TECHNOMANCIE2 c’est le temps fort des laboratoires deletere associés cette année à D.D.A Diffusing Digital Art et dédié aux nouvelles pratiques artistiques induites par les technologies numériques. Le néologisme servant de titre à l’événement combine technologie et magie comme hypothèse de pratique pour les artistes.
Les enjeux des nouvelles colonies humaines ne se situent plus dans le cosmos ou dans les gisements profonds de la terre et des océans. C’est aujourd’hui dans les méandres des territoirestechnologiques (cyberespaces, jeux en réseaux, réseaux sociaux, réalité augmentée) que lesmultinationales et autres startups pensent le monde de demain à l’image des portefeuilles de leurs actionnaires.
Pour cette édition de TECHNOMANCIE, deletere & D.D.A Diffusing Digital Art souhaite défricher cette problématique en associant d’autres artistes à cette réflexion à travers des expositions, performances, concerts, conférences et projections.
Avec Marie Lienhard, Adelin Schweitzer, Damien Sorrentino, Grégoire Lauvin, Clémence Doutre, Pascale Leblanc Lavigne, Matthieu Bertea, Jean-Marc Duchenne, Luce Moreau, Brane Project, Pina Wood, Hélios Mikhail, Frédéric Devaux, Fenshu, Hank!, Elena Biserna, Ewen Chardronnet, Kevin Bartoli, Yann Minh, Jenny Abouav, NAO<=a(TNK), Lucien Gaudion, Huimin Wu et Guangli Liu.
Mercredi 2 octobre : Conférence de presse et projections à Vidéodrome2 – 49 Cours Julien, 13006 Marseille à partir de 19:00
Samedi 12 et dimanche 13 octobre : TECHNOMANCIE2 – Le Couvent, 52 rue Levat, 13003 Marseille à partir de 13:00 le samedi et 10:00 le dimanche.
5 € (prix conseillé) Bar + Petite restauration sur place http://technomancie.deletere.org
PRIX PHONURGIA NOVA 2019 DE LA CRÉATION RADIOPHONIQUE ET SONORE
au 29 septembre 2019
On Spatial Sound (2019)
A Documentary about the Spatial Sound Institute
‘On Spatial Sound’ is a 1.5-hour documentary about the Spatial Sound Institute in Budapest and the ongoing research with 4DSOUND technology.
The film connects the personal perspective of documentarist Ana Amorós López, re-discovering her relation to sound and listening, with 14 different projects that took place as part of the Institute’s Artists Residency Programme throughout 2018. The different protagonists in the film evoke an oscillating conversation about the meaning of sound in our world today – and how 4DSOUND technology can change our perception of sound, and relationship with listening.
A film by Ana Amorós López
In collaboration with Paul Oomen
Sound Mastering, 4DSOUND Recordings & Technical Support
With: Paul Oomen, Alyssa Miserendino, Sól Ey, Vanessa Li, Tiernan Cross, Pierre Jolivet, Ákos Nagy, Camille Roth, Rebekka Bohse Meyer, Edo Van Breemen, Kate De Lorme, Lisa Greenaway, Csaba Hajnóczy, Lenke Szilágyi, Eric Raynaud, Filip Ruisl, Gábor Pribék, Lukas Rehm, Lisa Charlotte Friederich, Jim Igor Kallenberg, John Connell
Featured 4DSOUND pieces:
Ode to Heisenberg + De Maria (2018) Alyssa Miserendino
Sonic Storm (2018) Sól Ey
Superposition (2018) Vanessa Li
Schema (2018-2019) Tiernan Cross
Mémétique Élucubrations (2018) Pierre Jolivet
Par La Voie des Rythmes – La Déploration sur la Mort d’Henri Michaux (2018) Ákos Nagy
Myths of Electromagnetism (2018) Camille Roth & Rebekka Bohse Meyer
The Mind, Body & Inner Ear (2018) Edo Van Breemen
Sta/g-mos (2018) Kate De Lorme
Sonority I: magyar – Dancing on Blades (2018) Lisa Greenaway
From Sea to the River to the Sea (2018) Csaba Hajnóczy & Lenke Szilágyi
Bardo (2018-2019) Eric Raynaud
Tracer (2018) Filip Ruisl & Gábor Pribék
Castor&&Pollux (2018-2019) Lukas Rehm, Lisa Charlotte Friederich & Jim Igor Kallenberg
Kasper T. Toeplitz plays Niblock, Toeplitz & Feiler
«Typically we worked this way : we recorded samples of bass notes, played with a bow and with an e-bow. I edited the samples, and constructed the piece using 16 tracks of superimposed samples in Protools. After the mix was completed, we reorded again with Kasper adding two live tracks.»
Kasper T. Toeplitz, composer, electric bass player and musician who has developed his work in the no man’s land between « academic » composition (orchestra, ensembles, opera) and electronic « new music » or « noise music ».
He has won several prizes and distinctions ; 1st prize for orchestral composition at the Besançon Festival, 1st prize at the « Opéra autrement/Acanthes » competition, Villa Médicis Hors les Murs (New York), grant Leonardo da Vinci (San Francisco) , Villa Kujoyama (Kyoto), DAAD (Berlin), Giga Hertz Prise (ZKM, Karlsruhe), Hors-les murs (Poland), got numerous commissions from the French Governement, the radio and works with electronic studios such as Ircam, GRM , GMEM, CRFMW, EMS, GRAME..
He also works with experimental or unclassifiable musicians such as Zbigniew Karkowski, Dror Feiler, Art Zoyd, Eliane Radigue, Phill Niblock, Francisco Lopez, Ulrich Krieger, z’ev and others…….. or with leading « new music » ensembles such as Phoenix_Basel or Zeitkratzer, and through all those years he has collaborated with numerous projects of contemporary dance, always proposing live music
He has definitively integrated the computer into the very heart of his work, as a tool of thought and composition, and as a live instrument, working on the sheer electronic noise or hybridising more traditional instruments,or developing a huge body of work on the hybrid he developped between his custom-bulid bass and live-electronics.
My intention is for chaotic, incompleyte form to serve as a counterpoint to positivistic, well-groomed and complete form. The goal is not to advocate a kind of formlessnessn but to accept the inévitable conséquences ofof the aporetic situation in which composition finds itself.the problem is how to strike a balance between the futility and necessity of striving after clarity and solidity in composition. The result is noise as form that is free of preconcived notions about either it self or its antithesis. »
Dror Feiler, an eye-bleeding composer of intifadic and eruptive lung-outs. A music thrasher, saxophonist and political activist. Born in 1951 in Tel Aviv, he has been living in Sweden since 1973. He plays many varieties of the saxophone: sopranino, soprano, alto, tenor and contrabass, as well B♭clarinet, basset horn, and contrabass clarinet. In addition, he operates computerised sound systems. With his strong sense of vocation, Dror Feiler must rank as one of Sweden’s leading composers and improvisation musicians. Recognition for his accomplishments has grown considerably in recent years, with some of the most important European orchestras, ensembles and festivals commissioning and performing his works: Stockholm New Music, Donaueschingen Musiktage, Hudderseld, Wien Modern, Tectonics Festival. He has performed and recorded with orchestras and ensembles as well as a soloist in Sweden, Russia, Yugoslavia, Serbia, Bosnia, Croatia, United Kingdom, Belgium, Denmark, Finland, Belarus, Lithuania, Latvia, Austria, Switzerland, France, Israel, Palestine, the Netherlands, Hungary, Norway, Germany, Japan, Colombia, Mexico, USA, Brazil, and Argentina. He has composed for Ensemble Modern, Klangforum Wien, Hessischer Rundfunk, Bavarian Radio Symphony, BBC Scottish Symphony, Neo, Krommata Percussion Ensemble, Kwartludium, Ascolta, Contrechamps, Ensemble New Music Tallinn, and Vertixsonora.
When commenting on his work, Feiler stresses his desire to create music that deals with the world: “I always seek to deal with the grim problems of life, like in Beat the White the Red Wedge(revolution), Schlafbrand (World War II), Let the Millionaires go Naked (revenge of the poor), Intifada and Halat Hisar (Israeli–Palestinian conflict), or Tikkun Olam (changing the world). When I compose or play I do not look for beauty, but for truth.” He often depicts images of struggle (fortissimo, at great length), although when speaking about Maavak (Struggle), he says that it “does not describe a struggle, it is a struggle.” Dror Feiler has been active in solidarity work in the Israeli–Palestinian context since 1970 (he was among the initiators of Ship to Gaza Sweden and is a spokesperson for the organisation) and has been engaged in solidarity work in Colombia since the mid-1990s.
Dror Feiler is vice-president of the Swedish Society of Composers, CEO of Svensk Musik, founder (1976) of the Lokomotiv Konkret improvisation group, founder (1983) and artistic leader of the Too Much Too Soon Orchestra.