- Stewart Collinson & Andrea Szigetvári – Transitus Angeli
- Richy Carey & Walther Ruttman – Opus One
- Philip Sanderson – Fleshtones
- Jon Weinel – cenote sagrado
- Maura McDonnell – Silk Chroma
- Andrew Hill – FLUX
- Antonino Chiaramonte & Adriano Cirulli – Falling
- Joseph Hyde – Cloud Chamber
- Mairéad McClean – No More
- Mairéad McClean – Artist talk.
Stewart Collinson & Andrea Szigetvári
Transitus Angeli is located within the stream of audio-visual that has sought alternatives to realistic visual representation and figuration, but acknowledges that abstraction in both the visual and sonic domains cannot be separated from the world from which it emerges. Ironically titled, this piece of “sonic cinema” is an oppositional response to current reactionary tendencies and growing economic, social and political turbulence. Through systematic distortion and deconstruction, a synthesised bell-sound becomes the source of a rough-music, charivari, scampanate, or katzenmusik, rendered and reinforced visually synchretically, and synaesthetically by the agitated jitter of a visual field derived from digitised looped and sequenced hand-painted 16 mm film. Is this the beating of wings or the frantic flapping of flags?
Stewart Collinson is an artist making moving image work for single-screen viewing, gallery installation, live mixing and projection of film and digital imagery for performance. Collaboratively, he has created audio/visual work for The Making New Waves Contemporary Music Festival, Sonic Arts Network and The Huddersfield Contemporary Music Festival. Since 2006 he has been the member of the network music group, European Bridges Ensemble. He is a senior lecturer in Moving image on the BA Contemporary Lens Media course and tutor on MA Fine Art in the College of Arts, University of Lincoln, UK.
Andrea Szigetvári is an electroacoustic music composer. Her creative and research interests are timbre in new music, interactive performance, and synchresis in audiovisual art. She studied in Warsaw and then as a Fulbright scholar in the USA, returning to Hungary to set up the Hungarian Computer Music Foundation. In addition to composing, she lectures on computer music composition and has organized international new music festivals, conferences and pan-european projects. She won Prizes at the Bourges Electroacoustic Competition in both Sound Art and Multimedia categories in 2001. She holds a doctorate degree (DLA) in composition completed at the Liszt Ferenc Academy of Music, Budapest.
Richy Carey – Glasgow University
Walther Ruttman’s Lichtspiel: Opus I was premiered in Munich, 1921 and was his the first of his Lichtspiel series.
This early abstract cinema work was created as visual music, as painted shapes interacting through musical form; counterpoint, harmony, rhythm, etc. Originally performed with a commissioned score by Max Butting, Ruttmann himself played cello in the performance.
Supported by the Goethe Institut I created a new score to the film work, using the original Butting score as a guide as it has Ruttmann’s own hand drawn markings of synchrony drawn on it. My new score to the film work uses five instruments as Butting did, only this time for iPhone, analogue synth models, guitars, cello and percussion, with each instrument representing a different time within the disparate visual music history.
I feel it is important to exhibit the parallels between historic and contemporary visual music, as it aligns with my research into the evolution of language, or lack thereof, around this compositional process.
I am an audiovisual composer doing practice based PhD research between Glasgow University and Glasgow School of Art into the potential of alternative languages in the creation and dissemination of visual music.
Last year I won the Scottish BAFTA New Talent award for my Goethe Institut sponsored alternative score to Walther Ruttmann’s Lichtspiel: Opus I, which I am submitting for potential screening to the sound / image colloquium. If selected this would be only the third time it will have been screened in Scotland.
I recently curated a programme exploring the relationship between composers using film and moving image artists making music for the Glasgow Film Festival 2015. The programme consisted of performances and screenings by Torsten Lauschmann, Beatrice Gibson, Jow Howe, Rob Churm and a live version of my Ruttmann score, as well as a panel discussion held in collaboration with SWG3 Gallery.
I am currently chairing this years Sound Thought conference, Glasgow University’s postgraduate research festival and working on a new commission for the Glasgow Film Festival 2016 in collaboration with Rhubabah Gallery’s artist choir. I have previously been awarded Arts Trust Scotland and IdeasTap funding for my work in multi-disciplinary composition.
Philip Sanderson – London South Bank University.
The Gesamtkunstwerk synaesthetic strand of visual music displays an alchemical desire to reveal the colour hidden within the sound. In terms of true correspondence as LeGrice (2001, pp 270) suggests that given classical music’s reliance of basic laws of physics to define notes and their precise relationship to one another it is clear that these same sub harmonic principles cannot be applied to any logical system of colour harmonics. Nonetheless this cultural desire for there to be a synaesthetic correlation is clearly very strong. Fleshtones (2006) willingly plays on this desire by establishing a dialogue between note and colour, which is frustrated by what remains unseen rather than exhibited.
On screen are a number of large blocks of fleshtoned colour, as the squares change in size and hue so a series of romantic piano motifs are produced. Fleshtones might seem to be simple an updated colour organ but this thought is subverted by the knowledge that the squares are derived from pornographic footage so heavily pixilated (reduced to 4 or 9 squares) that all that is visible are the large areas of skin tone. Pornography, which relies on the promise of revealing, that which is normally hidden, is here upended for whilst we are drawn into a form of complicit voyeurism nothing but the implications of the pornographic activity is visible or audible. There is a teasing denial of vision in the Fleshtones Colour Organ which unlike previous incarnations were used to evoke a spiritual synaesthetic “music of the spheres” an alignment of celestial bodies and harmony here it is the movement of earthly bodies creating melody.
A founding member of the post-punk electronic outfit Storm Bugs and CEO of the DIY cassette label Snatch Tapes, Philip Sanderson has since the late 1970s produced work in a range of media including: video, installation and sound. Sanderson has exhibited widely both in the UK and internationally and had a number of music CDs and LPs released. He is a senior lecturer at London South Bank University.
Jon Weinel – Glyndwr University
Cenote Animations is a series of psychedelic experimental video artworks (‘visual music’). The second part of the series is named after the cenote at the Chichén Itzá archeological site in Mexico, which was once used by the ancient Mayans for human sacrifices. The piece elicits occult themes through the use of 8mm film, stop-motion animation, hardcore kick drums arranged into footwork patterns and white noise. The audio track was mixed and recorded live.
Originally from Dorset, Jon Weinel is a London-based academic/researcher/artist whose main expertise is in computer music and arts. In 2012 he completed his AHRC funded PhD in Music at Keele University regarding the use of altered states of consciousness as a basis for composing electronic music. His work operates within the nexus of psychedelic culture and immersive computer technologies. This area is explored through a variety of interdisciplinary research and creative practice that has been internationally recognised through performances and publications. Jon Weinel has held academic posts in teaching and research at Keele University, Manchester Metropolitan University and is currently a Postdoctoral Research Associate at Glyndwr University.
Maura McDonnell – Trinity College, Dublin.
Silk Chroma is an ambient visual and music work that is inspired by the novella Silk by Alessandro Baricco. The novella Silk worked as a conceptual framework for the creation of the visual music colour presentation with an accompanying electroacoustic musical composition using synthesized timbres. The focus of the piece was to create an aesthetic experience of colour and timbre and an evocative visual music interpretation of the text. The works is divided into three sections, from which key texts was selected from the novella and were sources of inspiration for Maura and Linda. Section 1 – Water flow over his body. Section 2 – Silk threads stopped time and Section 3 – Birds in Flight. Silk Chroma is a collaboration between visual music artist Maura McDonnell and music composer, Linda Buckley. The work was also supported by Dermot Furlong (Concept), Gavin Kearney (technical sound).
Maura McDonnell is a visual music artist and part-time lecturer based in Ireland. Maura studied music and mathematics and completed an M.Phil. in music and media technology at Trinity College, Dublin in 1998. In 2011, Maura was awarded a PhD fellowship in Digital Arts and Humanities (DAH) at Trinity College and is completing an arts practice and theoretical thesis PhD on the topic of visual music. Maura’s research investigates the historical evolution of visual music through antiquity to contemporary practice Maura is author of the visual music blog http://visualmusic.blogspot.com set up in 2005 to capture contemporary practice in the field.
Andrew Hill – University of Greenwich,
An audiovisual piece inspired by cyclic patterns, exploring sound and image relationships.
This abstract piece uses sound and image equally, with both elements contributing towards the final whole of the work. Neither element is championed, though there is a flowing interplay, an audiovisual counterpoint, through which the two interact and relate to one another.
Andrew Hill (1986) is a composer of electroacoustic music, specialising in studio composed works both acousmatic (purely sound based) and audio-visual. His works have been performed extensively across the UK, as well as in Europe and the US.
His works are composed with materials captured from the human and natural world, seeking to explore the beauty in everyday objects.
He is Lecturer in Sound Design and Music Technology and Programme Leader of the BA Sound Design degree in the department of Creative Professions and Digital Arts at the University of Greenwich.
Antonino Chiaramonte & Adriano Cirulli
Falling is an abstract study of human interaction, expressed entirely through movement and sound.
A man and a woman drift through an empty void, their bodies twisting and contorting as if subject to powerful forces beyond their control. Their motions become more harmonious when their paths intersect, only to reignite into restless struggle as their bodies split apart once again. Connection is thwarted, and the cycle seems doomed to repeat itself.
Falling is the result of a painstaking combination of choreography and digital visual effects. The post-production technique of motion tracking has been used to augment the natural motions of the performers in the film, producing complex yet seemingly lifelike movements. In this way, the camera becomes an extension of the performer’s bodies, less of a passive observer of the choreography and more of an active participant.
Designed and composed as a counterpoint to the moving image, the original music for Falling was created employing audio sample granulation technique. Just as the film uses technology to manipulate the dancers’ natural movements, the music takes the organic, human sounds of a flute and a trumpet, and transforms them through an interactive programming environment for sound processing, creating a richly textured, haunting electronic soundscape, closely complementing the action on screen.
Antonino Chiaramonte is an eclectic italian musician, internationally acclaimed electroacoustic composer, sound designer, live electronics performer and flautist.
His music production is oriented towards the research and experimentation on new expressive abilities which arise from the interference between different music languages and technologies applied to the arts. His attention is focused on intermediality, live electronics and performers’ interaction, in a continuous dynamic exchange between gesture/improvisation and control/composition.
Recently he joined a group of musicians, technologists, composers and instrument builders working on a project called “Operation Integratus”, within the EMERGE (Experimental Media Research Group) of Bournemouth University, co-directed by Prof. Neal White and Dr. Tom Davis.
He is professor in Performance and Interpretation of Electroacoustic Music at the Frosinone Conservatoire and former member of the ICCMR (Interdisciplinary Centre for Computer Music Research )University of Plymouth as Honorary Research Fellow in Electronic Music Composition in the Faculty of Arts.
His works have been successfully performed in Italy, Switzerland, U.S.A., Canada, Belgium, The Netherlands, China, France, Finland, Japan and U.K.
Adriano Cirulli was born in Rome in 1973. He holds a degree in architecture from La Sapienza University. Since 2002 he has worked as a visual effects artist on a number of mainstream studio productions. Director of Studium Urbis (2000), Falling (2011) and Respite (2015).
Joseph Hyde – Bath Spa University
Cloud Chamber is an audiovisual composition made using the danceroom Spectroscopy (dS) software – a physics simulation based on the latest mixed quantum-classical model of our microscopic world. dS is a successful collaborative arts/science project which provides an immersive audiovisual environment in which people gain an instinctive understanding of the behaviour of matter and energy at a subatomic level by interaction with the simulation.
Having led on the sonification of danceroom Spectroscopy, I have become fascinated by the possibilities it offers as an audiovisual ‘molecular music’ instrument. Sidestepping the immersive qualities of the original installation and focusing purely on the interactions between sound, simulation and image opens up a new set of possibilities. Having a fascination with audiovisual relationships I find the indirect mapping of sound and image here (via a chaotic simulation) fascinatingly organic. Cloud Chamber explores a kind of feedback loop, where sound is controlling the simulation but is itself produced by the simulation. A simple opening with only a handful of particles demonstrates a simple melodic ‘mobile’. As more particles are added and the simulation becomes more complex, chaotic behaviours manifest themselves. These are tantalisingly reminiscent of the forms produced by Cymatics, an equivalent, real-world process – sound vibrating matter.
What you see and here is a single-take capture of the simulation, captured in real time.
More information on danceroom Spectroscopy can be found at danceroom-spec.com
Joseph Hyde’s background is as a musician and composer, working in various areas but in the late 90s – and a period working with BEAST in Birmingham – settling on electroacoustic music, with or without live instruments. Whilst music and sound remain at the core of his practice, collaboration has since become a key concern, particularly in the field of dance. Here he works both as a composer and with video, interactive systems and telepresence. His solo work has broadened in scope to incorporate these elements, and he has made several audiovisual Visual Music works, and has written about the field, recently undertaking a two-year study of the work of Oskar Fischinger, funded by the Arts and Humanities Research Council.
Hyde also works as a lecturer / academic, as Professor of Music at Bath Spa University (UK), where he teaches in the BA Creative Music Technology, runs the MMus in Creative Sound and Media Technology and supervises a number of PhD students. Since 2009 he has run a symposium on Visual Music at the university, Seeing Sound.
“No More is based on a memory of things, my interpretation of what resides in memory.
The Prime Minister of Northern Ireland, Brian Faulkner, made an announcement introducing Internment, broadcast on the BBC on the evening of the 8th of August 1971. My 5th birthday was just five days before and although I can’t be sure I was watching TV that evening, I know I could have been. The next day my father was gone. This piece, in a sense, is based on that trauma.
The work uses this TV material alongside footage of Ryszard Cieslak, lead actor from Jerzy Grotowski’s Polish Laboratory Theater Company to conjure a memory of things past. The sounds are those that resonate from that memory but are not always directly related to it. Cieslak, the dancer, demonstrates body exercises (derived from Hatha Yoga) designed to allow the practitioner to go beyond ‘their own personal limitations’. The associated, constructed soundscape connects his movements to a space of ‘the haunting’ and a new memory is created.
These two events, which took place at the same time in two different parts of Europe, come together some 40 years later to open up a connected world within memory.
the political as personal,
the private as public,
the dark as light,
the closing as opening,
the real as imagined
the dream as real.
Mairéad McClean’s work disrupts and restructures events from the past highlighting the unreliability of histories which, once written, are not so easily altered. Through the use of sound, still and moving image, material evidence is re-opened and re-examined and a new vantage point created.
McClean, was born and grew up in Beragh, Co Tyrone, Northern Ireland and has lived and worked for the past 25 years in London. She completed a Postgraduate in Fine Art at the Slade School of Art between 89/91 and held the position of Reader in Film and Video Arts at the University of Greenwich, until October 2011.
Her most recent video No More, won the inaugural MAC International Ulster Bank Art Prize in Oct 2014. The winner was selected from a shortlist of 24 artists by Francesco Bonami, Artistic Director of Fondazione Sandretto Re Rebaudengo, Turin: Judith Nesbitt, Head of National and International Partnerships, TATE London and Hugh Mulholland, Curator at The Mac Belfast.
No More is accompanied by an artist talk.
- Miguel Mera, Bruno Mathez & Tony Thatcher – Morriña
- Monty Adkins & Laurent Segretier – Skylar et Bliss
- Martin Keary – VISUAL MUSIC 01 & 02
- Robert Cahen & Michel Chion – JUSTE LE TEMPS
- Michel Chion – EPONINE
- Michel Chion – Extracts from THIRD SYMPHONY (a work in progress)
- Michel Chion – ENTREE – extract from LA MESSE DE TERRE, 1996 (EARTH’S MASS)
Director/Composer – Miguel Mera, Filmmaker – Bruno Mathez, Choreographer – Tony Thatcher.
Morriña (pronounced mour-een-ya) develops new strategies for the integration of music, dance and film. It explores notions of identity as seen through the lens of the diasporic Galician community (emigrants from the north-west of Spain). The word morriña has no direct English equivalent but can be described as the despondency caused by the nostalgic longing for one’s lost homeland. The word is intimately linked to large numbers of Galicians who were driven by poverty or lack of opportunity to migrate in successive waves from the mid-19th Century onwards. The personal and social impact of migration has resulted in several political, social and cultural projects that have emphasised particular facets of Galician identity such as a primordial ‘celtic’ heritage, the centrality of the metaphorical Galician rural land/sea-scape, the importance of the family-agrarian sphere, and a dominant matriarchal orientation. These ideas are simultaneously cherished and rejected by Galician emigrants. The film refers to the gestural and musical aspects of Baile Gallego, a traditional social folk-dance form of Galicia. The dance and musical traditions referenced in the piece are refracted in order to explore how discrete communities attempt to hold on to perceptions of particular identities and how memory and nostalgia are distorted over time.
Miguel, Mera is a composer of music and moving image and is particularly interested in interdisciplinary and collaborative forms of art. His TV work has been broadcast on the BBC, Channel 4, Channel 5, Nickelodeon, NBC, ABC, and the Discovery and History Channels. His film scores have been screened at festivals and cinemas around the world. Miguel is a member of BAFTA and is Head of the Department of Music at City University London.
Bruno, Mathez is a French audiovisual artist living in London. His creations can be referred to as experimental visual equivalents of different types of media or stage practices. Bruno has created visuals for music concerts‚ operas‚ dance and theatre shows. He has exhibited Photophonics‚ a light to sound installation made in collaboration with Mike Blow in the UK since 2008‚ including at the Royal Festival Hall in London. He is part of the interactive audiovisual group The Sancho Plan with whom he worked for the Ars Electronica Center in 2009 and toured in Europe and in the US. He completed a Master of Fine Arts – Computational Studio Arts at Goldsmiths‚ university of London‚ where he discovered new tools towards his investigation on the themes of visual music in space and interactive video sculptures.
Tony, Thatcher was educated at Falmouth School of Art and Goldsmith’s College and received a scholarship at The Cunningham Studio. He received a Greater London Arts Choreography prize for work choreographed early in his career. His company, ‘Dancework’ based in London (with ChristineJuffs), besides facilitating the presentation of his own work up to 1986, also allowed him to introduce new American choreographers and teachers into London’s developing dance scene His choreographic work often features live music – from large ensembles (‘De Ereprijs, Holland; ‘Muziek Lod’, Belgium) to percussion quartets (‘Studs’/Jim Fulkerson USA), electroacoustics (ChristofHilman–Holland) and Trombone JimFulkerson/HilaryJeffrey/JoostBuis).
Skylar et Bliss
Monty Adkins & Laurent Segretier
Skylar et bliss is an audio-visual installation by Laurent Segretier (video) and Monty Adkins (sound). The work was presented as part of the Cabinet de Curiosités de Thomas Erber from 20th November – 21st December in Bangkok. The installation presents a slow shifting landscape of ice floe. The layers of processing activity are reflected in the multiple sonic layers.
Monty Adkins is a composer, performer, and Professor of Experimental Electronic Music at the University of Huddersfield. He has created installations, concert and audio-visual works, and a number of collaborations with contemporary performers, video artists and photographers. His work since 2008 has been released by Audiobulb (UK) and Cronica (P).
His works have been commissioned by Ina-GRM, IRCAM, BBC Radio 3, Huddersfield Contemporary Music Festival (HCMF), SpACE-Net, ZKM (Centre for Art and Media, Karlsruhe) and Sonic Arts Network (SAN), among others. For his oeuvre he has been awarded over 15 international prizes including the Stockholm Electronic Arts Award (Sweden), Grand Prize at Musica Nova (Prague, Czech Republic), and five prizes at the Bourges International Electroacoustic Music Competition (France).
Having read music at Pembroke College (Cambridge, England, UK) where he studied French mediaeval and Italian Renaissance music, Adkins then studied electronic music with Jonty Harrison at the University of Birmingham where he performed across Europe with the Birmingham ElectroAcoustic Sound Theatre (BEAST), and Simon Waters at the University of East Anglia (Norwich, England, UK). He is currently Professor of Experimental Electronic Music at the University of Huddersfield (England, UK).
Adkins is also active as a writer and concert curator. He completed his first book in 2011 on the relationship between art and music (Shibusa – Extracting Beauty) a second on the music of Roberto Gerhard (Ashgate, 2013). Adkins also is Co-Artistic Director of the Electric Spring Festival. Held in Huddersfield, annually, this festival focuses on live electronic music and experimental performance.
VISUAL MUSIC 01 & 02
These two short pieces explore different ways that a visual-music narrative can be produced.
The first relies a lot on synchronous events and develops its narrative through the introduction of ever-greater amounts of 3D movement and visual complexity. The music was created to complement the technical nature of the visuals while paying homage to the electronic music genre.
The second piece allows the visuals to unfold naturally (using particle effects) and simply orbits around the result, accompanied by music that contains very little in terms of development. In this way, the music and the visuals do not burden each other with the need to ‘go anywhere’. The narrative is produced through the metaphor of a ‘source’ – the point of origin for all the particles.
I am a composer currently living in London, having just completed a masters degree in composition at the Royal Conservatoire of Scotland. Apart from my background as a composer, I am also a professional designer with a degree in graphic design.
I am currently consulting as a UX/UI designer at Microsoft.
I am interested in the field of Visual Music which allows me to combine my design and compositional experience. As a result of winning the Craig Armstrong Prize at the the RCS (for the academic year 2014-15), I have been commissioned to write a large-scale work for screen and chamber orchestra, to be performed in Glasgow in May 2015.
JUSTE LE TEMPS
Robert Cahen & Michel Chion
La rencontre muette d’un homme et d’une femme dans un train.
The silent meeting of a man and a woman on a train.
Michel Chion – l’Université Paris III
Un court-métrage qui raconte l’histoire d’une petite fille dans les années 50. Terrorisée par sa mère, qui est constamment en train de repasser du linge, elle vit avec elle dans une maison humide. Un jour vient un visiteur…
A short film that tells the story of a little girl in the 50s Terrified by her mother who is constantly trying to iron the laundry, she lives with her in a damp house. One day a visitor comes …
Extracts from THIRD SYMPHONY (a work in progress)
- First movement (extract): “Allegro acusmatico”.
- Second movement (extract): “Andante atoribico”.
- Fourth movement (extract): “Scherzo atoribico e anacusmatico”.
Michel Chion – l’Université Paris III
La troisième symphonie est un projet en cours de réalisation. Présentation de l’ensemble du projet TROISIÈME SYMPHONIE, “l’Audio-divisuelle” LES ATHORYBES ET LES ACOUSMATES, musique concrète en cinq mouvements avec projections ponctuelles d’images silencieuses (2e movement) ou d’audio-images (4e et 5e movement) (projet pour une commande d’État)
1er movement: allegro acusmatico (env. 25′), sans projection d’images, sans voix, activité absurde
2e movement: andante atoribico (env. 15′), sans projection de sons; iimages en mouvement totalement silencieuses
3e movement: animato acusmatico (env. 20′), sans projection d’images, sur des thèmes de comptines du monde entier (“quand quelqu’un parle, il fait clair” – dans leno
4e movement: scherzo anatoribico e anacousmatico (env. 10′), accrochages aléatoires et ludiques de sons rapides et d’images rapides parfois sans rapport de sens ou de causalité (le cosmos, la nature,
5e movement: allegro audio-divisuale (env. 20′), images réalisées spécialement de personnages humains tentant d’exprimer par le corps et le visage des sons acousmatiques comme s’ils en étaient la source
env. 1h 30
Le pari est d’étendre la notion de composition à l’oeuvre “audio-visuelle”, ou comme je préfère dire “audio-divisuelle” en commençant par présenter séparément et isolés les deux: c’est l’objet des deux premiers mouvements: le premierallegro acusmatico totalement sonore et sans image, le second andante atoribico visuel et sans aucun son. Le quatrième scherzo anatoribico e anacousmatico est un scherzo audio-visuel proposant des associations rapides et arbitraires de sons et d’images plus ou moins figuratives: c’est l’illustration, sous une forme ludique et dansante, que “tout marche” dans cette association, le synchronisme rend plausible et admissible toutes sortes d’associations.
The Third Symphony is a work in progress.
The THIRD SYMPHONY, “the Audio-visual” LES ATHORYBES ET LES ACOUSMATES, is a work of concrete music in five movements with occasional screenings of silent visuals (2nd movement) or audio-visuals (4th and 5th movement). The project is supported by grant from the French state.
1st Movement: allegro acusmatico (approx 25 ‘.) Acousmatic (without image projection), speechless, senseless activity.
2nd Movement: Andante atoribico (approx 15 ‘.) Without projected sound; images with totally silent movement.
3rd Movement: animato acusmatico, Acousmatic (without image projection) on themes of nursery rhymes from around the world (“when someone speaks, it is light” – in leno (approx 20 ‘.)
4th Movement: scherzo anatoribico e anacousmatico (approx 10 ‘.), Random and playful skirmishes of fast sounds and fast images, with sometimes unrelated meaning or causality (the cosmos, nature).
5th Movement: allegro audio divisuale (approx 20 ‘.), Images of human figures act to imitate acousmatic sounds as if they were the source.
Total Duration ~ 1h 30
The intention of the work is to extend the notion of “audiovisual” composition, or as I prefer to say “audio-divisual”. The work begins with the first two movements presenting the audio and the visual as two separate and isolated elements. The First movement, allegro acusmatico, is fully acousmatic, without any image while the second movement, andante atoribico, presents visuals without any sound.
The fourth movement, scherzo anatoribico e anacousmatico, is an audiovisual movement with a fast scherzo that explores the arbitrary associations of sound with more or less figurative images. This movement is an illustration, in a fun and dance form, that “everything works” in audio-visual association, that synchronicity makes and qualifies all kinds of plausible associations.
This screening presents excerpts of the work in progress, featuring elements from the First, Second and Fourth Movements.
ENTREE – extract from LA MESSE DE TERRE, 1996 (EARTH’S MASS)
Michel Chion – l’Université Paris III
A figurative but non narrative fresco, La Messe de Terre superposes, without mixing them up, the everyday world, the “here below”, a world where the earth is crossed or riddled by water, and the Latin text of the catholic mass. This text, chanted or shouted, is made comprehensible by French subtitles and optional English subtitles.
Michel Chion, born in 1947 in Creil (France), lives in Paris. He is a composer of musique concrète, a writer and a director of films and videos. He has worked as a sound designer collaborating with many different film and video artists, and also composes his own audio-visual films.
As a writer and researcher he has authored over thirty books on sound, music and film, including the seminal text AUDIO-VISION, translated into a dozen languages, including English.
He teaches at the University of Paris III and is invited to frequently present talks and seminars in many countries; he is a member of the advisory board of the journal THE NEW SOUNDTRACK (Edinburgh University Press).
A Former member of the Groupe de Recherches Musicales from 1971 to 1976, and editor to the monthly Cahiers du Cinema, 1981-1986.
Chion posts many texts, free to download, on his website Michelchion.com alongside his blog. The site also contains details of his discography, his bibliography, his music catalog, a glossary (bilingual, French and English) of his concepts, and more accurate biography.
He has received many prizes and awards, including: 1978 Grand Prix du Disque for his concrete music Requiem (1973); Jean Vigo Award 1984 and Grand Prix at Clermont-Ferrand and Montreal in 1984 for his short film Eponine (1984), Cinema of the Best Book Award for his essay The cinema Music (1995); ; Favorite of the Academy Charles Cros for his 2014 video liturgy La Messe de Terre (1996-2013).