September 05, 2008
(Jérôme Joy, Peter Sinclair)
(paper presented at the ICMC'08 - International Computer Music Conference - at the Sonic Art Research Center, SARC, in Belfast)
(Panel Networking Performance with Andrew Gerszo, Georg Hadju, Pauline Oliveros, Robert Rowe, Jonas Braasch, Chris Chafe, Pedro Rebelo, Alain Renaud, Gualterio Volpe, Winfried Ritsch, Andrea Cera, Miller Puckette, Peter Sinclair, Jerome Joy - 28 Aug 2008)
- english version :
- version française :
Since it was launched in 2004, the research group Locus Sonus has been working on artistic possibilities arising from the intersection of networked and acoustic or local audio spaces. The first projects, Locustream & Wimicam, were developed from experimentation using audio streaming techniques, and engage with problematic related to the use of flux for artistic purposes (flux understood here as a continually updating medium) in local and networked environments. Today our research is grouped under two main headings Field Spatialization and Networked sonic spaces. Our research is fundamentally practice based aiming to create a corpus of artistic experimentation around a common problematic. The forms emanating from this activity are « verified » essentially through their presentation in public contexts. The choice of implementing this research within the art education environment is prompted by the current renewal of techniques and art-forms which are at the intersection of the visual arts and music.
1. Sound / Space
The marriage of sound and space (sound problematized by space and visa versa) is at the heart of our research and experimentation, the main pivot of our investigations. A number of different forms are experimented within the group, ranging from concert/performance, through installation to web-based projects. The elaboration of these different types of proposition implies the development of appropriate systems for the restitution and diffusion of acoustic and electronic sound, of apparatus and devices such as instruments, computer programs, interfaces and the invention of processes, protocols and concepts. The main part of our current investigation concerns the transport of sound (and sound ambiances) which has lead to the construction of streaming systems as well as sensorial and experiential environments which favour different listening experiences, synchronous and asynchronous, local, distant, geographically identified, « autophone » and « chronotope »: the networked sonic spaces. Our use of streaming technology is unusual in that it consists of a network of « open mikes » (web-mikes) which continuously transmit the unadulterated (in so far as that is possible) sound of the environment in which they are placed: sounds which carry with them the sense of the space in which they propagate not so much sound sources as sound « reservoirs ». In all cases the question is one of « sounding out » spaces and the perception of their site-specific (in-situ) and time-specific (in-tempo) nature - atmosphere, architecture, expanse, contextualization, soundscape, perceptual appropriation - are some of the elements taken into account in the setting up of these microphones. This multiplicity of constituents and instances unfolds as different facets of our experimentation : resonance (single spaces and relayed spaces), transmission and diffusion (transporting the atmosphere of one sound into another space), spatialization (virtualization, composition of space), temporality, multiplicity viewpoints (or rather of listening points), comparison of one sound space with another.
These different approaches are further multiplied by the different sensibilities of the individual artists/researchers taking part in the project. Beyond the simple demonstration of techniques and of media technologies the laboratory's interest lies in the developing methods which, unlike « traditional » use of these techniques, take into account their power to modify space and practice.
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