Aki Onda – Cassette Memories

On parlait d’Aki Onda et les cassettes, nota bene : le 13 décembre 2013
Travel Notes for C.M
 performance d’Aki Onda in Planète Marker (tribute to Chris Marker) at Centre Pompidou, Paris, France

 » Over a span of two decades, I have been using the cassette Walkman for making field recordings which I keep as a sound diary. I consider these recordings to be personal memories, and not just sounds. I compose my music by physically manipulating Walkmans by hand, re-collecting and re-constructing concrete sounds. What emerges from my sound memories is a sonic collage of ritualistic tape music. 
I call this project « Cassette Memories. » By documenting fragments of sound from my personal life, something is revealed in their accumulation. The meanings of the original events are stripped of their significance, exposing the architecture of memory. « 

if interested  £    $

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Joana Vasconcelos – Trafaria Praia (2013)


The Trafaria Praia project addresses the commonalities between Lisbon and Venice, cities that both historically played roles in broadening the European worldview during the Middle Ages and the Renaissance. It looks at the contact zone between them today by considering three aspects they share: water, navigation, and the vessel. Vasconcelos sets up an allegorical correspondence between the cacilheiro, or Lisbon ferryboat, and the Venetian vaporetto. In Lisbon, the cacilheiros are a familiar sight on the River Tagus, carrying commuters to the city. They have blue-collar and middle-class associations, and thus have become politically charged social symbols.

Portugal does not have a pavilion in the Giardini, so, rather than seeking a venue elsewhere in Venice, Vasconcelos and Amado decided to bring to Venice a cacilheiro, the Trafaria Praia, and present it as a floating pavilion. It is intended as an idealistic gesture—a metaphorical circumvention of the power struggles that mark international relations today. The Trafaria Praia will be moored next to the Giardini’s vaporetto stop and will sail around the Venice lagoon at regular intervals daily.



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Max Neuhaus – Drive In Music (1967)


The Passage works are situated in spaces where the physical movement of the listener through the space to reach a destination is inherent. They imply an active role on the part of listeners, who set a static sound structure into motion for themselves by passing through it. My first work with an aural topography, Drive In Music in 1967, falls within this vector.

Drive In Music from 1967 is considered Neuhaus’ first sound installation. Situated on Lincoln Parkway in Buffalo, the installation consisted of a series of seven radio transmitters located intermittently along a half-mile stretch of the roadway. Each transmitter broadcast a particular frequency, thereby defining a particular area or zone of the roadway by giving it is own sound signature. Listeners could hear the work while driving down the roadway, tuning into the specific radio frequency, each sound mixing and overlapping as one drove through one zone and into the next. Drive In Music existed in the ether, as material picked up by an individual car radio and mixed by the driver’s speed, location, and trajectory. In addition, weather conditions played a crucial factor in the experience and given sound mix, according to the particulars of any given day. “Depending on which direction a driver entered the piece, how far to the left or right side of the road he was, how fast he moved through it, and what the weather conditions were, the work was different. He assembled it for himself as he passed through it and for himself only.

Max Neuhaus / Modus Operandi (Drive In Music) / Two Passages (conversation avec Micheal Tarantino) / Brandon Labelle on Max Neuhaus (extrait de Background Noise, Perspectives on Sound Art)

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Colin Stetson – Judges

[vimeo http://vimeo.com/27871846]

Album: New History Warfare Vol.2 : Judges [Constellation]

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Un artiste dont on avait parlé brièvement Florence et moi !

Peut-être que plusieurs ont eu la chance de le voir il y a je crois 3 ou 4 ans à Québec, au Mois-Multi de la coopérative Méduse . C’était assez saisissant comme installation, très efficace.

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Brandon LaBelle


Background Noise – Perspectives On Sound Art, Brandon LaBelle, 2006 [Continuum Books]

Background Noise follows the development of sound as an artistic medium and illustrates how sound is put to use within modes of composition, installation, and performance. While chronological in its structure, Brandon Labelle’s book is informed by spatial thinking, weaving architecture, environments, and the specifics of location into the work of sound, with the aim of formulating an expensive history and understanding of sound art.



Acoustic Territories – Sound Culture And Everyday Life, Brandon LaBelle, 2010 [Continuum Books]

Acoustic Territories offers an expansive reading of auditory life. It provides a careful consideration of the performative dynamics inherent to sound culture and acts of listening, and discusses how auditory studies may illuminate understandings of contemporary society. Combining research on urbanism, popular culture and auditory issues, Acoustic Territories opens up multiple perspectives – it challenges, debates surrounding noise pollution and charts an ‘acoustic politics of space’ by unfolding auditory experience as located within larger cultural histories and related ideologies.

(Non traduits en français, mais disponibles à Louis Nucéra)


www.brandonlabelle.netEar room (interview)

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Thomas Ashcraft – Radio astronomy




! ?

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Alan Lamb – Primal Image

Album: Primal Image, 1995 [Dorobo]

These tracks were constructed in 1988 (« Primal Image ») and 1986 (« Beauty ») as a series of segments averaging several minutes each, with transitional overdubs at the seams, and with heavy use of EQ for harmonic balance and noise reduction. About 20 hours of source material was recorded using contact microphones on telephone wires over a cumulative period of 10 days in November 1981 (« Primal Image ») and April 1983 (« Beauty »).

Recorded and edited by Alan Lamb: 1981 – 1988.
With the exception of slight equalisation, no additional processing was used during these sessions.

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David Letellier – Topographie Sonore

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Pascal Battus, Bertrand Gauguet, Éric La Casa – Chantier 1

Album: Chantier 1, 2012 [Another Timbre]

The CD documents music made at a working building site in Paris. The musicians played alongside construction workers in a situation that obviously affected the music. Pascal Battus played rotating surfaces and found objects, Bertrand Gauguet played saxophones and effects, and the whole was recorded by Eric La Casa. Months later the musicians met again in a studio in Paris and created a music out of their memories of their experiences at the building site.

+ Interview (Éric La Casa & Pascal Battus)


Voir aussi le travail d’installation d’Éric La Casa.

La propagation du son dans un milieu est un phénomène vibratoire / ondulatoire complexe qui concerne tout autant la mesure acoustique que l’appréciation esthétique. Comment rendre compte de la taille des choses par le sonore ? Hors de tout protocole technique, l’écoute se joue des surfaces du monde. Et les relevés sonore œuvrent à une forme musicale qui réactive la perception de ce qui nous environne – visible ou non : une réinjection.

Ainsi, depuis une quinzaine d’année, ma pratique musicale est une suite d’expérimentations / d’improvisations avec ce milieu sonore. A l’épreuve de mes microphones, le terrain d’étude – notre quotidien – se transforme en territoire de jeux. Les dimensions du réel génèrent alors des représentations sonores dont les proportionnalités fondent une autre perspective du monde.

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