the new Knives label. Her art — research focus has been…. Russian-born Anastasia Vtorova a. Machine Woman is a sound artist and image maker who often collaborates with other artists.

Julien was born in Paris. He taught himself to play the guitar before joining the E. Mike Rijnierse is a Dutch artist, performer and educator working in the fields of light, sound and architecture. Chlorys is a DJ, visual artist and soon-to-be-cyborg based in Bucharest. Thomas Ankersmit is a musician and composer based in Berlin. His work has been released on the Touch and PAN labels. Since his main instrument, both live and in the studio, has been the Serge Modular synthesizer.

Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound play a central role in his work. His music is also characterized by a deliberate misuse of the equipment, using feedback and disruptions to the signal, and the extremes of frequency and dynamics, to create visceral but finely detailed swarms of sound.

Ultimately, the result is an immersive, intensely physical sonic experience. Oriole is one of the pioneers of the Dirty Deal Audio collective; a beatmaker and producer with a unique style. His style has progressed through a number of releases on…. Stefan Fraunberger is a composer and sound performer with a distinct interest in transformation. Engaging in an electro-acoustic dialogue with unconventional instruments…. Stephen Grew has been playing totally improvised piano and electronic keyboard music for over 30 years. His music works with the life….

Active in a number of projects, he works with a wide range of…. He studied musicology and jazz theory in Vienna and Paris, and wrote….

Pop culture

In , the illustrator George Herriman created the Krazy Kat comic strip. Peoplemeter is an expanded cinema performance created by video artist Incredible Bob and WoO, an experimental guitarist and sound artist. While the Antinote label has gained notice for its roster of leftfield house, acid, and lo-fi electronics, Syracuse has served as a….

The solitary project of Thomas Bonvalet initially focused on the nylon string guitar, taking short, dynamic and abrupt forms and limiting itself…. UH Fest is one of the rare events dedicated to adventurous modern music in Hungary. Since it has staged more than…. Hans-Joachim Braun is also interested in the relativity of sensitivity to noise. For certain users, the iPod device is used to recover a certain autonomy with regards to an inflicted urban culture.

The second strong idea concerns the instrumental and rationalized use of sound. The automotive industry and its particular approach to engine noise represents a textbook case Krebs, Cleophas and Bijsterveld. The theme of sonification also pinpoints one of the main motivations for work in sound studies that covers part of the book: But can this sound rehabilitation avoid a new standard implying a difference between the senses and thus a certain ontology of sensations?

texts + press

This question is conceptualized in the article by Jonathan Sterne and Mitchell Akiyama that examines the original idea developed by the First Sounds group. They propose approaching these various objects in terms of articulation and within a constructivist approach to the senses.

For them, the theory of articulation in cultural studies makes it possible to go further than Latour in questioning power relations. In this theory of social reality, the articulations between phenomena as well as their speed and direction are all contingent. This relates back to the criticisms of the trace category that is operated in information and communication sciences in France.

The proposals made by Sterne, based on archives linked to engineering players, merit being compared to other social discourses in order to observe to what degree indexicality represents a hegemonic listening regime. For example, Jeremy Wallachs, like Schaffer and Chion, suggest that we can also perceive sound as a form of material presence without seeking to interpret it as the sign of a source or a cause.

Sterne and Akiyama radicalize the constructivist position that has already been expressed elsewhere by Sterne: By dissolving in this way all a priori knowledge of a distinctive aspect of reality that we could call sound, their proposal questions the theoretical basis for the restoration of a symmetry between the senses, being a determinant for sound studies. This final article therefore allows us to highlight on the scale of this paper and perhaps beyond, a specific sound studies contribution that amounts to answering the question: This represents a point of reflection that is stimulating for future research: To shed light on these epistemological choices, it might be worthwhile to return to the philosophical tradition based around perception and cognition, ranging from Kant to Merleau-Ponty, and interlink these issues more widely to the social history of experimental, biological, and cognitive sciences.

Furthermore, and despite the addition of an internet site with audio extracts, the objects and corpus mobilized in the OHSS are largely based on the written word and images. For a manual, the methodological perspectives concerning the way in which sound recordings could be used as analytical materials for sound studies are lacking. Taking this approach, sound studies can only gain from dialogue with the works produced in popular music studies, ethnomusicology , and aesthetics.

Bonnet, and reviews such as Tacet.

A Toulouse

It can be seen that there are several ways to continue to be open-minded and ensure the productivity of the scientific dialogism underlying sound studies. Each field appears almost to mirror the limits of the other. So should sound be pragmatic and the visual express a media-centrism? It is a form of splitting that merits discussion. In any case, several years after its publication, this seminal work continues to reveal how sound studies make the theme of sound a particularly stimulating point of departure to question the practice of science as a cultural and social phenomenon, the results and methodologies of other disciplines, and to open innovative fields of investigation.

I have developed the consequences of this idea in regard to sound presentation on the internet. Critical Concepts in Media and Cultural Studies. Cox, Christopher, and Daniel Warner, eds. Readings in Modern Music.

Nasta, Dominique, and Didier Huvelle, eds. Le Son en Perspective: Papenburg, Jens Ggerrit, and Holger Schulze, eds. Sound as Popular Culture: Cultural Origins of Sound Reproduction. The Meaning of a Format. The Sound Studies Reader.

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