XVIIIe Biennale d’architecture de Venise
Dans le cadre du pavillon français
Ball Theater / La fête n’est pas finie

Radio utopia

Nouvelles du monde / News from the world




Dans le cadre du pavillon français pour la XVIIIe Biennale internationale d’architecture de Venise 2023, nous avons lancé un appel à contribution pour recevoir les nouvelles du monde sous forme de bandes-son de moins de 7 minutes. Conçu comme une antenne réceptrice et émettrice, le Ball Theater installé dans le pavillon français ouvre un champ d’expérimentation fictionnelle, de recherche et de débat : un théâtre radiophonique.

Ces nouvelles du monde sont diffusées dans le cadre d’une semaine de recherche et de création - Radio Utopia - qui se déroule du 1er au 5 août 2023. Elles sont émises sur des mini-diffuseurs individuels, que chacun peut utiliser pour déambuler dans les espaces intérieurs et extérieurs du pavillon, ainsi que dans le Ball Theater.

Les propositions sont de toute nature : créations, fictions, interviews, paysages sonores, archives, etc. Nous avons reçu plus de 150 propositions venues du monde entier. Elles ont été sélectionnées en fonction de leur qualité de production et de leur contenu. Véritable laboratoire sonore afin d’être à l’écoute des nouvelle des lieux, des nouvelles de l’autre, des nouvelles du futur, des nouvelles du passé, des nouvelles des sphères…

///

As part of the French Pavilion for the XVIII Venice International Architecture Biennale 2023, we launched a call for contributions to receive news from the world in the form of soundtracks lasting less than 7 minutes. Conceived as a receiving and transmitting antenna, the Ball Theater installed in the French Pavilion opens up a field of fictional experimentation, research and debate: a radio theater.

These news from the world are broadcast as part of a week of research and creation - Radio Utopia - which runs from August 1 to 5, 2023. They are broadcast on individual mini-loudspeakers, which anyone can use to wander around the pavilion’s interior and exterior spaces, as well as in the Ball Theater.

The proposals are of all kinds: creations, fictions, interviews, soundscapes, archives, etc. We received over 150 proposals from all over the world. They were selected on the basis of their production quality and content. A veritable sound laboratory for getting news of places, news from others, news of the future, news of the past, news of the spheres…


///

By

    Carlotta Darò, LIAT research unit, ENSA Paris-Malaquais
    Nicolas Tixier, AAU research unit, Cresson Team, ENSA Grenoble

Made by

    juL McOisans, Cédric Pichat and many others

This program is supported by

    AAU_Cresson / ENSA Grenoble / UGA
    LIAT / ENSA Paris Malaquais
    And B_AIR—Art Infinity radio / Creative Europe


in collaboration with

    The International Ambiances Network, École Supérieure d’Art Annecy Alpes, D-ARCH ETH Zurich,
    Radio France Internationale, Translitteræ-Université PSL


///

Toutes les bandes-son listées ci-dessous sont protégées par la mention “Tous droits réservés”
All the soundtracks listed below are protected by the mention “All right reserved”


///

Le catalogue est présenté par ordre alphabétique des auteurs
The catalog is presented in alphabetical order by author



///


Provenance des nouvelles du monde / News from the world provenance



+ 2 nouvelles venant de Mars !! / + 2 news from Mars !!


Neil Crispin Aldridge is an innovative passionate New Zealand-based sound artist. With a background in music production and film sound, he creates intricate, intimate soundscapes that confuse distinctions between composition and sound design. His work has been exhibited internationally.

“Puffs & Pings” - 4’30

2023

ALDRIDGE Neil Crispin
© Neil Crispin Aldridge / NASA / JPL-Caltech / LANL / CNES / CNRS / ISAE-Supaero / EMFISIS, All Rights Reserved

Puffs & Pings takes the listener on a haunting journey commencing with the first sound recorded on Mars, and combining sounds from the first artificial satellite, chorus radio waves from the upper reaches of Earth’s atmosphere, and Mars Rover Perseverance’s Gaseous Dust Removal Tool removing dust from freshly uncovered holes, with an abstract soundtrack inspired by this audio information from beyond our world — news from the spheres.
Credit: NASA/JPL-Caltech/LANL/CNES/CNRS/ISAE-Supaero/EMFISIS



AMACO
Et si la matière pouvait nous aider à nous reconnecter au monde ? C’est ce que propose le centre de formation, de recherche et d’expérimentation amàco - Atelier Matières à Construire, en développant des contenus et méthodes pédagogiques sur l’utilisation de la matière brute et peu transformée dans le domaine de la construction. A partir d’une approche transdisciplinaire, l’apprenant est invité à prendre conscience des liens qui existent entre la matière qui compose le monde, les autres et le soi. En laissant la matière s’exprimer, en la manipulant, en la modifiant, en échangeant avec elle, on relie conception avec réalisation, vision du monde & mise en pratique. De cette relation au monde et à la matière, amàco impulse une créativité illimitée, fruit d’influences multiples telles que le territoire, le matériau, l’environnement économique, culturel et social, le climat, le temps, les sensibilités personnelles, les sensations corporelles, etc.

“Regain support on the earth” - 4’03

2015

AMACO - building materials workshop

To the ear, a simple mixture of clay & water can be frightening or repulsive. Perhaps because it evokes sounds that are permanently taking place, for each of us, inside ourselves (between the mouth & the ass, without going into details). The aesthetic intention here is to explore this relationship, at once onto- & philo-genetic, between everyone & this messy dimension, of body & mind through this material, with which every child discovers the physical & psychological world, with which architects also try to build. (atelier art+matière - amàco)



Pascal Amphoux is an architect, geographer, professor at l’ENSANantes, researcher at Cresson (ENSAGrenoble) and director of Contrepoint Projets urbains (Lausanne), member of the scientific council Europan Europe, of the FMAC (Fonds Municipal d’Art Contemporain, Genève) commission and expert with other diverse Swiss and French institutions.

“Capoc beaters in Zhonghualu” - 1'51

1986

AMPHOUX Pascal

Capoc beaters in Zhonghualu - Two itinerant craftsmen have set up their makeshift stall in a redent of Zhonhualu (on the edge of the historic pre-concession city) to rip open their customers’ mattresses. For hours on end they rip open the contents of the mattress by vibrating the string of a large bow with a turned wooden mallet, which jumps and twists with each stroke. The attack, the rhythm and the energy of the two craftsmen set the tone of the sequence.



Pascal Amphoux is an architect, geographer, professor at l’ENSANantes, researcher at Cresson (ENSAGrenoble) and director of Contrepoint Projets urbains (Lausanne), member of the scientific council Europan Europe, of the FMAC (Fonds Municipal d’Art Contemporain, Genève) commission and expert with other diverse Swiss and French institutions.

“Scene of daily life in a lilong” - 2’08

1986

AMPHOUX Pascal

Scene of daily life in a lilong - This narrative sequence represents a scene from the ordinary life of a lilong in the French concession in the 1980s. It begins with the soundscape of a collective courtyard waking up, from which identifiable sound signatures gradually emerge: it’s hot, the windows are open, the paved courtyards and framed streets gently amplify every sound in this mineral and reverberating space, the hum of a machine sizzles in the background, a few crickets in their cages bring good luck to the windows, conversations peacefully intensify, and the Shanghainese accent resonates in this reverberating space that it embodies and that may have shaped it. A street crier arrives and launches his throbbing call, half-sung, half-placed, high up into the sky and the floors, to announce his passage.



Les membres du collectif Utopus :

Ségolène Vandevelde
Chercheuse postdoctorale en archéologie (à l’UQAC au Québec), elle est aussi musicienne. Ses travaux portent sur les rythmes d’occupation des sites archéologiques à partir de l’étude des traces de suie laissées par les humains du passé. Elle est aussi harpiste, chanteuse, clavier et conteuse dans le collectif Utopus.

Jean-Pierre Auger
Sa carrière s’est toujours partagée entre mots et notes ; sa thèse en lettres modernes était d’ailleurs la première en France à traiter la Chanson comme un objet littéraire. Guitariste professionnel, puis enseignant en littérature, il se consacre aujourd’hui à l’écriture de romans, de chansons et de spectacles vivants.

Yannick Lheriau
Multi-instrumentiste (accordéon, clavier, synthé, basse, chant) et formateur en informatique musicale, il fait carrière au sein de plusieurs groupes dont il partage les aventures musicales. Au sein du collectif Utopus, il participe également activement aux arrangements des compositions de JP Auger.

Claire Fauché
Elle est née les oreilles fermées et les yeux grands ouverts. Elle n’est pas sourde mais dure de la feuille.

“Some notes from a travel diary in Utopia” - 5’22

2022

AUGER Jean-Pierre (songwriter) / AUGER Jean-Pierre, LHÉRIAU Yannick, VANDEVELDE Ségolène (performers)

Imagine that all you have to do is open a mysterious travel journal and you're off somewhere else. You find yourself projected into an unknown city, set in the middle of nowhere... A city that is the spitting image our contemporary megalopolises. The same wide boulevards, the same sidewalks. It would be a nightmare if you didn't discover a little street in the middle of this sad city, set apart from the gray architecture: the "rue des coeurs qui balancent" (street of swinging hearts), where every door, every store, hides a different musical universe.








Olivier Balaÿ est architecte, professeur à l’ENSA Lyon et chercheur au Cresson. Il a participé, à la création du CRESSON en 1979 et a de nombreuses recherches depuis. Ses recherches portent sur – L’observation des pratiques et les stratégies de la description des phénomènes sensibles pour l’architecture et l’urbanisme – L’histoire de l’environnement sensible urbain – Les outils pour la méthodologie du projet architectural – La recherche et le développement de modules d’habitat pour demain.

“The agitated silence of a traboule” - 5’04

1997

BALAŸ Olivier

Indicators of a neighborhood's sound identity. Lyon - Major Martin district. A journey through a traboule. The discretion of very diverse activities (footsteps, doors, caged birds, sewing machine, telephone...) but amplified by the reverberation of the space.



Ona Balló Pedragosa
Historienne de l’art, programmatrice cinéma et commissaire d’expositions. Intéressée par les croisements narratifs entre musique et image, ses recherches analysent la richesse de certains espaces sonores en relation avec des réprésentations picturales. Elle écrit régulièrement sur l’art et le cinéma, et s’occupe de la prise de son sur les tournages.

“The sound that remains” - 9’56

2023

BALLÓ Ona (Concept and production)
Musical improvisation: Arnau Obiols
Sound recording: Ona Balló, Ginebra Abril and Marc Hernández
Mixing: Raphaël Zucconi
Special thanks: Judit Naranjo and Clément Vieille

The churches of Esterri de Cardós and Ginestarre date back to the 12th century and, like so many others, punctuate the valleys of the Catalan Pyrenees. Filled with murals, music, words and silence throughout their history, they are now mostly closed. At the beginning of the 20th century, on the Catalan side, campaigns to extract the murals were carried out to prevent the "sale of frescoes" to international collectors. Rolled up and transported on donkeys, these murals were installed in museums. While today the images have moved to the big cities, the interior acoustics and soundscape surrounding them are still very much present.



Weaving together experimental music, biophonic research and activism, Diane Barbé explores human and non-human worlds through sound. Based in Berlin since 2015, she operates at the intersection of ecology and music, working with field recording as much as with synthesis and acoustic instruments.

“i3me3” - 6’54

2021

BARBÉ Diane

I3ME3 is a piece made exclusively of electro-magnetic recordings of electrical cars in Berlin between 2022 and 2023. As our society begins to rely more and more on chip-based technologies, the radiation fields that surround us become fuller and fuller, traversed by harmonic and chaotic movements, seemingly unnoticed.



Leandro Barzabal
Né en 1981, La Plata, Argentine. Leandro travaille depuis 2001 en tant qu’autodidacte dans le domaine de la musique expérimentale, de l’improvisation et des arts performatifs. Depuis 2018, il est basé à Paris.

“History of social movements” - 6’17

2023

BARZABAL Leandro

From infinite noise to the natural oscillation of the sea at the westernmost tip of France. From the Pointe de Corsen, Finistère, to the social movements and their demonstrations against pension reform in Paris. 2023.



LES ESCARGOTINES, SECTION LES VISITEUSES ATYPIQUES

«Les Escargotines», collectif artistique lent, est composé de plusieurs groupes de travail à géométrie variable et à temporalités choisies. Ces groupes sont nommés section.

La section Les Visiteuses Atypiques se constitue d’un binôme d'artistes, Amandine Benintendi et Marie Julie.

Les Visiteuses Atypiques ont une base permanente de travail sur l’île de La Réunion et diverses zones d’activités temporaires sur le continent européen et partout, où elles seront invitées sur la Planète.

Suivre l'actualité des Escargotines : https://lesescargotines.tumblr.com

Collectif LES ESCARGOTINES / Section Les Visiteuses Atypiques

BENINTENDI Amandine & JULIE Marie dite Mademoiselle Marie JUILLET

Amandine BENINTENDI est artiste plasticienne. Elle questionne les relations entretenues par la parole et la textualité. À travers ce questionnement, elle tente de soulever les rapports de dominations qui structurent nos sociétés et nos intimités. Elle explore le langage dans des modes opératoires médiatiques, performatifs et sensibles. En 2023, elle rejoint le collectif Les Escargotines et co-crée avec Marie Julie Les Visiteuses Atypiques, dispositif sensible et performatif à déployer en tout contexte. Diplômée d’école d’art, elle mène un questionnement sur les relations sociétales qui traversent les transfuges de classe dans leur processus d’intégration dans les sociétés qu’iel.le.s habitent. Elle est membre de la Collective L’ Alternartive.

Marie JULIE est artiste et auteure indisciplinée indépendante. Née à l’île de la Réunion, elle joue avec les codes, les situations et les médiums “toujours pour rencontrer l'autre même à ses dépens". Diplômée d’école d’art et d’universités, cette insulaire continentale refuse toutes les catégories, les assignations, les définitions qui lui seraient imposées par d'autres. Elle travaille à rendre poreux, ses champs d’investigations qui deviennent solubles dans sa praxis artistique et sa vie. Co-fondatrice du laboratoire de recherches expérimentales «Praxis, Art et Sororité » avec Alexandre Péron-Diop & Camille Zmyslony en 2021, elle collabore, de manière régulière, avec La Biennale de Paris, l'École nationale d’art et la Revue de Paris en tant qu' artiste et chercheuse.

"«Tea or coffee: online, inlife», Experience 04/15/2023, 3 minutes of conversations between girls «acts of sorority»" - 2’55

2023

BENINTENDI Amandine / JULIE Marie known as Mademoiselle Marie JUILLET from collective Les Escargotine

"Thé ou café :online, inlife" is a performative, micro-editorial modus operandi. We take a cup of tea or coffee and invite passers-by to share it with us. At the end of this shared moment, they can acquire cyanotypes composed of plant motifs and quotations.

Invited on April 15, 2023, to activate our device for a contribution to La philosophie du Houmous en ligne #3 as part of the International Day against marital rape edition #3, the two of us had a conversation about acts of sisterhood, a few minutes of which we share with you with this sound extract "Tea or coffee: online, inlife", Experience 15.04.2023, 3 minutes of conversations between chicks "acts of sisterhood". This digital moment was offered from 5:00 pm to 6:00 pm (Paris time) or from 7:00 pm to 8:00 pm (Reunion Island time).



















Alessia Bertini is an artist and architect based in Switzerland, graduated from the ETH Zurich. The nature of her work is based on the belief that space is increasingly dematerialized and that the mutated role of architects is to map out zones for connections, relationships and systems. It is on this ground that the interest in impalpable factors and the unveiling of their collateral agents rests, carefully observing and adjusting the reading of an intertwined globe.

Michel Kessler + is a collaborative architectural practice that engages with the political dimension of space production through various media (from microarchitectures, competitions, exhibitions, texts, actions, theatre and films to sound and code). In exchange with others, Michel Kessler + develops projects that understand architecture as an open process.

“Cellular Xenospaces 41 (extended version)” - 7’

2020

BERTINI Alessia, KESSLER Michel

Cellular automata are used to model spatially discrete dynamic systems. For this purpose, the space is divided into individual cells. Then, the variation or evolution of these cells in relation to their neighbouring cells is analysed. If the mathematical variables are mapped to musical parameters, the result will be alien, machine-like glitch sounds, yet with a structure that has its correspondence in nature (see: The Algorithmic Beauty of Sea Shells).



Caroline Boë is a sound-artist, composer and acoustic ecology researcher. She lives and works in Marseille (France). A SACEM prize was awarded to her in 2016. His research area concerns noise pollution. She is recognized for her soundscapes (in CNCMs, at the Palais de Tokyo). The sound installation Une loupe pour toucher is scheduled at the FRAC in Marseille in November 2023.

“Lockdown: A radius of one Km in Marseille” - 5’18

2020

BOË Caroline

Lockdown: A radius of one km in Marseille is a soundscape, composed with a palette of sounds recorded during lockdown linked to the COVID health crisis, from March 17 to May 11, 2020. One km radius around the home is the limit of movement authorized by the state of health emergency in France. The usual traffic and human activity noises are scarce and allow us to discern the sounds of machines running alone. Helicopters, low-altitude planes, prevention announcements and birds freed from rumor participate in this unusual urban soundscape. 55 days lived in an extraordinary contorted acoustic space-time are condensed in 5 ’19.



Compositrice et violoniste, Elise Bonifas a un parcours au Conservatoire en violon classique puis en électroacoustique. Elle est finaliste au “Prix Pierre Schaeffer” en 2022. Co-fondatrice de la Cie L’Enveloppement Tenace des Étreintes, leur premier spectacle “Les Bas-Bleus, d’après l’oeuvre et la vie de Louise Colet” est actuellement en tournée.

“3h30” - 6’59

2022

BONIFAS Elise

According to a study carried out by the specialist company App Annie, we spend 3h30 a day on our smartphones. By plugging my phone into my computer, I was able to retrieve all the voice chats I'd had with a friend over the course of a year. Beyond the discussion, I realized that it's a real space where we put down our words, where we tell ourselves through our stories and the banality of our daily lives. But it's also a place of comfort and support. The aim of this project is to make this space resonate. I want to make these places, these new wave-like spaces, heard.



Arnaud Théval est artiste et maître de conférence à l’ENSAP de Bordeaux. Il travaille sur l’espace social en élaborant des protocoles impliquant les personnes sur leurs lieux de travail ou de formation, en questionnant les stéréotypes pour déplacer les assignations et réveiller le politique.

Pauline Boyer est artiste et maître de conférence à l’ENSA de Nantes. Co-directrice artistique de la compagnie de danse TMProject, elle construit des dispositifs scéniques et musicaux où le plateau se conçoit comme un corps sonore activé par les gestes qui s’y déploient.

“Coming back to the neighborhood” - 3’14

2021

BOYER Pauline / THÉVAL Arnaud

L'animal me garde (2021) Text: Arnaud Théval Sound design: Pauline Boyer with voices by Pauline Boyer, Sophie Papaïconomou, Arnaud Théval.
These sound sequences take us through the twists and turns of our relationship with animal figures in our concrete cities. Representations of animals adorn our clothes and food packaging, decorate our walls and become domestic. The animal, a figure of otherness, becomes the one we save and the one we see disappear as a child in our first encounter with death. As if the animal were a guardian of time, the ultimate silent witness to our wandering journeys.



Arnaud Théval est artiste et maître de conférence à l’ENSAP de Bordeaux. Il travaille sur l’espace social en élaborant des protocoles impliquant les personnes sur leurs lieux de travail ou de formation, en questionnant les stéréotypes pour déplacer les assignations et réveiller le politique.

Pauline Boyer est artiste et maître de conférence à l’ENSA de Nantes. Co-directrice artistique de la compagnie de danse TMProject, elle construit des dispositifs scéniques et musicaux où le plateau se conçoit comme un corps sonore activé par les gestes qui s’y déploient.

“A silent grandmother” - 4’08

2021

BOYER Pauline / THÉVAL Arnaud

L'animal me garde (2021) Text: Arnaud Théval Sound design: Pauline Boyer with voices by Pauline Boyer, Sophie Papaïconomou, Arnaud Théval.
These sound sequences take us through the twists and turns of our relationship with animal figures in our concrete cities. Representations of animals adorn our clothes and food packaging, decorate our walls and become domestic. The animal, a figure of otherness, becomes the one we save and the one we see disappear as a child in our first encounter with death. As if the animal were a guardian of time, the ultimate silent witness to our wandering journeys.



Arnaud Théval est artiste et maître de conférence à l’ENSAP de Bordeaux. Il travaille sur l’espace social en élaborant des protocoles impliquant les personnes sur leurs lieux de travail ou de formation, en questionnant les stéréotypes pour déplacer les assignations et réveiller le politique.

Pauline Boyer est artiste et maître de conférence à l’ENSA de Nantes. Co-directrice artistique de la compagnie de danse TMProject, elle construit des dispositifs scéniques et musicaux où le plateau se conçoit comme un corps sonore activé par les gestes qui s’y déploient.

“Death for tomorrow” - 3’26

2021

BOYER Pauline / THÉVAL Arnaud

L'animal me garde (2021) Text: Arnaud Théval Sound design: Pauline Boyer with voices by Pauline Boyer, Sophie Papaïconomou, Arnaud Théval.
These sound sequences take us through the twists and turns of our relationship with animal figures in our concrete cities. Representations of animals adorn our clothes and food packaging, decorate our walls and become domestic. The animal, a figure of otherness, becomes the one we save and the one we see disappear as a child in our first encounter with death. As if the animal were a guardian of time, the ultimate silent witness to our wandering journeys.



Arnaud Théval est artiste et maître de conférence à l’ENSAP de Bordeaux. Il travaille sur l’espace social en élaborant des protocoles impliquant les personnes sur leurs lieux de travail ou de formation, en questionnant les stéréotypes pour déplacer les assignations et réveiller le politique.

Pauline Boyer est artiste et maître de conférence à l’ENSA de Nantes. Co-directrice artistique de la compagnie de danse TMProject, elle construit des dispositifs scéniques et musicaux où le plateau se conçoit comme un corps sonore activé par les gestes qui s’y déploient.

“Forest dust” - 3’53

2021

BOYER Pauline / THÉVAL Arnaud

L'animal me garde (2021) Text: Arnaud Théval Sound design: Pauline Boyer with voices by Pauline Boyer, Sophie Papaïconomou, Arnaud Théval.
These sound sequences take us through the twists and turns of our relationship with animal figures in our concrete cities. Representations of animals adorn our clothes and food packaging, decorate our walls and become domestic. The animal, a figure of otherness, becomes the one we save and the one we see disappear as a child in our first encounter with death. As if the animal were a guardian of time, the ultimate silent witness to our wandering journeys.



Arnaud Théval est artiste et maître de conférence à l’ENSAP de Bordeaux. Il travaille sur l’espace social en élaborant des protocoles impliquant les personnes sur leurs lieux de travail ou de formation, en questionnant les stéréotypes pour déplacer les assignations et réveiller le politique.

Pauline Boyer est artiste et maître de conférence à l’ENSA de Nantes. Co-directrice artistique de la compagnie de danse TMProject, elle construit des dispositifs scéniques et musicaux où le plateau se conçoit comme un corps sonore activé par les gestes qui s’y déploient.

“Suddenly, between the walls, the animal” - 5’46

2022

BOYER Pauline / THÉVAL Arnaud

Text: Arnaud Théval Sound design: Pauline Boyer with the voice of Arnaud Théval Running time: 5'46''. In the new prison, the night shift is ready, the heat of the day gradually giving way to the dampness of early evening. During the "peepholes rounds", some of the corridors are transformed into imaginary forests. Howls mimicking animals never seen before escape from the cells, and the warden, alone, wanders the wickedly beleaguered corridor. In the nearby forest, animals have become accustomed to this din. As the night progresses, they creep in.



Arnaud Théval est artiste et maître de conférence à l’ENSAP de Bordeaux. Il travaille sur l’espace social en élaborant des protocoles impliquant les personnes sur leurs lieux de travail ou de formation, en questionnant les stéréotypes pour déplacer les assignations et réveiller le politique.

Pauline Boyer est artiste et maître de conférence à l’ENSA de Nantes. Co-directrice artistique de la compagnie de danse TMProject, elle construit des dispositifs scéniques et musicaux où le plateau se conçoit comme un corps sonore activé par les gestes qui s’y déploient.

“The round of peepholes” - 5’25

2019

BOYER Pauline / THÉVAL Arnaud

Text: Arnaud Théval Sound design: Pauline Boyer with the voice of Vincent Théval.
Un oeil sur le dos (An eye on your back) takes us on a journey from the closing of the old prisons, whose images are part of our common imagination of jail, to the prison school, where the culture of the institution takes shape among student guards and continues in the new structures. The artistic experience combines the experiences of prison staff, drawings on cell walls and tattoos on warders' skins. The work reveals the unthought and unspoken aspects of an institution traversed by opposing forces, permanently stretched by its original oxymoron - to punish and re-insert. In these prisons, I conscientiously try to get rid of what everyone is trying to find there, as if it were necessary to verify the very foundations of the prison. I find myself confronted with the full ambiguity of society, and by reversing the eyecup I've seen and heard it: violent, moving, generous and crushing, despairingly poetic. In the brand-new prison, work never stops. Her loose hair falls over her shoulders, her nails are neatly trimmed, on her right hand a diamond-set wedding ring, on her feet a pair of white sneakers. The pupil-supervisor awaits her colleague for the carnation tour. Everyone knows we're coming. An indescribable hubbub escapes from this facade colored by the bright atmosphere of each of these cells..



Arnaud Théval est artiste et maître de conférence à l’ENSAP de Bordeaux. Il travaille sur l’espace social en élaborant des protocoles impliquant les personnes sur leurs lieux de travail ou de formation, en questionnant les stéréotypes pour déplacer les assignations et réveiller le politique.

Pauline Boyer est artiste et maître de conférence à l’ENSA de Nantes. Co-directrice artistique de la compagnie de danse TMProject, elle construit des dispositifs scéniques et musicaux où le plateau se conçoit comme un corps sonore activé par les gestes qui s’y déploient.

“The parade” - 6’

2019

BOYER Pauline / THÉVAL Arnaud

Text: Arnaud Théval Sound design: Pauline Boyer with the voice of Vincent Théval.
Un oeil sur le dos (An eye on your back) takes us on a journey from the closing of the old prisons, whose images are part of our common imagination of jail, to the prison school, where the culture of the institution takes shape among student guards and continues in the new structures. The artistic experience combines the experiences of prison staff, drawings on cell walls and tattoos on warders' skins. The work reveals the unthought and unspoken aspects of an institution traversed by opposing forces, permanently stretched by its original oxymoron - to punish and re-insert. In these prisons, I conscientiously try to get rid of what everyone is trying to find there, as if it were necessary to verify the very foundations of the prison. By reversing the eyecup, I've seen and heard it: violent, moving, generous and crushing, despairingly poetic. The transfer has just taken place, the prison is empty. Everything is there, in place, except the inmates. The prison seems sore, almost in shock. Like a worn-out object, it's there, gaping. I tiptoe in so as not to disturb. Disturb what? I don't know, it all grips me. Each cell has its own story, its own atmosphere, its own smell. To enter each one is to hold one's breath to get a better look.



Arnaud Théval est artiste et maître de conférence à l’ENSAP de Bordeaux. Il travaille sur l’espace social en élaborant des protocoles impliquant les personnes sur leurs lieux de travail ou de formation, en questionnant les stéréotypes pour déplacer les assignations et réveiller le politique.

Pauline Boyer est artiste et maître de conférence à l’ENSA de Nantes. Co-directrice artistique de la compagnie de danse TMProject, elle construit des dispositifs scéniques et musicaux où le plateau se conçoit comme un corps sonore activé par les gestes qui s’y déploient.

“The screen” - 4’28

2019

BOYER Pauline / THÉVAL Arnaud

Text: Arnaud Théval Sound design: Pauline Boyer with the voice of Vincent Théval.
Un oeil sur le dos (An eye on your back) takes us on a journey from the closing of the old prisons, whose images are part of our common imagination of jail, to the prison school, where the culture of the institution takes shape among student guards and continues in the new structures. The artistic experience combines the experiences of prison staff, drawings on cell walls and tattoos on warders' skins. The work reveals the unthought and unspoken aspects of an institution traversed by opposing forces, permanently stretched by its original oxymoron - to punish and re-insert. In these prisons, I conscientiously try to get rid of what everyone is trying to find there, as if it were necessary to verify the very foundations of the prison. I find myself confronted with all the ambiguity of society, and by reversing the eyecup I've seen and heard it: violent, moving, generous and crushing, despairingly poetic. A busload of inmates arrives, the first transfer from an overcrowded neighboring prison. The first inmate arrives, looking haggard and wide-eyed. He declares his identity, has his photo taken, puts down his hand for the anthropometric record, declares his possessions. Then he waits in a small white cell. The last inmate arrives, struggling to push his cart, and a supervisor opens his cell, where his meal has already been served. Carton after carton, he fills his space.



Emmanuelle Barbier, Matthias Brissonnaud, Tom Desinde et Charlotte Gaubert
Nous nous sommes rencontrés à l’école d’architecture de Saint-Étienne, dans le domaine Espaces Aberrants, Temps de Crises, Architectures Paradoxales, dont le sujet d’étude porte sur la Plaine du Forez. Nous travaillons aujourd’hui dans le domaine de l’architecture sous différentes formes (agences, recherche, photographie, édition) cet appel à contribution a été l’occasion de se réunir de nouveau.

“News from the plain” - 6’08

2023

BRISSONNAUD Matthias / DESINDE Tom / GAUBERT Charlotte / BARBIER Emmanuelle

The Loire flows and rolls the rocks. Eroded by the water, they turn into pebbles that the river deposits on the shore. The deposits accumulate and form a landscape. In gravel pits, machines dig into the earth and harvest the gravel. Crusher rollers crush, conveyor belts sift, sort and pile sand. The mixer blends aggregates and cement. Mechanical arms vibrate and press concrete-filled molds. The blocks are transported, stacked and matched.



Marie-Anne Bucci
Plaisirs de peinture : après une période professionnelle heureuse, me voici à l’université, je chemine dans une histoire de l’art ébranlée par bonheur dans ses fondements classiques. J’ai besoin d’intensité, mes racines italiennes ont mis le feu à ma curiosité, c’est ma manière d’avancer … Je suis née et vis à Grenoble, après de longs séjours à l’étranger.

“Letter to Giovanna” - 6’38

2023

BUCCI Marie-Anne

Writing a letter to Giovanna, she paints a picture of the small, extraordinary things in everyday life, her news of the world. Her city: "una cosa mentale", where wonder and curiosity meet a certain disenchantment with the world. Simple words to describe the place as an inner dwelling where everything is constantly reborn. As a daughter of Italian immigrants, she has learned to love her freedom fiercely, far from the shackles of a somewhat indocile life, so fire and grace pulsate a different music. PS: with excerpt from CAMILLE SAINT-SAENS - Piano Quintet in A minor, Op.14



Maria Elena Buslacchi est socio-anthropologue, post-doctorante à MESOPOLHIS - Centre méditerranéen de sociologie, sciences politiques et histoire, UMR 7064, à Aix-Marseille Université. Elle est membre de l’Observatoire des publics et des pratiques de la culture MESRI/AMU et ses recherches portent sur les événements culturels dans l’espace urbain.

Elisa Ullauri Lloré est postdoctorante au Centre méditerranéen de sociologie, de science politique et d’histoire MESOPOLHIS (UMR 7064), à Aix-Marseille Université. Elle est membre de l’équipe de l’Observatoire des publics et des pratiques de la culture au sein duquel elle conduit des enquêtes sur les publics et les non-publics de l’art contemporain et de l’opéra.

“Radio Utopia | Museum 2123” - 7’36

2023

BUSLACCHI Maria Elena / ULLAURI LLORE Elisa
Music : Desierto Western, by Alvaro Obadia

Utopia Culture is a Radio Utopia tailored program for individual audiences based on their topics of interest, generated daily with the help of artificial intelligence. One day in 2123, she offers Elisa a focus on the museum as it redefines itself: anti-museums, counter-museums, places of refuge from global warming, spaces of memory, new curatorial practices and cultural mediation. We look back with astonishment at the museum practices of a hundred years ago. To produce this program, we asked artists, craftspeople and students from the Ecole du Louvre to tell us about the museum of the future. Between a break with and an extension of the current museum model, this is a projective, anticipatory exercise. The testimonies are sometimes based on concerns, sometimes on ideals. Playing the role of delegates: Sofia, Florent, Eva, Victor, Coline, Claire, Gabrielle Music: Desierto Western © by Alvaro Obadia @elpunkfeliz157



Calypso36°21
Créé́ en 2018 à Rabat, Calypso36°21 est un collectif féminin franco-marocain fondé par Sanaa Zaghoud, Justine Daquin, Manon Bachelier et Zoé Le Voyer. Depuis sa création, le collectif développe une approche curatoriale transdisciplinaire, expérimentale et participative.

Santana Mariane Belinga Engoung
Santana Mariane Belinga Engoung est une artiste chanteuse et danseuse originaire de Yaoundé́, qui vit et travaille à Tanger. Elle performe dans de nombreux projets interculturels et représente une figure artistique importante de la ville. Elle s’est notamment produite dans des festivals majeurs tels que Visa For Music et Tanjazz, en tant que choriste.

Jennifer Alexander
Jennifer Alexander est une chanteuse de gospel d’Edo State, Nigéria qui vit et travaille à Tanger. Elle a appris à chanter dans les églises aux côtés de sa soeur jumelle, qui est aujourd’hui prêtre et chanteuse au Nigéria. Musicienne accomplie à la voix puissante, elle développe une proposition musicale contemporaine aux influences gospels nigérianes et blues, qu’elle partage dans les églises locales de la ville.

Yemoh Odoi
Yemoh Odoi, aka Yemoh777s, est un artiste interdisciplinaire. Entre récits documentaires et fictions, son oeuvre illustre un art profondément ancré dans le quotidien des communautés migrantes au Maroc. Il est également le directeur artistique de The Minority Globe, plateforme qui utilise la méthodologie artistique, la pratique culturelle et le rôle thérapeutique de l’art comme outils de réflexion, d’action et de plaidoyer sur les questions de la migration.

Ayoub Ait Taadouit
Ayoub Ait Taadouit est un ingénieur du son et un designer marocain. Il travaille à La Cassette, un lieu parisien dédié à la radio et aux créations sonores. Il est également membre de Transmission, un collectif qui oeuvre au développement des cultures et des savoir-faire autour du récit sonore.

“Collecting Voices” - 8’30

2020

Calypso36°21 (Production/coordination/original idea), Ayoub Ait Taadouit (production/coordination/author), Yemoh Odoi (production/coordination/author), Engoung Belinga Mariane Santana (author), Jennifer Alexander (author)

Collecting Voices is a soundscape of Tangier imagined by Jennifer and Santana. In 2020, they are transiting through Tangier, waiting to cross the Mediterranean. Their apprehension of the city is that of a liminal territory, evoking memories and opening onto other possibilities. One in English, the other in French, they translate here a poetic cartography, a lucid reverie of this Mediterranean port city, located just a few kilometers from Europe. - This sound piece has beeń shown four times since 2020: at the Traces Migration festival in Lyon (2021), at the Tumultes festival in the Cévennes (2022), during a workshop organized in Palermo for residents of the Swiss Institute (2021) and on the beach at night as part of the seminar organized by the La Rivoluzione delle Seppie collective of architects and activists in Calabria (2022).
















Bénédicte Chaljub
Architecte et historienne, enseignante et chercheure à l’ENSA Clermont-Ferrand/UMR Ressources. Ses investigations portent sur les dispositifs du logement au 20e siècle, la sauvegarde et la rénovation du bâti de cette période. Elle est co-directrice de la recherche « Les cités Michelin, patrimoine vivant pour la ville de demain ? ».

Amélie Flamand
Sociologue, enseignante et chercheure à l’ENSA Clermont-Ferrand/UMR Ressources. Ses recherches portent sur l’habiter au prisme de la crise environnementale et du changement climatique. Elle est notamment co-directrice de la recherche « Les cités Michelin, patrimoine vivant pour la ville de demain ? ».

Arnaud Simetière
Artiste sonore et responsable de l’atelier Musique pour l’Imaginaire, imagine et conçoit des publications sonores, sous forme de podcasts, de dispositifs multimédias ou d’installations. Ayant suivi une formation initiale de géographie urbaine, le territoire et la ville constituent ses champs d’investigation artistique premiers.

“There is the cherry tree that says, here, there was a house” - 6’24

2023

CHALJUB Bénédicte / FLAMAND Amélie / SIMETIERE Arnaud

In Clermont Ferrand, the Michelin factory largely shaped the urban landscape by building workers' housing estates with gardens. In the company of a landscape gardener, a sociologist, a historian and residents past and present, this radio creation invites us into these estates open to the wind and the living world, where vegetable gardens compete with ornamental plants. It's an opportunity to question the place of these gardens, the heritage they represent and their potential to shape the city of tomorrow.





Architecte de formation, Grégoire Chelkoff a participé à la création du CRESSON (centre de recherche sur l’espace sonore et l’environnement urbain) en 1979 à l’école d’architecture de Grenoble et aux recherches initiées par Jean-François Augoyard de 1980 à 1992 sur les effets sonores. Il a initié plusieurs travaux sur la dimension auditive dans ses relations avec l’espace construit et les pratiques, en espace public comme dans l’espace domestique et a entrepris l’expérimentation de « prototypes sonores architecturaux ». Il est responsable scientifique du site web cartophonies.fr. Professeur à l’ENSAG, ses recherches sur les ambiances architecturales et urbaines visent à développer une approche multisensorielle et expérimentale de l’architecture par l’étude des relations entre formes, formants sensibles et formalités des usages.

“Sound Penetrable Sotto” - 1’40

2019

CHELKOFF Grégoire

Sound recording made in August 2019 in Tinguély's monumental sculpture, created in the 60s in Milly la forêt. The "penetrable" created by artist Sotto consists of suspended metal bars forming a visually cubic "block" through which it is possible to pass. The body is tactilely, visually and acoustically confronted with the device. A young member of the visiting public is invited to carry out the experiment that provokes this sequence of random sounds. After a fairly intense attack, a decrescendo in level and time spacing between impacts leads to a calm where we begin to hear the audience's reactions.



Architecte de formation, Grégoire Chelkoff a participé à la création du CRESSON (centre de recherche sur l’espace sonore et l’environnement urbain) en 1979 à l’école d’architecture de Grenoble et aux recherches initiées par Jean-François Augoyard de 1980 à 1992 sur les effets sonores. Il a initié plusieurs travaux sur la dimension auditive dans ses relations avec l’espace construit et les pratiques, en espace public comme dans l’espace domestique et a entrepris l’expérimentation de « prototypes sonores architecturaux ». Il est responsable scientifique du site web cartophonies.fr. Professeur à l’ENSAG, ses recherches sur les ambiances architecturales et urbaines visent à développer une approche multisensorielle et expérimentale de l’architecture par l’étude des relations entre formes, formants sensibles et formalités des usages.

“Discreet stridulations in the garden” - 2’27

2010

CHELKOFF Grégoire

Recorded during the 2010 Chaumont Garden Festival, I am alone at the time of recording and move around one of the "exposed" gardens. This is equipped with a sound installation (produced by IRCAM, as indicated). In this small space (about 15 m square), several miniature loudspeakers produce a discreet sound reminiscent of several crickets of different tones. One stridulation follows another, producing a discreet dialogue in the high mid-range. The faint flow of water mingles with the high-pitched modulations. The whole forms a modulating environment, against a background of distant voices (visitors to the garden festival). What's more, passers-by seek out these somewhat strange sources, but can only really locate them if they come close enough. Depending on the listening position, there is a ubiquitous effect at a distance and a hyperlocalized effect when the origin of the sound is located in space.
RESEARCH: Architecture and installations



Architecte de formation, Grégoire Chelkoff a participé à la création du CRESSON (centre de recherche sur l’espace sonore et l’environnement urbain) en 1979 à l’école d’architecture de Grenoble et aux recherches initiées par Jean-François Augoyard de 1980 à 1992 sur les effets sonores. Il a initié plusieurs travaux sur la dimension auditive dans ses relations avec l’espace construit et les pratiques, en espace public comme dans l’espace domestique et a entrepris l’expérimentation de « prototypes sonores architecturaux ». Il est responsable scientifique du site web cartophonies.fr. Professeur à l’ENSAG, ses recherches sur les ambiances architecturales et urbaines visent à développer une approche multisensorielle et expérimentale de l’architecture par l’étude des relations entre formes, formants sensibles et formalités des usages.

“Voices in the water” - 3’04

2012

CHELKOFF Grégoire

Recording of a sound installation created during the 2012 Architecture Biennale. Location: the interior of the former Italian Pavilion in Venice's "Giardini", designed by Carlo Scarpa in 1952.the sound recordist moves through the space, following the sound sources audible inside the garden courtyard embedded between walls. The sounds of voices broadcast in different languages and the flow of water from real fountains blend and resemble each other. The resemblance of the spectrum and rhythms of the water in certain fountains to human voices - a multitude of languages can be heard - forms a metabolic effect. Towards the end of the recording, when the soundman moves inside the building, other voices are heard, and the listener passes from the sound of the broadcast voices to the real voices of visitors reverberating in the high-ceilinged room of the exhibition space.
RESEARCH: Voices from the city



Architecte de formation, Grégoire Chelkoff a participé à la création du CRESSON (centre de recherche sur l’espace sonore et l’environnement urbain) en 1979 à l’école d’architecture de Grenoble et aux recherches initiées par Jean-François Augoyard de 1980 à 1992 sur les effets sonores. Il a initié plusieurs travaux sur la dimension auditive dans ses relations avec l’espace construit et les pratiques, en espace public comme dans l’espace domestique et a entrepris l’expérimentation de « prototypes sonores architecturaux ». Il est responsable scientifique du site web cartophonies.fr. Professeur à l’ENSAG, ses recherches sur les ambiances architecturales et urbaines visent à développer une approche multisensorielle et expérimentale de l’architecture par l’étude des relations entre formes, formants sensibles et formalités des usages.

“Vocal cloud and enveloping continuity” - 4’10

2010

CHELKOFF Grégoire

A journey through Milan's famous Vittorio Emannuel 2 gallery, the reverberation of multiple voices forms an enveloping, constant cloud of sound, with a few emergences peppering the continuity without really breaking it (sounds of proximity or children playing at 3'40. The gigantic volume illustrates a pedestrian boulevard covered by a glass roof.



Architecte de formation, Grégoire Chelkoff a participé à la création du CRESSON (centre de recherche sur l’espace sonore et l’environnement urbain) en 1979 à l’école d’architecture de Grenoble et aux recherches initiées par Jean-François Augoyard de 1980 à 1992 sur les effets sonores. Il a initié plusieurs travaux sur la dimension auditive dans ses relations avec l’espace construit et les pratiques, en espace public comme dans l’espace domestique et a entrepris l’expérimentation de « prototypes sonores architecturaux ». Il est responsable scientifique du site web cartophonies.fr. Professeur à l’ENSAG, ses recherches sur les ambiances architecturales et urbaines visent à développer une approche multisensorielle et expérimentale de l’architecture par l’étude des relations entre formes, formants sensibles et formalités des usages.

“Vocal rhythms tuned to the tram machinery” - 5’16

2011

CHELKOFF Grégoire

In Lisbon's historic electric tamway line 25, conversational voices seem to follow and adapt to the sounds and rhythms of the machine as it traverses the city, jolting, crashing, bumping, klangs and sudden long silences take city dwellers on a journey with a very special sonic ambience. Passengers' voices come to life and fall silent, appearing and disappearing to the rhythm of the streetcar's machinery, which, with its rich sound components (breath, metal, clacks, glissandi...) and diversity, forms a concert that accompanies the journey. The internal ambience of the carriage is quite matte, as this old-fashioned carriage is made of wood (seats, floor, walls). The now-familiar line is used by tourists and locals alike, who converse among themselves and between the jolts and expressions of the machine that transports them.
RESEARCH: Voices from the city



Roberta Ghelli (architecte DE) et Théa Manola (architecte DPLG et urbaniste) sont enseignantes à l’ENSA Grenoble et chercheures au laboratoire AAU-Cresson. Dans le cadre du programme An architectural school of commons – ASOC elles encadrent des enseignements in situ (semaines intensives et écoles d’été) et développent la recherche sur les pédagogies hors-les-murs et les devenirs des métiers des territoires habités (avec l’organisation de deux colloques scientifiques, la publication d’ouvrages et d'articles).

Le Collectif Etc est une association loi 1901 crée en 2011 par un groupe d’architectes. La structure teste l’hypothèse d’une architecture frugale et soutent des initiatives de changement social et environnemental par l’acte de faire. Depuis 2021 elle porte et coordonne le programme ASOC en lien avec les autres partenaires.

“The school of possibilities: an off-the-wall educational experience for ENSA Grenoble students” - 3’43

2022

Collectif Etc / GHELLI Roberta / MANOLA Théa

In May 2022, a group of students from ENSA Grenoble and their teachers travelled to Saint-Laurent-en-Royans. There, they discovered a civic space, La Place des Possibles, where they could experiment, test various tools, develop a critical reading of professional and civic practices, and learn together in an experiential way. This experience is part of the international program An architectural school of commons - ASOC, run by Collectif Etc in partnership with architecture schools, architectural collectives and local associations in France, Italy and Greece.



Viv Corringham is a vocalist and sound artist with MA Sonic Art and Deep Listening teaching certificate. Awards include two McKnight Composer Fellowships through American Composers Forum. Her concerts, soundwalks and multichannel installations have been presented in 26 countries and articles on her work have appeared in many publications.

“New York Night Walk” - 6’43

2020

CORRINGHAM Viv

Just before lockdown in 2020 I went for a walk in New York at night. I recorded and narrated my observations and emotions on the journey. Later, remembering the walk, I added an improvised sung response to this strange experience.



Carlotta Darò est historienne de l’art et de l’architecture, maman de Sofia, Olmo, Lucio et Vito

“Soundscape from the future” - 4’49

2023

DARÒ Carlotta

Interview with Sofia 10, Olmo 8, Lucio 7, Vito 5



Franco Degrassi is acousmatic composer, electroacoustic improvisor and director of the “Silence” acousmatic music festival. He participated with acousmatic compositions, electroacoustic improvisations (alone or in a duo) or sound installations in festivals in Italy, France, Usa, Cuba, Japan, Uk.

“Evening” - 7’

2021

DEGRASSI Franco

“Evening” is part of my acousmatic composition “Traces”. In the immediately pre-pandemic period, I carried out some sound recording sessions in Puglia (in southern Italy) in the Alta Murgia area (in Spinazzola and Poggiorsin), and in the Murgia Barese (in Corato, Cassano and Altamura), in the open countryside or on farms and outlying villages. During the medical lockdown I produced the compositions at my home studio in the spring of 2021.



Pablo Diserens (they/she ~ b.1994) is a field recordist, musician and artist devoted to non-human realities, attentive listening, and possible forms of interspecies coexistence. In solidarity with a wounded planet, their practice invites people to attune to the present moment in an attempt at rethinking caring strategies and our relationship with the world and its biotic communities. — https://pablodiserens.studio/

“Gestures of thaw (supraglacial)” - 6’12

2023

DISERENS Pablo

Hydrophonic recording. Sólheimajökull Glacier, Iceland - July 2022
This recording was made on the surface of the Icelandic glacier Sólheimajökull. There — between piles of ashes dating back from Katla’s last eruption in 1918, moulins, crevasses, and streams of meltwater — lies a small opening. A deep blue crack filled with water, an aperture into the entrails of the glacier, teeming with sounds. Captured with a hydrophone, the growls you are listening to are the submerged vibrations of air trapped for hundreds of years being released back into the atmosphere. As the bubbles stridulate and swim towards the surface, the Earth’s old atmosphere carries its history back into the air. The labyrinthine ice acts as a portal, a fading bridge for the timbres of the past.



Frédéric Dumond, auteur et plasticien, travaille au projet « glossolalie » depuis 2012. Ce projet explore la nature de la langue dans l’ensemble de ses dimensions, en présence de l’ensemble des 7000 langues du monde, et en travaillant la question de l’archive sonore et visuelle des langues en danger, notamment au Mexique et en Colombie.

“ Unventer - in Drehu language, by Alain, in Nouméa” - 1’01

2023

DUMOND Frédéric

"Unventer" is a project that was supported by La Fondation des Artistes

"These sound moments were recorded during the "unventer" research project (2017-2018), a 7-month world tour collecting facts of language, supported by La Fondation des Artistes and the Occitanie region. From Malaysia to Mexico, via Jogyakarta (Indonesia), Puducherry (India), Hanoi and North Vietnam, Melbourne, Nouméa, Port Vila (Vanuatu), then Santiago and Valparaiso, finally Queretaro, the author met women and men who speak languages other than the dominant languages of their respective countries. In order to make sense of things in a different way, it's not so much the letter of what's said that matters, but rather the sounds of meaning. It's a question of everyday life, of the importance, pride and struggle of speaking one's mother tongue, of what it means to carry on anyway, sometimes with the sensation of speaking in a desert of listening..."



Frédéric Dumond, auteur et plasticien, travaille au projet « glossolalie » depuis 2012. Ce projet explore la nature de la langue dans l’ensemble de ses dimensions, en présence de l’ensemble des 7000 langues du monde, et en travaillant la question de l’archive sonore et visuelle des langues en danger, notamment au Mexique et en Colombie.

“Unventer - with Macedonia in hñäñho language, San Ildefonso (Mexico)” - 3’35

2023

DUMOND Frédéric

"Unventer" is a project that was supported by La Fondation des Artistes

"These sound moments were recorded during the "unventer" research project (2017-2018), a 7-month world tour collecting facts of language, supported by La Fondation des Artistes and the Occitanie region. From Malaysia to Mexico, via Jogyakarta (Indonesia), Puducherry (India), Hanoi and North Vietnam, Melbourne, Nouméa, Port Vila (Vanuatu), then Santiago and Valparaiso, finally Queretaro, the author met women and men who speak languages other than the dominant languages of their respective countries. In order to make sense of things in a different way, it's not so much the letter of what's said that matters, but rather the sounds of meaning. It's a question of everyday life, of the importance, pride and struggle of speaking one's mother tongue, of what it means to carry on anyway, sometimes with the sensation of speaking in a desert of listening..."



Frédéric Dumond, auteur et plasticien, travaille au projet « glossolalie » depuis 2012. Ce projet explore la nature de la langue dans l’ensemble de ses dimensions, en présence de l’ensemble des 7000 langues du monde, et en travaillant la question de l’archive sonore et visuelle des langues en danger, notamment au Mexique et en Colombie.

“Unventer - in numèè language, by Tchica, New Caledonia” - 2’19

2023

DUMOND Frédéric

"Unventer" is a project that was supported by La Fondation des Artistes

"These sound moments were recorded during the "unventer" research project (2017-2018), a 7-month world tour collecting facts of language, supported by La Fondation des Artistes and the Occitanie region. From Malaysia to Mexico, via Jogyakarta (Indonesia), Puducherry (India), Hanoi and North Vietnam, Melbourne, Nouméa, Port Vila (Vanuatu), then Santiago and Valparaiso, finally Queretaro, the author met women and men who speak languages other than the dominant languages of their respective countries. In order to make sense of things in a different way, it's not so much the letter of what's said that matters, but rather the sounds of meaning. It's a question of everyday life, of the importance, pride and struggle of speaking one's mother tongue, of what it means to carry on anyway, sometimes with the sensation of speaking in a desert of listening..."



Frédéric Dumond, auteur et plasticien, travaille au projet « glossolalie » depuis 2012. Ce projet explore la nature de la langue dans l’ensemble de ses dimensions, en présence de l’ensemble des 7000 langues du monde, et en travaillant la question de l’archive sonore et visuelle des langues en danger, notamment au Mexique et en Colombie.

“Unventer - in triqui language, Querétaro (Mexico)” - 4’55

2023

DUMOND Frédéric

"Unventer" is a project that was supported by La Fondation des Artistes

"These sound moments were recorded during the "unventer" research project (2017-2018), a 7-month world tour collecting facts of language, supported by La Fondation des Artistes and the Occitanie region. From Malaysia to Mexico, via Jogyakarta (Indonesia), Puducherry (India), Hanoi and North Vietnam, Melbourne, Nouméa, Port Vila (Vanuatu), then Santiago and Valparaiso, finally Queretaro, the author met women and men who speak languages other than the dominant languages of their respective countries. In order to make sense of things in a different way, it's not so much the letter of what's said that matters, but rather the sounds of meaning. It's a question of everyday life, of the importance, pride and struggle of speaking one's mother tongue, of what it means to carry on anyway, sometimes with the sensation of speaking in a desert of listening..."



Frédéric Dumond, auteur et plasticien, travaille au projet « glossolalie » depuis 2012. Ce projet explore la nature de la langue dans l’ensemble de ses dimensions, en présence de l’ensemble des 7000 langues du monde, et en travaillant la question de l’archive sonore et visuelle des langues en danger, notamment au Mexique et en Colombie.

“Unventer - what is a language, in iaai language, by Jacques, Nouméa” - 1’14

2023

DUMOND Frédéric

"Unventer" is a project that was supported by La Fondation des Artistes

"These sound moments were recorded during the "unventer" research project (2017-2018), a 7-month world tour collecting facts of language, supported by La Fondation des Artistes and the Occitanie region. From Malaysia to Mexico, via Jogyakarta (Indonesia), Puducherry (India), Hanoi and North Vietnam, Melbourne, Nouméa, Port Vila (Vanuatu), then Santiago and Valparaiso, finally Queretaro, the author met women and men who speak languages other than the dominant languages of their respective countries. In order to make sense of things in a different way, it's not so much the letter of what's said that matters, but rather the sounds of meaning. It's a question of everyday life, of the importance, pride and struggle of speaking one's mother tongue, of what it means to carry on anyway, sometimes with the sensation of speaking in a desert of listening..."



Frédéric Dumond, auteur et plasticien, travaille au projet « glossolalie » depuis 2012. Ce projet explore la nature de la langue dans l’ensemble de ses dimensions, en présence de l’ensemble des 7000 langues du monde, et en travaillant la question de l’archive sonore et visuelle des langues en danger, notamment au Mexique et en Colombie.

“Unventer - baba nyonya kristao orang asli in Malacca, Malaysia” - 6’54

2023

DUMOND Frédéric

"Unventer" is a project that was supported by La Fondation des Artistes

"These sound moments were recorded during the "unventer" research project (2017-2018), a 7-month world tour collecting facts of language, supported by La Fondation des Artistes and the Occitanie region. From Malaysia to Mexico, via Jogyakarta (Indonesia), Puducherry (India), Hanoi and North Vietnam, Melbourne, Nouméa, Port Vila (Vanuatu), then Santiago and Valparaiso, finally Queretaro, the author met women and men who speak languages other than the dominant languages of their respective countries. In order to make sense of things in a different way, it's not so much the letter of what's said that matters, but rather the sounds of meaning. It's a question of everyday life, of the importance, pride and struggle of speaking one's mother tongue, of what it means to carry on anyway, sometimes with the sensation of speaking in a desert of listening..."



Frédéric Dumond, auteur et plasticien, travaille au projet « glossolalie » depuis 2012. Ce projet explore la nature de la langue dans l’ensemble de ses dimensions, en présence de l’ensemble des 7000 langues du monde, et en travaillant la question de l’archive sonore et visuelle des langues en danger, notamment au Mexique et en Colombie.

“Unventer - Puducherry, Tamil Nadu” - 6’57

2023

DUMOND Frédéric

"Unventer" is a project that was supported by La Fondation des Artistes

"These sound moments were recorded during the "unventer" research project (2017-2018), a 7-month world tour collecting facts of language, supported by La Fondation des Artistes and the Occitanie region. From Malaysia to Mexico, via Jogyakarta (Indonesia), Puducherry (India), Hanoi and North Vietnam, Melbourne, Nouméa, Port Vila (Vanuatu), then Santiago and Valparaiso, finally Queretaro, the author met women and men who speak languages other than the dominant languages of their respective countries. In order to make sense of things in a different way, it's not so much the letter of what's said that matters, but rather the sounds of meaning. It's a question of everyday life, of the importance, pride and struggle of speaking one's mother tongue, of what it means to carry on anyway, sometimes with the sensation of speaking in a desert of listening..."



Jérémie Faivre est un architecte et artiste sonore installé à Grenoble (France). Son travail porte sur la frontière perméable entre création architecturale et composition sonore.

“Río Tapiche” - 7’

2023

FAIVRE Jeremie

Río Tapiche is a phonography composed from sound field recordings made in 2019 in the Peruvian part of the Amazon basin. This composition takes the form of a crossing along the Río Tapiche, a sub-tributary of the Amazon. Four locations punctuate the journey: Iquitos, Nauta, Requena and the Tapiche nature reserve. It gives voice to a living territory, in the process of regeneration after rubber fever and still threatened by oil extraction.This composition is part of a cartographic and sound creation project that can be visited here: https://www.jeremiefaivre.eu/sonore/tapiche



Auteure et coordinatrice d’Ecouter le monde, Monica Fantini écoute, enregistre et compose des pièces sonores à partir de sons du quotidien : claquement des portillons du métro parisien, harangues des vendeurs au marché de Bobo-Dioulasso au Burkina Faso, craquement des glaciers en Patagonie, roulement des calèches dakaroises ou encore cloches de la place Saint-Marc à minuit à Venise… Autant d’éclats de vie avec lesquels elle tisse des récits pour raconter le monde, créer des liens et partager des savoirs. De leur collecte à la création d’œuvres sonores et à leur diffusion, Monica Fantini sollicite la collaboration d’artistes, de chercheurs, compositeurs, journalistes et écrivains, afin de fédérer une large communauté et de mettre en commun expériences et savoirs dans différentes approches du son. Avec l’ambition de développer la pratique, le sens et le plaisir de l’écoute, elle dirige aussi des ateliers sonores s’adressant à tous les publics : enseignants, enfants, étudiants, migrants, détenus, poètes, musiciens… Enfin, les créations sonores d’« Ecouter le monde » font régulièrement l’objet de présentations publiques dans le cadre de festivals, d’expositions, de colloques et d’événements culturels dédiés, imaginés par les auteurs de la plateforme. Tous les ans, la Bibliothèque Nationale de France laisse ainsi carte blanche à Monica Fantini autour d’« Ecouter le monde ».

“Acoustic dream of vanished cities” - 2’29

2020

FANTINI Monica

"Rêve sonore de villes disparues" is made up of the cries of street vendors selling scrap metal, rags and balloons of all colors; the clouds of train steam from the last century; a siren from a factory that has closed... A ghost town that emerges from the past.

Launched by Radio France Internationale's (RFI) participatory platform ecouterlemonde.net, the call for participation "La ville rêvée - How does your ideal city sound?" invited contributors from all over the world to capture and transmit sounds from their surroundings, now mapped and freely accessible+D47 on the sound map. But how do you build your "dream city"? Is it a sound mosaic, made up of multiple echoes of other cities? Monica Fantini has seized on the sounds of the world to build collective dream cities, with the following contributions:

- Street vendors selling scrap metal, rags and balloons, in the streets of Paris in 1950, archives by Michel Créïs,
- Bento Gonçalves' steam train in Rio Grande do Sul, Brazil, by Monica Fantini and Xabier Erkizia,
- The siren at Bobo-Dioulasso town hall, by Monica Fantini,
- The siren at the Puerto de Sagunto factory, Valencia, Spain, by Pedro Montesinos.


> Site de Radio France Internationale : Rêve sonore de villes disparues




Auteure et coordinatrice d’Ecouter le monde, Monica Fantini écoute, enregistre et compose des pièces sonores à partir de sons du quotidien : claquement des portillons du métro parisien, harangues des vendeurs au marché de Bobo-Dioulasso au Burkina Faso, craquement des glaciers en Patagonie, roulement des calèches dakaroises ou encore cloches de la place Saint-Marc à minuit à Venise… Autant d’éclats de vie avec lesquels elle tisse des récits pour raconter le monde, créer des liens et partager des savoirs. De leur collecte à la création d’œuvres sonores et à leur diffusion, Monica Fantini sollicite la collaboration d’artistes, de chercheurs, compositeurs, journalistes et écrivains, afin de fédérer une large communauté et de mettre en commun expériences et savoirs dans différentes approches du son. Avec l’ambition de développer la pratique, le sens et le plaisir de l’écoute, elle dirige aussi des ateliers sonores s’adressant à tous les publics : enseignants, enfants, étudiants, migrants, détenus, poètes, musiciens… Enfin, les créations sonores d’« Ecouter le monde » font régulièrement l’objet de présentations publiques dans le cadre de festivals, d’expositions, de colloques et d’événements culturels dédiés, imaginés par les auteurs de la plateforme. Tous les ans, la Bibliothèque Nationale de France laisse ainsi carte blanche à Monica Fantini autour d’« Ecouter le monde ».

“Dream of wild towns” - 2’30

2020

FANTINI Monica

"Rêve de villes sauvages" invites animals to share urban space: the Brussels whistles tickle the roosters of Cairo, the seagulls cries of Venice cover the harangues of the Rialto merchants, the Chicago sirens meet the songs of Madagascar lemurs, Eaubonne frogs debate with Tokyo cicadas....

Launched by Radio France Internationale's (RFI) participatory platform ecouterlemonde.net, the call for participation "La ville rêvée - How does your ideal city sound?" invited contributors from all over the world to capture and transmit sounds from their environment, now mapped and freely accessible on the sound map. But how do you build your "dream city"? Is it a sound mosaic, made up of multiple echoes of other cities? Monica Fantini has seized on the sounds of the world to build collective dream cities of sound, with the following contributions:

- Brussels, Belgium: Deux sifflets pour un bouchon by Virgile Loiseau
- Rialto Market, Venice, Italy: Closure of SonosFera
- Chicago, USA: Siren and Bertoia Sound Sculptures, at the foot of Émile Boudghene's Aon Center Building
- Tokyo, Japan: Cicada song in the heart of Martin's city
- Lisbon, Portugal: Aurélien Caillaux's Alcântara descent
- Lemurs of Madagascar, RFI
- Eaubonne, Ile de France, night frogs, Laurence Allanic."


> Site de Radio France Internationale : Rêve de villes sauvages



Auteure et coordinatrice d’Ecouter le monde, Monica Fantini écoute, enregistre et compose des pièces sonores à partir de sons du quotidien : claquement des portillons du métro parisien, harangues des vendeurs au marché de Bobo-Dioulasso au Burkina Faso, craquement des glaciers en Patagonie, roulement des calèches dakaroises ou encore cloches de la place Saint-Marc à minuit à Venise… Autant d’éclats de vie avec lesquels elle tisse des récits pour raconter le monde, créer des liens et partager des savoirs. De leur collecte à la création d’œuvres sonores et à leur diffusion, Monica Fantini sollicite la collaboration d’artistes, de chercheurs, compositeurs, journalistes et écrivains, afin de fédérer une large communauté et de mettre en commun expériences et savoirs dans différentes approches du son. Avec l’ambition de développer la pratique, le sens et le plaisir de l’écoute, elle dirige aussi des ateliers sonores s’adressant à tous les publics : enseignants, enfants, étudiants, migrants, détenus, poètes, musiciens… Enfin, les créations sonores d’« Ecouter le monde » font régulièrement l’objet de présentations publiques dans le cadre de festivals, d’expositions, de colloques et d’événements culturels dédiés, imaginés par les auteurs de la plateforme. Tous les ans, la Bibliothèque Nationale de France laisse ainsi carte blanche à Monica Fantini autour d’« Ecouter le monde ».

“Acoustic dream of remembered cities” - 2’29

2020

FANTINI Monica

"Rêve sonore de villes en souvenir" is made up of recordings taken in faraway cities. The sonic memories of voices heard in the streets of other cities resonate in our memories, building a city within a city.

Launched by Radio France Internationale's (RFI) participatory platform ecouterlemonde.net, the call for participation "La ville rêvée - How does your ideal city sound?" invited contributors from all over the world to capture and transmit sounds from their surroundings, now mapped and freely accessible on the sound map. But how do you build your "dream city"? Is it a sound mosaic, made up of multiple echoes of other cities? Monica Fantini has seized on the sounds of the world to build collective dream cities of sound, with the following contributions:

- Molenbeek, Brussels, Belgium: A sound walk around the market, by Colin Hunter
- Havana, Cuba: Habana Vieja, by Marjolaine Leclancher
- Demonia, Peloponnese, Greece: Ferrailleur, by Céline Della Savia
- Paris, France: the rue Mouffetard market in 1950, private archive by Michel Créïs.


> Site de Radio France Internationale : Rêve sonore de villes en souvenir



TWIXTLAB is a project space in Athens, situated between contemporary art, anthropology and everyday life. It is engaged in social research and theory, art research and production, education and social intervention. Since its establishment in 2014 it has organized, hosted, and participated in research projects, art events, exhibitions, screenings and discussions, while it has also provided educational and training modules, workshops and seminars for the wider public, on topics within its cross-disciplinary curriculum.

“Critical reflections on sound as a multi-sensory experience” - 7’

2023

FOTIADI Eva / PANOPOULOS Panayotis

Orestis Karamanlis, the Deaf Ensemble and Harris Lambrakis’ Transnational Orchestra of the Greek National Opera

A discussion between sonic ethnographer Panayotis Panopoulos and art theorist Eva Fotiadi about the limitations and potentials of language, technologies, and sound as a multisensory experience, while working with Deaf communities. Voices (in order of appearance): Panayotis Panopoulos (Anthropology, University of the Aegean, Audibility project) Eva Fotiadi (Art History and Theory, The OtherAbilities, Center for Applied Research in Art, Design and Technology). Music: “RADAR”, a structured improvisation written and conducted by Orestis Karamanlis (Audibility project) with the Deaf Ensemble formed out of “Sound Art as physical experience” seminars and the Transcultural Orchestra of the Greek National Opera. Performed live in the context of the Social and Educational Actions of the Greek National Opera, SNCF, Athens, Greece, 29 April 2023.



TWIXTLAB is a project space in Athens, situated between contemporary art, anthropology and everyday life. It is engaged in social research and theory, art research and production, education and social intervention. Since its establishment in 2014 it has organized, hosted, and participated in research projects, art events, exhibitions, screenings and discussions, while it has also provided educational and training modules, workshops and seminars for the wider public, on topics within its cross-disciplinary curriculum.

“Art from one sense to the other” - 6’57

2023

FOTIADI Eva / PANOPOULOS Panayotis / PAPACHRISTOU Dana / SAMANTAS Yorgos

Students of Argroupolis’ Special High School for the Deaf and hard-of-hearing, Kalliopi Takaki, Orestis Karamanlis, Giorgos Mizithras, Petros Flampouris

A discussion on “sensory translation” for inclusivity: D/deaf, hard-of-hearing and hearing audiences experience sound-art through vibro-tactile applications, from projects in Greece (B-Air: Audibility) and the Netherlands (The OtherAbilities). Voices (in order of appearance): Panayotis Panopoulos (Anthropology, University of the Aegean, Audibility project, GR) Eva Fotiadi (Art History and Theory, The OtherAbilities, Center for Applied Research in Art, Design and Technology, NL) Dana Papachristou (Aesthetic and Media Theory, University of Thessaly, Audibility project, GR) Yorgos Samantas (TWIXTlab, GR) Music: “On the planet” (excerpts), a radio composition by the students of the Special High school for the Deaf and hard-of-hearing of Argyroupolis, Athens, made within TWIXTlab’s “Tangible Radio – Class on Air” workshop for B-Air: Audibility. Sound design/additional sounds: Yorgos Samantas



TWIXTLAB is a project space in Athens, situated between contemporary art, anthropology and everyday life. It is engaged in social research and theory, art research and production, education and social intervention. Since its establishment in 2014 it has organized, hosted, and participated in research projects, art events, exhibitions, screenings and discussions, while it has also provided educational and training modules, workshops and seminars for the wider public, on topics within its cross-disciplinary curriculum.

“Tangible sound” - 6’49

2023

FOTIADI Eva / PAPACHRISTOU Dana / SAMANTAS Yorgos

Students of Argroupolis’ Special High School for the Deaf and hard-of-hearing, Kalliopi Takaki, Orestis Karamanlis, Giorgos Mizithras, Petros Flampouris

Can we conceive sound beyond hearing? What other ways of access to sonic media can we devise when informed by the experience of D/deaf and hard-of-hearing individuals? A discussion on design processes that aim to “activate” alternative ways of listening, between members of The OtherAbilities (NL) and the Audibility (GR) projects. Voices (in order of appearance): Yorgos Samantas (TWIXTlab, Audibility project) Eva Fotiadi (Art History and Theory, The OtherAbilities, Center for Applied Research in Art, Design and Technology, NL) Dana Papachristou (Aesthetic and Media Theory, University of Thessaly, Audibility project) Music: “On the planet” (excerpts), a radio composition by the students of the Special High school for the Deaf and hard-of-hearing of Argyroupolis, Athens, made within TWIXTlab’s “Tangible Radio – Class on Air” workshop for B-Air: Audibility. Sound design and mixing: Yorgos Samantas



Duo composé de deux artistes étudiant à l’ecole Supérieure d’Art et Design de Grenoble, Pouria Mohammadizadeh et Antoine Fresneda, pratiquant tous deux la peinture et la musique de façon singulière. Ils se sont rencontrés au croisement d’un chemin pour dépeindre des paysages sonores.

“Sylvie's nights” - 5’17

2023

FRESNEDA Antoine, KOOKA Pouria

The sound work "Les nuits de Sylvie" is an immersive exploration of a dreamlike world in which the heroine, Sylvie, leads the listener through a sonic arrangement. In this journey, we follow the movement of a continuous flow of sounds. Although Sylvie is the main character of this work, she remains mysterious, as we never really meet her. "Sylvie's Nights, a sonic journey between reality and fiction, where the listener is invited to give free rein to his or her imagination and explore the work's multiple layers of meaning.



Duo composé de deux artistes étudiant à l’ecole Supérieure d’Art et Design de Grenoble, Pouria Mohammadizadeh et Antoine Fresneda, pratiquant tous deux la peinture et la musique de façon singulière. Ils se sont rencontrés au croisement d’un chemin pour dépeindre des paysages sonores.

“Waking up in Seoul” - 5'08

2023

FRESNEDA Antoine, KOOKA Pouria

The sound work "Réveil à Séoul" presented here is an immersive exploration into a dreamlike world, with variations on the theme of what has been lost. This journey is far from peaceful, as we drift rapidly to the rhythm of pounding drums. This sound work takes us into a world of heightened emotions and mixed feelings. This sound experience is an invitation to accept instability, To flee from things with intangible names.



Noha GAMAL SAID is a doctor in architecture and urban design; she is associate professor at Ain Shams University, Department of Architecture and urban Design – Cairo; associate researcher at Cresson research center - National School of Architecture of Grenoble where she had defended her PhD thesis in 2014.

“Town crier” - 7'26

2022

GAMAL SAID Noha

As part of a larger project aimed at understanding and qualifying the functioning of poverty atmospheres, this article focuses on town criers as one of the phenomena characterizing the soundscape of Cairo's working-class districts. Town criers go by many names, depending on their occupation: mouzzen, menandi, microbus criers, ba'a moutagaleen, itinerant merchants and so on. Shouting in public spaces can be found in many fields: commerce, transport, religion... As well as being one of Cairo's most typical sound sources, this form of sonic presence, especially in commerce and transport, bears witness to the struggle against poverty that predominates in the city and shows how Cairoites adapt to economically difficult conditions. In addition, the repetitive nature of some of the cries gives rhythm to the day and acts as a temporal marker.



Marilyse Garattoni réside à Grenoble. Intéressée par les créations hybrides mêlant texte, théâtre, danse, peinture…Elle a notamment participé à la création d’une fiction radiophonique, sur le thème du travail (diffusion sur les ondes de radio campus Grenoble, 2019) ; a écrit une courte pièce de théâtre « La réalité » ayant fait l’objet d’un travail de mise en scène par le collectif Théâtr’Ensemble, sous la direction d’Yves Doncque (2013) ; a créé une performance mêlant texte (haïku) et danse (Diois, 2017). Travaille actuellement sur le projet « I don’t want to be a super woman anymore ! » (Performance dans l’espace public de Grenoble - 5 femmes/interprètes).

“I want a new city” - 4’14

2023

GARATTONI Marilyse

"I was inspired by the story of how Nebuchadnezzar II built the Hanging Gardens of Babylon to remind his nostalgic wife, Amytis, of the wooded mountains of her homeland. Based on this story, I imagine a modern Amytis asking her "love" to build her a new city. The emphasis is essentially on the intimate, on what the woman wants and feels, and on the opportunity to imagine and bring to life, even for a few moments, this new town, a kind of "Ideal City".



Catherine GAUTHIER Sociologue, Maîtresse de conférence à l’ ENSA Clermont-Ferrand, chercheure à l’UMR RESSOURCES, travaille sur : altérités, ambiances et usages des lieux sociabilité ordinaire et mutations des espaces publics populaires ou centre bourgs. Par l’enquête et l’anthropologie audiovisuelle elle réalise podcasts et films documentaires et de recherche.

Dan Charles Dahan, IESA Paris 2001, concepteur multimédia, diplômé développe une pratique artistique axée sur le son. Son travail oscille entre art sonore, musique acousmatique, d’improvisation, mix expérimental, art radiophonique, paysage sonore (field recording), sound design… Ces pratiques qu’il cultive et alimente constamment par des rencontres et de nouveaux sujets lui confèrent un univers singulier et une approche personnelle de la matière sonore.

“What Boën is missing is a hotel!” - 4’07

Création 2022 / Adaptation 2023

GAUTHIER Catherine / DAHAN Dan Charles (sound design editing)

"Rue des kébabs" is a multi-disciplinary research project by the UMR Ressources research unit at ENSA Clermont Ferrand, focusing on commercial vacancy in town centers and the adaptation and revitalization strategies adopted by elected officials, residents and shopkeepers. Between surveys and the production of audiovisual material, we collected testimonials from the elders of the small post-industrial town of Boën-sur-Lignon, located in a rural area near Saint-Etienne (42). They meet on sunny afternoons in the town hall square, the day after the Covid-19 pandemic in September 2021, and talk about their impoverished town.



Carton Plein un collectif pluridisciplinaire (art, design, paysage, sociologie…), s’attèle à la conception et l’activation d’espaces publics pour construire des territoires vivants, durables et solidaires : une équipe à géométrie variable apte à user de créativité pour révéler des territoires, susciter des envies, embarquer les gens dans l’action collective inédite.

Dan Charles Dahan, diplômé IESA Paris 2001, réalisateur multimédia, développe une pratique artistique axée sur le son. Son travail oscille entre art sonore, musique acousmatique, d’improvisation, mix expérimental, art radiophonique, paysage sonore (field recording), sound design. Ces pratiques qu’il cultive et alimente constamment par des rencontres et de nouveaux sujets lui confèrent un univers singulier et une approche personnelle de la matière sonore.

“ Ambert is talking to you” - 6’39

Création 2022 / Adaptation 2023

GAUTHIER Catherine / DAHAN Dan Charles

"Les vitrines qui parlent" is a festival organized in 2022 by the Centre Culturel Le Bieff and the town of Ambert, on the theme of "tasting the town center". The theme is "tasting the town centre", and the theme is the food trade revival. This small town in the Massif Central is experiencing a crisis in the transfer of local businesses. ENSA Clermont-Ferrand and the Collectif Carton Plein collaborated on this audio exquisite corpse of testimonials collected during guided tours and various vacant places reactivated for one or two days by artists, researchers, craftsmen... Dan Charles Dan associated "Les copains", a film by Yves Robert featuring Ambert in 1964, with Philippe Noiret, Pierre Mondy and Guy Bedos.



Giuseppe Gavazza, studied composition, piano, musicology, electronic music. PhD and composer-in-residence ACROE-ICA, Grenoble, teaches at the Cuneo Conservatory and is researcher at AAU Cresson, Grenoble. He has created musical projects around the world with artists of all sectors and nationalities.

“Banality of Evil” - 3’55

2004

GAVAZZA Giuseppe

Banality of Evil take its title from H.Arendt and uses-with no sound treatment-5 fragments from historical radio broadcast and personal field recordings: – Bell tolls, Lausanne, 29.03.1981 – B.Mussolini: war declaration, Rome, 10.06.1940 – M.Zedong, speech at advisory congress, 15.06.1949 – W.Jaruzelski, speech for military law order, Poland, 1981 – France Culture, Radio Libre, Auschwitz. France A sad counterpoint opened by funerary bell tolls, concluded by melancholic music and a gentle bird’s song.
Selected at Phonurgia Nova, Sonoscope 2004



Russell Gendron is a multidisciplinary artist based in Montréal. He is currently experimenting with how to present and nurture oral histories using sound art and installation. His work attempts to avoid notions of accuracy or finality and instead reflects the multiplicity of expressions he encounters.

“The Mill (excerpt)” - 6’01

2023

GENDRON Russell

The following is a collage of forest sounds and the voice of a Lil̓wat7úl First Nation elder, educator and artist. A forager and son of a logger, the voice shares with us the many uses, beyond timber, that forests possess. We learn that the Lil̓wat7úl people have always had a longstanding relationship with the forest; one that is dynamic, nourishing and sustainable that exists both within and outside of enterprise. Immersed in the multitude of life found in the forest, we are also reminded of its fragility.



Ulysse Geneau, né le 25 janvier 1998 à Paris, est étudiant en dernière année à l’ENSAPM. Il est d’origine brésilienne et entretient un rapport particulier avec ce pays.

Maximilien Hubert est lui aussi étudiant en dernière année à l’ENSAPM. Il naît à Dijon le 1er mars 1998, de parents italiens et allemands.

Depuis 2019, le binôme s’intéresse aux rôles de l’infrastructure, à son croisement avec le paysage ; à une certaine brutalité en découlant, aussi. En parallèle de leurs études d’architecture, ils mènent des recherches fusionnant des outils de transmissions visuels, plastiques et sonores.

“50.831028, 6.271881” - 6’12

2023

GÉNEAU Ulysse / HUBERT Maximilien

The story is about a mining infrastructure in Germany. Constructed in two parts, the sound production begins with a documentary approach, tracing the soundscape of the site and superimposing sounds captured directly on site using a Zoom H4N Pro recorder, then reworked. The second part is a composition designed to convey the permanent tension in which this territory is immersed. The dominant element is a capture of the place filtered, reworked and passed through a "sampler" to become a synthesizer that can be played.



Yannick Peria est un artiste visuel né en 1998 à Le Port, Île de La Réunion où il a été diplômé de l’École Supérieur d’Art de La Réunion. Il a un travail de peinture : Ses sujets étant tirés de son environnement, son travail est par conséquent fortement lié à la créolité réunionnaise. Il peint d’après ses photographies prises à l’iPhone : des images de ses amis, des endroits qu’il fréquente, des intérieurs, des objets. Yannick Peria ne se pose pas de limites et peint tout ce qu’il veut, tout ce qu’il voit. Depuis son enfance, La Réunion a considérablement changé. À travers sa peinture, il donne à voir ce qui reste de La Kour, avant que ne disparaissent totalement les signes de l’insouciance. Il est actuellement en résidence à la Cité international de Paris.

Brandon Gercara est artiste plasticien.ne chercheureuse activiste du milieu queer à La Réunion. Diplômé·e de l’École Supérieure d’Art de La Réunion en 2019, son travail se concentre sur une étude critique de l’ensemble des dynamiques de dominations dans un contexte post-colonial. Iel imagine Requeer, espace de recherche, de sociabilisation, de visibilisation & d’archive pour les personnes LGBTQIA+ de La Réunion. Iel développe une pratique pluridisciplinaire, incluant performance, photographie, vidéo et installation. Artiste associé·e au Fonds Régional d’Art Contemporain de La Réunion (FRAC Réunion) ainsi qu’au Laboratoire de recherche APILAB / ESA Réunion, iel est fondateur·trice de Requeer et l’organisateur·trice des Marches des Visibilités LGBTQIA+ Iel est également chanteureuse. En 2022, iel est sélectionné·e pour présenter «Playback de la pensée kwir» au Salon de Montrouge. Iel performe également durant la Biennale de Casablanca.

“Kwirizé the music” - 2’30

2022

GERCARA Brandon / PERIA Yannick

"Kwirizé la musique" questions the trivialized dominance of the Réunionese music scene. The project is based on the observation that many Reunionese song lyrics are sexist and lgbtphobic. Music is a popular tool for taking over social networks, as well as parties, bars and concert halls, in order to make these mocked bodies visible and commonplace: LGBTQIA+ people The songs, written in Reunionese Creole, address a wide range of issues, including intersectionality: the fact of experiencing multiple oppressions, homophobia, transphobia, follophobia and racism. This project is largely a duo between Yannick Péria and Brandon Gercara. Coming from a contemporary art background, their musical practice brings to light new models of representation. Their duet is a joyful way of getting Reunion Island dancing and raising awareness of LGBTQIA+ issues.








Stefania Giametta is an architect, PhD in urban planning. Passionate about soundscape issues since 1996, she has devoted her university education to these subjects, dedicating to these themes both bachelor’s and doctorate performed at Università IUAV di Venezia after her DEA at the Cresson laboratory in Grenoble. Her studies focus on the research of tools for sound space description and their experimentation in specific urban contexts in order to offer a qualitative description and identify those sounds capable of highlighting a relationship with places. She tried to apply these tools to urban contexts affected by social and/or functional conflicts. Today she works as a art school teacher and continues to be interested in these topics.

“CHIRIBIM CHIRIBOM” - 2’21

2011

GIAMETTA Stefania

With this sound recording I propose the listening of children’s voices from a third grade class from a school in Bologna, Italy. I recorded these voices during a performance following a music and songs project. The “silence”dug into the hearts and souls of people during Covid emergency, leaves again the place to “sounds”, in this case children’s voices, that finally sing together again in the schools. The piece of music is called, CHIRIBIM CHIRIBOM, tha adaptation of a Jewish folk song, sung all over the world.



Stefania Giametta is an architect, PhD in urban planning. Passionate about soundscape issues since 1996, she has devoted her university education to these subjects, dedicating to these themes both bachelor’s and doctorate performed at Università IUAV di Venezia after her DEA at the Cresson laboratory in Grenoble. Her studies focus on the research of tools for sound space description and their experimentation in specific urban contexts in order to offer a qualitative description and identify those sounds capable of highlighting a relationship with places. She tried to apply these tools to urban contexts affected by social and/or functional conflicts. Today she works as a art school teacher and continues to be interested in these topics.

“Foggy day” - 9’18

2001

GIAMETTA Stéfania

This Venetian soundcape is recorded around the Zattere waterfront on a day in witch the city was covered in fog. At the beginning, on Zattere’s Fondamenta, the sirens of the boats crossing the Giudecca Canal, signal and answer each other from far away, reverberating on a large scale. This reverberation is a typical sound characteristic of this opened space where water works like a mirror that reflects sound in different directions. Often this reverberation effect is accompanied by an ubiquity effect, adding the difficulty to locate sound sources heard thru from great distances. Then, we can also hear sounds recorder calibrating her measuring equipment (80dBA); In another sound sequence, sounds recorder walks towards Campo San Trovaso passing through a calle. This passage from a large space to a tight space is characterized by a coupure effect, amplified by a social transition. Here, the sirens slides in the background and we are struck by the density and proximity of verbal exchanges. At the end of this sequence, the bells of various churches take over as a prominent background sound, while sound recorder move from the campo to narrower streets with close interactions.



Louis Cherry is an architect (Louis Cherry Architecture), musician, photographer, and documentary filmmaker. Trained in literature (Duke University), art (East Carolina University), and architecture (North Carolina State University), Louis was elected to the College of Fellows of the American Institute of Architects (FAIA) in 2009 and is accredited as a LEED design professional.
https://www.louischerry.com/

Marsha Gordon is Professor of Film Studies at North Carolina State University, a recent Fellow at the National Humanities Center, and an NEH Public Scholar. She is the author of numerous books and articles, and co-director of several short documentaries. Her latest book, Becoming the Ex-Wife: The Unconventional Life and Forgotten Writings of Ursula Parrott, was published with the trade division of University of California Press in April 2023.
https://www.marshagordon.org/

“Consequences (An Archival-Natural Soundscape)” - 7’

2023

GORDON Marsha / CHERRY Louis

“Consequences” meditates on how world-altering decisions reverberate through space and time from the moment of (invisible) thought to voluble utterance, from recording to dissemination, from the archive to digital resurrection. We gesture towards utopia by way of dystopian history: the Allied decision to drop an Atomic Bomb on Hiroshima on August 6, 1945, with consequences that rippled out from devastated Hiroshima to every living creature in our multi-state-nuclear world who lives in the shadow of the bomb’s potential re-use. What’s past is present and future. What might be lost might also be saved—if we listen.

Archival sources used are from Franklin Delano Roosevelt’s Speech (December 8, 1941), courtesy of the FDR Library, RLxA-93. 71-35:2. and Harry S. Truman Speech (August 6, 1945) courtesy the Harry S Truman Library, VT2008-9-2.\



Yannick Gourvil est architecte-urbaniste (BMC2), enseignant (Ensaplv), chercheur (ET ALORS et Gerphau) et conseil de l’Etat (département de la Manche). Il a suivi le programme d’expérimentation en art et politique de Bruno Latour (Sciences Po) qui a été un tournant dans son parcours. Il utilise la fiction pour explorer les possibles effets des changements climatiques

“Respire survey: interview with Mava, Paris, April 26, 2057” - 2’24

2020

GOURVIL Yannick

Mava and her daughter Louva come from the future to question our present. Mava is a Parisian who lived through the changeover from modern Air to sensitive air in the first half of the 21st century. As for Louva, she went to live in China during the ecological revolution in 2043. In Canton and Shenzhen, the behavior of high-rise buildings indicates the state of the gaseous substances enveloping them; in Changchun, building bricks are made by the condensation of pollution particles; in Chengdu, parks synthesize pre-industrial air thanks to carbon traps; in Wuhan, the Chinese Air Embassy is inaugurated. I was born on August 13, 2024 in Paris, France, right during the Olympic Games into a family, you'll laugh, that claimed to be ecologists... It's funny this word: Ecology, you find it everywhere in the documents of the time... but, you bet, nobody was really taking into account the issues of our Great Warming. They knew that even 2°C more would completely upset the surface of the Earth in just two generations! "extract from interview with Louva, 2048. RESPIRE! takes the form of a hybrid research project combining scientific expertise and artistic proposal. Yannick Gourvil imagined a new production featuring air, the way we breathe it, live in it and deal with it. Two characters appear to help us understand this new territory, this new elemental relationship.
Performance: Shahrzad Fathi



Yannick Gourvil est architecte-urbaniste (BMC2), enseignant (Ensaplv), chercheur (ET ALORS et Gerphau) et conseil de l’Etat (département de la Manche). Il a suivi le programme d’expérimentation en art et politique de Bruno Latour (Sciences Po) qui a été un tournant dans son parcours. Il utilise la fiction pour explorer les possibles effets des changements climatiques.

“Drifts: from the globe to the doormat” - 1’57

2015

GOURVIL Yannick

Exercise in describing the crossing of scales and issues as the water level rises. Sound from the Dérives installation presented during the En attendant la Crue exhibitions, following the Institut Français' Hors les murs residency in Hamburg and Lisbon with architect Cécile Leroux.
Interpretation: Emma, voice synthesis.



Noémie Goux est doctorante en géographie au sein du laboratoire PASSAGES (UMR 5319). Elle mène une enquête multi-située qui conjugue un regard anthropologique, in situ et sensible sur les présences qui prennent formes dans le mouvement migratoire, ainsi que les diverses manières de les (a)percevoir.

“News from a world on the move: on the sound trail of international migrations / Casablanca, Medina market” - 6’15

2022

GOUX Noémie

Casablanca, marché Médina, known as "marché des sénégalais" - Morocco, April 2022 The sound of a cosmopolitan public space. How does the world sound when it's on the move? It sounds like it's borrowed from multiple tones, multiple localities. Here, sound elements such as spoken languages, interaction modes, activities in progress, presence, negotiation games captured in situations give shape to an original soundtrack born of a subtle cross between a "here" and a "there".



Noémie Goux est doctorante en géographie au sein du laboratoire PASSAGES (UMR 5319). Elle mène une enquête multi-située qui conjugue un regard anthropologique, in situ et sensible sur les présences qui prennent formes dans le mouvement migratoire, ainsi que les diverses manières de les (a)percevoir.

“News from a world on the move: on the sound trail of international migrations / Barcelona, El Raval district” - 4’25

2023

GOUX Noémie

Barcelona, El Raval district - Spain, April 2023: " In this district there are many languages, many... Here it's Wolof, Darija, Urdu... Here there are other languages, other tones, other melodies. Melodies you can't hear in other parts of the city. And these melodies are also different depending on whether they are Pakistani, Moroccan, ... it's also a diversity, another sound. (...) A lot of people say it's noise, but for me it's a melody!" Interview with E.



Noémie Goux est doctorante en géographie au sein du laboratoire PASSAGES (UMR 5319). Elle mène une enquête multi-située qui conjugue un regard anthropologique, in situ et sensible sur les présences qui prennent formes dans le mouvement migratoire, ainsi que les diverses manières de les (a)percevoir.

“News from a world on the move: on the sound trail of international migrations / The chatarra men in Barcelona” -5’10

2023

GOUX Noémie

Los hombres de chatarra de Barcelona (translation: The scrap metal collectors of Barcelona) - Spain, April 2023. In the city of Barcelona, many migrants collect "chatarra", scrap metal. Using carts, these informal recyclers roam the city's streets, bringing public spaces to life with their presence. The sounds of this singular activity can be heard in three situations: the continuous sound of the cart rolling over the asphalt; the sorting of the collected scrap metal at the depot; and the selection of the metals to be kept in front of the containers. As the activity continues, over the hours and through the headphones, sounds that take us elsewhere...



David Jude Greene’s work, in studio art, performance, exhibitions, and academic areas of creative research are marked by his study of popular culture. His academic & interdisciplinary artwork is demonstrated through multiple areas of non-linear narrative storytelling. The themes of his work; singularity, relationship to self & others, romantic interludes, and the abstraction of contemporary culture are a continued state of reference. These subjects are executed through painting, photos, videos, and performance. David Jude Greene is a working artist and academic in Chicago, Illinois.

“Iron In Winter” -5’16

2024

GREENE David Jude

David Jude Greene creates a voiceover soundscape with a dreamlike narrative about Chicagoans' relationship with winter, its monumental architecture, and how Mother Nature is the sole controller of their daily lives.



Adrien Gros, né à Poissy (78) en 1998, étudiant en master 2 à l’ École d’Architecture de Montpellier. Il a plusieurs fois au cours de ses études expérimenté sur les liens qui unissent le son et l’espace, notamment au travers d’un mémoire sur l’acoustique.

Antoine Brumont, né à Tarbes (65) en 2000, poursuit un master d’architecture à l’ENSA de Montpellier. La pratique sonore est un élément important qui influence son parcours. À travers une approche sensible des lieux, il cultive ce rapport entre sons et architectures.

“Welcome to AIFM” - 6’40

2023

GROS Adrien / BRUMONT Antoine

Prompticace, a program from a dystopian future, orchestrates interaction between AIs and listeners. The sound proposal questions our relationship with the media and technological advances. AIFM Radio delivers ambiguous news, with confused dialogues intertwined with abstract requests, artificial musical objects designed to immediately satiate the senses. But the tracks become blurred: where does the AI really exert its influence? The seemingly light-hearted dialogues abandon the individual to an opaque machine. The laughable becomes strange.



Marius Houschyar is a musician and artist based in Istanbul since 2017. Over the years, he has produced three solo LPs as well as several collaborations and played concerts at small, edgy festivals and venues across Eastern Europe and Turkey. While studying fine arts in the class of alva noto in Dresden, Germany, he started experimenting with sound, picture and music, expanding his interests beyond krautrock, berlin school, experimental electronics and improvisation, but maintaining his playful yet melancholic nostalgia in his musical language.

“First quote from dust” - 3’58

2023

HOUSCHYAR Marius

The piece ‘tozdan ilk alıntı’ is a tiny excerpt from the life on a small schoolyard in Kahramanmaras, Turkey, where an entire community is living in tents as a result of the devastating earthquakes of February. As part of the spontaneously formed ‘to-it together’ aid collective KAF, which has been supporting the local community since the first days after the disaster, the artist had the opportunity to collect footage and extract pieces of a shattered reality that is being transformed into something new. The recording contains conversations with children, beginning with 6-year-old Mohammed singing a Syrian song, before descending into a dreamy organ loop telling of rain, mud and the smell of burning wood. A little note from Sümer Mahallesi, Kahramanmaras through Istanbul into the world.”



Juan Pablo Ibarra Harfush
September 20, 1967 Mazatlan Mexico. Music producer, live and studio audio engineer. Since 1992. Music producer for companies such as Universal Music, Emi Capitol, Sony music. Engineer for live concerts with different first level artists.

Ana Paula Ibarra Chapoy
14 October 1996 Zapopan, Mexico. After two years of studying architecture, she joined the Experimental School of Art Annecy Alps as a design student.

“Induction Soundscape” - 3’16

2023

IBARRA CHAPOY Ana Paula / IBARRA HARFUSH Juan Pablo

Induction Soundscape was made from the recording of an induction cooker. Induction cookers use electromagnetic fields to heat the cookware. When the electromagnetic field interacts with it, it creates a distinctive sound that is both rhythmic and harmonious. When you listen to Induction Soundscape, you are transported into a fictional world where sound takes on a life of its own. Some will perceive the sound as a threatening presence, while others will find it soothing and meditative. Whatever interpretation listeners give to sound, they will certainly come away with a new appreciation of the beauty and complexity of this often overlooked aspect of technology.



Laïs Janvion
Urbaniste. J’ai voulu partager ces deux sons dont l’un s’inscrit au sein d’un grand voyage en Europe et l’autre à ma rentrée en France au sein d’un grand moment fort. Ce sont des nouvelles de lieux, où d’un ensorcellement de l’ailleurs je me retrouve brusquement happée par cet ancrage territorial. Deux lieux, deux temporalités, deux postures.

“Call to the mosque - Mostar” - 2’35

2022

JANVION Laïs

The recording was registered on October 28, 2022 at midday prayer time in Mostar, Bosnia-Herzegovina. The sound is set in the souk of the old town, near the Stari Mostar (Mostar Bridge) overlooking the Neretva River. It's a mix of the call to prayer from different mosques; the restaurant with music and dishes; the passage of the alleyway; the scrap metal workers tapping copper to make jewelry and other objects.



Laïs Janvion
Urbaniste. J’ai voulu partager ces deux sons dont l’un s’inscrit au sein d’un grand voyage en Europe et l’autre à ma rentrée en France au sein d’un grand moment fort. Ce sont des nouvelles de lieux, où d’un ensorcellement de l’ailleurs je me retrouve brusquement happée par cet ancrage territorial. Deux lieux, deux temporalités, deux postures.

“Good News - Paris” - 1’28

2023

JANVION Laïs

The recording was registered on the afternoon of March 23, 2023, in the Bonne Nouvelle district of Paris. It's a sound recording in motion, in contrast to the previous one, which moves between two processions of the demonstration. From slogans to militant chants. From a demanding tone to a more festive one. And the crowd.



Alice Jeannel vit et travaille en France. En cinquième année à l’ESAAA au sein du Master Terrain, son travail se développe en cycles et écosystèmes. Tout organisme est en constante transformation. Les traces, matières et éléments récoltés s’accumulent en récits et, parmi eux, les terres. Monde de déplacements, destructions, cultures, digestions ou apparitions, le sol est un placard invisible qui pourrait contenir toutes les histoires passées, présentes et futures.

“Conversation by conversion” - 4’03

2023

JEANNEL Alice

“Conversation by conversion” is a dialogue between soil samples and their environments. Collected, amalgamated, dried then plunged into water with a micro contact, the three handfuls of soil gradually release the air they have captured. The harvest of land and soundscapes was done on March 25, 2023, a wet day, in Vachère en Quint. We walk to the place, then the gurgling sounds of the earth exchange with their surroundings: 44.787110, 5.256132, near a recently collapsed walnut tree, 44.787685, 5.254020, at the Riff, 44.787906, 5.255869, under a quince tree seeing foxes and wild boars passing by. And each time, the hiss of the stream below.



Pierre Jolivet (aka Pacific 231) has been embedded in the world of experimental music since the early 80s. Through his work, he has consistently sought out and found new sounds, new compositional themes, ventured into unfamiliar aesthetics, and maintained the rare quality of a steady evolutionary path. His discography now exceed twenty albums with more than eight collaborations in different formats. He pursued in parallel a more conventional career in education and design, doing most of his CD and LP covers and teaching in institutions such as University College Dublin, National College of Art and Design or Trinity College Dublin

“Pataphysical Study - The Bicycle Wheel” - 5’59

2023

JOLIVET Pierre

Étude Pataphysique - La Roue de Bicyclette is a Dublin binaural recording of an electric velocipede, topped off with electronic processing that accentuates the relationship between road, machine and rider. A particular case opposed to the general case, opening up a universe additional to our own where the intention of the creative act can flourish.



Elias Joly, né le 25-03-2005, actuellement lycéen à Paris en Terminale Générale au Lycée Sophie Germain. Candidat pour être admis en Licence en Ecole Nationale Supérieure d’Architecture à Paris l’année prochaine.

“Architecture is the expression of the moment” - 5’08

2023

JOLY Elias

Excerpt from a telephone conversation on April 8, 2023, with my great-grandmother, Claude Joly, born August 15, 1920. We all call her Dodie. I asked her questions about architecture, yesterday, today and tomorrow. Fascinatingly, unprepared, she lent herself to the ITW game naturally and seriously. Her touching words are often spot-on. You can even hear a contemporary definition of architecture, which is interesting coming from someone so old. More intimately, you can sense her fear of the unknown, of death, when she talks about the architecture of the future. I'm going to keep this recording as a precious family testimony that questions, as Boltanski might, the relationship between absence and presence. I cherish the sound of her thought, which will always remain. Thank you Dodie.



Mademoiselle Marie Juillet dite Marie Julie est artiste auteure indépendante. Artiste indisciplinée, sa praxis et sa poíēsis se nourrissent de voyages, de rencontres, d’espaces-temps contemplatifs, d’altérité écopoétique et des paysages singuliers de La Planète. Ses propositions artistiques sont métisses. Elle privilégie l’expérience d’une production artistique à son résultat efficient. Elle y questionne les dimensions cachées et les forces poétiques des actes artistiques, discrets et furtifs. Quelques unes de ses recherches passées et en cours sont visibles à cette adresse: https://issuu.com/mj13 https://fr.calameo.com/accounts/6918116 https://soundcloud.com/mn-jd

“The passenger sixty minutes between 3:00 p.m. and 4:00 p.m., Fragment XXIII” - 8’18

2023

JULIE Marie known as mademoiselle Marie Juillet

"La passagère sixty minutes between 15:00 and 16:00, Fragment XXIII", 8'18.
La Passagère is a performance device based on a text bank written under protocol in 2021. Each text in this bank corresponds to one minute between 3:00 and 4:00 pm. The easiest way to hear these texts is to pick up the phone or messenger on September 26, every year, between 3:00 and 4:00 pm. Exceptionally, we're entrusting you with the minutes 15H07 and 15H08."



Gaëtan Parseihian est un artiste sonore, compositeur de musique électroacoustique, qui s’intéresse à l’hybridation entre nature et technologie. En 2006, il participe à la création de Brane Project, une structure qui travaille sur la mise en espace du son et au sein de laquelle il compose en multiphonie. Il développe son écriture au Conservatoire à Rayonnement Départemental (CRD) de Pantin, puis à la Cité de la Musique de Marseille et interprète ses pièces sur différents dispositifs de multidiffusion. Parallèlement, il exerce une activité de chercheur en acoustique et oriente ses travaux vers la perception sonore, les interfaces Humain/Machine et la perception du son dans l’espace. Il est artiste-associé au collectif deletere.

Mouslima El Chahal est doctorante en sciences politiques à Sciences Po Aix. En parallèle, elle s’intéresse à l’anthropologie sensorielle, notamment sonore. Elle découvre l’application des sciences humaines hors académie en aidant Yahya Mourad sur son terrain pendant la réalisation de son documentaire “Sunday Market: Tripoli”. Dans le cadre de cette expérience, elle développe une approche de recherche de terrain en croisant l’art et les sciences humaines, convaincue que l’application des connaissances en sciences humaines ne s’arrête pas aux laboratoires académiques.

“Bayna-l madinati wa moukhayamiha - Between the city and its camp” - 5’02

2022

Produced as part of the Villa Al Qamar residency program at the Institut Français du Liban

KRAYYEM Rawan / PARSEIHIAN Gaëtan / EL CHAHAL Mouslima

Rawan Krayyem (Narration and recordings) Gaëtan Parseihian (Composition) Mouslima El Chahal (Writing accompaniment) As part of the Institut Français du Liban's Villa Al Qamar residency program, electro-acoustic music composer Gaëtan Parseihian and political science researcher Mouslima El-Chahal conducted workshops with young people from the Lebanese city of Tripoli. The aim of these workshops was to create a sonic narrative of the city, from the point of view of its inhabitants, in a country that in recent years has experienced radical changes in lifestyle on all levels - social, economic, environmental and security. Bayna-l madinati wa moukhayamiha was composed by Gaëtan Parseihian from recordings made by one of the participants Rawan Krayyem. Rawan is a journalism student living in the Palestinian refugee camp in Tripoli. The recordings are made partly in the city's public spaces, but also in the camp. Rawan wanted to tell the story of her relationship with the city as a Palestinian who was born and raised in Tripoli, but also to deconstruct the stigma and clichés about the daily lives of the camp's inhabitants.



La Cabina de la Curiosidad explores, with creativity, thoughts, urban reflections and solutions of the human habitat. Created in Quito in 2019 by Marie Combette and Daniel Moreno Flores, its principles are: to dream, to rejoice, to share, to optimize and to learn. From Architecture, Art and Crafts, they strengthen the processes, raise awareness about the territory and its resources, and also, they elaborate a methodology of approach to contextual knowledge to enrich the development of designs. Everything is a pretext to stimulate curiosity and awareness.

Fanny Perrot, architect traveling on the Ecuadorian roads, creator and sound director, uses sound to tell the story of architecture, places, people, and what links them, which we also call territory. She seeks to transmit and connect, arouse curiosity and invite identification. Both a sociological reading tool and a creator of the imaginary, the sound documentary is a way of understanding our ways of living.

“Somos Territorio, Somos Agua, Somos Ciudad (We are territory, we are water, we are city)” - 7’

2023
Quito, Equator

La Cabina de la Curiosidad / Marie Combette, Fanny Perrot, Daniel Moreno Flores

Voice and participation :
Juan Diego Molina, Valeria Álvarez Fuertes, Marie Combette, Daniel Moreno Flores, Tomorrow’s cities, Fanny Perrot, Pedro Amaru, Sebastian Rosales, Mariska Bouterse.

At more than 4000 meters above sea level, in the Andean paramo, the water springs up and takes a long journey towards the Pacific Ocean. It is an invitation to navigate and to listen to where it crosses, what it slides and how it flows without stopping: a story in three acts. Descending from the volcano, the water has memory and traces wrinkles to the Earth, infiltrating its wildlife streams. The city, constantly growing, denies these ecosystems, crushing them with impermeable matter and injecting them with its urban liquid waste. On the city’s lower threshold, the waters are the river on its way to the coast. This is an act of resistance.



Reda Lakhlifia est architecte diplômé de l’ENSA Paris Malquais et explore la relation entre l’espace et le son. Il travaille actuellement au sein de l’agence Red House Acoustics où il développe des projets entre design et acoustique. Il associe sa pratique de musicien-compositeur à celle d’architecte.

“1,482 meters per second” - 4’46

2023

LAKHLIFIA Reda / DI IORIO Lucia

Eco-acoustics is a discipline inherited from bio-acoustics, which studies the production, reception and interpretation of sounds emitted by biological organisms. 1,482 meters per second is based on sound recordings made by scientist and eco-acoustician Lucia Di Iorio. The recordings feature various underwater species in the Mediterranean Sea: corbe fish, posidonia meadows, scorpion fish, scallops and pilot whales. Engine noise from cargo ships, super tankers and pleasure boats is superimposed. Noise pollution from maritime traffic has a major impact on marine animals, causing severe physiological and behavioral damage: stress, acoustic masking, damage to auditory organs, etc. Although man-made underwater noise is recognized as a threat to ecosystems, there are currently no binding regulations governing the emission of noise into the oceans.



L’Associazione Borgo Poggetello, di Mario Gualandri è un idea nata nel 2016. Un idea di riqualificazione e rinnovamento, fisico e culturale, del piccolo Borgo di Poggetello. Lo scopo era di reinventare e riutilizzare i suoi contenuti storici, di modellare a nuova forma i siti della memoria, al fine di aumentare la qualità ambientale, sociale e culturale.

Antonio Lavorgna, direttore artistico, in arte “FERRO”. Nato nel’76, scultore, pittore astratto, inventore dei Color Acid (colori generati dagli ossidi metallici) ora digital artist. Autore della collezione NFT “La Rabbia delle Api” che diffonde il messaggio apriamo gli occhi e basta pesticidi.

“Poy Art Evento” - 4’32

2023

LAVORGNA Antonio (Direttore Artistico) E ASSOCIAZIONE BORGO POGGETELLO DI MARIO GUALANDRI

The Poy Art August 2023 event is a project of Antonio Lavorgna, artistic director, and Mario Gualandri's Borgo Poggetello association. It will take place in the village of Poggetello, located in Abruzzo, and will be an artistic, social and cultural event. It is meant to be a time for discussion and networking for the development of knowledge, social relations and business. The event is free of charge. The first edition of Poy Art becomes an urban regeneration event. The goal is to revalue a hamlet that was once home to 1,000 people but now has only about 100 residents.



Sarah Lefèvre est productrice, formatrice et co-fondatrice du collectif Transmission.

Clara Ries est réalisatrice sonore et architecte.

Elles partagent la dimension du souvenir et de la mémoire dans leurs travaux sonores.

Ce prélude a été co-réalisé avec Noémi Quesnay et Annabelle Croze.

Les autrices font toutes parties du collectif de création sonore Transmission.

“Lightning, the revealing sound (prelude)” - 3’07

2022

LEFÈVRE Sarah, RIES Clara, QUESNAY Noémi, CROZE Annabelle

For more than a century, the developing baths at Éclair Laboratories have conjured up images on thousands of kilometers of film. Its workers often spent a lifetime finalizing the works of filmmakers. With their complicity, the Décor Sonore company and the Transmission collective set out to reveal the sound memory of this emblematic site of the French film industry. Here's some news from the past and the technical garden of the film factory.



Guillaume LOIZILLON vit et travaille à Paris. Compositeur et musicien indépendant il est attiré vers de nouvelles expérimentations artistiques : musique électronique, arts sonores, improvisation, poésie, installations, net art etc. Il a été maître de conférences au département musique de l’Université Paris 8 et co-fondateur du label indépendant Trace Label.

“Electrofauna” - 4’38

2023

LOIZILLON Guillaume

Electro-fauna is deployed to haunt our sonic imagination. It aims to represent another possible horizon, both feared and desired: a future of the soundscape. It could be understood as news of these potential times, populated by abandoned spaces where the trace of machines that have hybridized with nature, or at least with a certain idea of it, still persists. This is how animal echoes persist, more phantasmatic than mimetic.



Guillaume LOIZILLON vit et travaille à Paris. Compositeur et musicien indépendant il est attiré vers de nouvelles expérimentations artistiques : musique électronique, arts sonores, improvisation, poésie, installations, net art etc. Il a été maître de conférences au département musique de l’Université Paris 8 et co-fondateur du label indépendant Trace Label.

“Voice tones” - 3’49

2023

LOIZILLON Guillaume

Statements still in gestation or perhaps already erased. Sentences and syllables stretched to infinity: a vast reservoir of potential narratives, yet not formalized in any single, univocal fiction. We can follow the multiple forks in the road, branching off into sketchy narratives. When the obviousness of vocal presence imposes itself and when barely formed words emerge, it's already possible to believe in stories.



Guillaume LOIZILLON vit et travaille à Paris. Compositeur et musicien indépendant il est attiré vers de nouvelles expérimentations artistiques : musique électronique, arts sonores, improvisation, poésie, installations, net art etc. Il a été maître de conférences au département musique de l’Université Paris 8 et co-fondateur du label indépendant Trace Label.

“Nothing is really useless” - 6’49

2023

LOIZILLON Guillaume

The sound document is full of dross, full of faded colors. The intonations make as much sense as the sentences themselves. The information is as much that of the message itself as that of the noise. Voices telescope. They emerge from a time that is neither so inaccessible nor so remote. The speakers' names plunge us into other narratives, other question-and-answer games:
Simone de Beauvoir: truth and memory
Gaston Bachelard: the spirit of the magnet
Man Ray: nothing is really useless
Max Ernst: revolt and revolution.

"An object is the result of looking at something that in itself has neither quality nor charm. I choose something that in itself has no meaning. I completely disregard the aesthetic quality of the object. I'm against craftsmanship. I say the world is full of wonderful craftsmen, but there are very few practical dreamers. When I first came to Paris, I passed a hardware store and saw an iron in the window. I thought, this is an almost invisible object, and maybe I could do something with it. What I could do was add something provocative. So I took a box of thumbtacks and stuck a row of thumbtacks on it to make it useless, I thought. But nothing is really useless. You can always find a use for the most extravagant object." [Man Ray, undated interview]



Luka Dropuljić (student, UNIZG-AF 1) is a third-year bachelor student of architecture and urbanism (UNIZG-AF). He graduated from the Classical High School in Zagreb and is currently involved in various soundscape projects.

Dominik Feješ (student, UNIZG-AF 1) is a third-year bachelor student of architecture and urbanism (UNIZG-AF). He graduated from the Gymnasium of Natural Sciences and Mathematics in Zagreb. Interested in soundscape research, he investigates positive and negative impacts of sound in architecture and urbanism.

Klara Kranjčec (M.Arch. 2), M.Arch., is a recent graduate of architecture and urbanism (UNIZG-AF). During her last year of master studies, she was a student assistant (demonstrator) at two faculty departments. She is currently working on various cultural heritage restoration projects.

Tamara Zaninović (Ph.D., post-doctoral, M.Arch. UNIZG-AF 1), Ph.D., Dep. of Urban Planning, Spatial Planning and Landscape Architecture (UNIZG-AF). She completed her Ph.D. studies at the TU Wien as a part of the HERU project and Urbanscape Emanation approach in topics of streetscape, urban growth and heritage.

Tin Oberman (Ph.D., Senior Research Fellow, M.Arch. UCL 3), Ph.D., researcher and musician. He completed his Ph.D. at the Faculty of Architecture in Zagreb, with a thesis about soundscape interventions in public spaces. Currently working at the UCL Institute for Env. Design and Engineering on the ERC-funded project entitled “Soundscape Indices”.

Prof. Bojana Bojanić Obad Šćitaroci (Ph.D., M.Sc.Arch. UNIZG-AF 1), Ph.D., full professor, Dep. of Urban Planning, Spatial Planning and Landscape Architecture (UNIZG-AF). Project leader of “Urbanscape Emanation”; topic links cultural heritage, landscape architecture, soundscapes, space syntax and other spatial layers. www.scitaroci.hr

1 The Faculty of Architecture, University of Zagreb (UNIZG-AF, CRO)
2 Siloueta architecture office in Zagreb (CRO)
3 The Bartlett Faculty of the Built Environment, University College London (UCL, UK)

“Soundscape Emanation / Eavsdropping on News about Relocating Faculty of Architecture” - 7’

2023

Luka Dropuljić, Dominik Feješ, Klara Kranjčec, Tamara Zaninović, Tin Oberman, Bojana Bojanić Obad Šćitaroci

We bring you soundscape news from Zagreb, Croatia, where, due to the 2020 earthquake, the Faculty of Architecture is moving from its century-old home in the centre to a temporary location near the stadium. Recordings follow the crucial month of relocating when the new semester is just beginning. Audios present two milieux of the city through a carefully selected range of activities, events and places: lectures – football game, packing – typing, party – park, tram – hall, drawing – making coffee and more…























Pauline Marchetti is an architect and teacher at the École Nationale Supérieure des Arts Décoratifs de Paris. She has been associated with Jacques Ferrier since 2008, together they developed numerous projects that combines research and architecture within Ferrier Marchetti Studio agency and the Sensual City research lab.

“To become one with the city” - 3’53

2020

MARCHETTI Pauline
© Pauline Marchetti (Sensual City Studio) / © Flair Production / voice (ENG) : Kate Moran

“To become one with the city” is a prose poem written by Pauline Marchetti. It forms the soundtrack to the virtual reality film of the same name, which takes us to the heart of New York, Marseille and Shanghai. Made up of 15 fragments, the poem questions the processes of urbanisation at work around the world and forces us to rethink the body's neglected relationship with the urban environment. The narrative offers the possibility of discovering the space according to one's own desires. “To become one with the city” argues for a sensual and poetic city.



Pauline Marchetti est architecte et enseignante à l’École Nationale Supérieure des Arts Décoratifs de Paris. Elle est associée à Jacques Ferrier depuis 2008, avec qui elle a développé un nombre important de projets alliant recherche et architecture, au sein de l’agence Ferrier Marchetti Studio et du laboratoire de réflexion Sensual City.

“To become one with the city” - 3’53

2020

MARCHETTI Pauline
© Pauline Marchetti (Sensual City Studio) / © Flair Production / voice (FR) : Audrey Bonnet

“To become one with the city” is a prose poem written by Pauline Marchetti. It forms the soundtrack to the virtual reality film of the same name, which takes us to the heart of New York, Marseille and Shanghai. Made up of 15 fragments, the poem questions the processes of urbanisation at work around the world and forces us to rethink the body's neglected relationship with the urban environment. The narrative offers the possibility of discovering the space according to one's own desires. “To become one with the city” argues for a sensual and poetic city.



Mathis Mariani
From Marseille. I live in Grenoble for my cinema studies. In between I practice, by myself since three years old.

“AMABIAN15” - 4’

2022

MARIANI Mathis

Amabian is a project I began last year. There are, by now, 18 tracks. It’s a place of creation where I can experiment with several textures and harmornies, to create soothy, noisy but melodic ambiances.



Julie Martin est architecte, Maitresse de conférence à l’ENSAG , co directice du master Aedification GrandsTerritoires Villes. Le projet est considéré comme un processus vivant qui explore les différentes liens possibles entre les lieux et leur problématiques social environnemental écologique , cela passe par un travail en équipe pluridisciplinaire et une attention particulière aux espaces ouvert. Pour ce Diplôme en 2005, et sa participation au festival d’architecture à Barcelonne (EME3) elle avait en autre, avec le collectif La Dissection et Alice Prédour, plasticienne et photographe, construit une cuisine sur roulette en deux modules (eau et feu) et différents dispositifs : table de jeu , assise, ombrage avec l’objectif de tester différentes configurations domestiques des espaces public.

“Urban kitchen - part 1” - 5’58

2005

MARTIN Julie & la Dissection

Students architects wanted to learn more from the in-situ environment. Pretexting a diploma they went south-bound to Barcelona, a twelve together & spent a whole week cooking & living in the street & encountering people around. All of that mixed within the frame a local workshop-festival (EME3), with the real building of a kitchen with rolls, real cookings & a real week of living there.



Julie Martin est architecte, Maitresse de conférence à l’ENSAG , co directice du master Aedification GrandsTerritoires Villes. Le projet est considéré comme un processus vivant qui explore les différentes liens possibles entre les lieux et leur problématiques social environnemental écologique , cela passe par un travail en équipe pluridisciplinaire et une attention particulière aux espaces ouvert. Pour ce Diplôme en 2005, et sa participation au festival d’architecture à Barcelonne (EME3) elle avait en autre, avec le collectif La Dissection et Alice Prédour, plasticienne et photographe, construit une cuisine sur roulette en deux modules ( eau et feu) et différents dispositifs : table de jeu , assise, ombrage avec l’objectif de tester différentes configurations domestiques des espaces public.

“Urban kitchen - part 2: the kitchen journey” - 5’56

2005

MARTIN Julie & la Dissection

An exploration of possibilities - public space in the Poblenou district (BCN) Crossing the district with a non-conforming vehicle: a kitchen on wheels. A few streets away, offering a meal to people passing by, chatting with them while serving pancakes & washing up. tongues wagging. In the corner, two discreet people have stopped and are playing chess.



Elise Martinot – autrice / réalisatrice Biographie Architecte-urbaniste, diplômée de l’Ecole Nationale d’Architecture de Paris-Belleville en 2006, elle crée depuis une dizaine d’années des outils de sensibilisation à l’architecture. La transmission est indissociable de sa pratique. A travers les ateliers, les conférences in-situ, différents univers se mêlent et s’entrecroisent. Chorégraphie, musique et cinéma ont fortement influencé son parcours et sa pratique pédagogique. Depuis 2019, c’est avec la Cité de l’Architecture et du Patrimoine qu’elle crée des stages avec les adolescents leur offrant un cadre stimulant et expérimental encourageant le processus de projet, imaginant une méthodologie et une scénographie originale, faisant appel à tous leurs sens. L’idée de faire entendre l’architecture « vivante » est née grâce à ces ateliers et s’inscrit dans une démarche de partage des connaissances par les sens. Ecouter les lieux grâce aux atmosphères et aux usagers, c’est approcher l’architecture par des biais étonnants, comme une invitation à un nouveau voyage passant par l’ouie. La Cité de l’Architecture et du Patrimoine a encouragé le projet et permis sa concrétisation. Le projet : Ce projet de mise en son de l’architecture est une aventure sensorielle: comment faire entendre le lieu ? L’écoute des atmosphères et des usagers ouvre l’imaginaire. Elle donne à entendre l’espace et la vibration de l’oeuvre architecturale. Comment, à travers le temps, les idées les plus avant-gardistes et utopistes survivent-elles ? Comment les usagers vivent-ils cette utopie architecturale? Est-ce que la durée permet une appropriation surprenante ? L’expérience est menée par l’autrice et réalisatrice Elise Martinot, avec Pascal Bricard au son qui rejoint le projet. Ils inventent une méthodologie et un ton permettant une écoute au casque au plus près des sensations. Pascal Bricard –ingénieur du son / créateur sonore Biographie Après une formation en audio à l’INA en 2005, il partage son activité entre le travail du son en studio, et la prise de son en tournage documentaire. Il fait aussi de la création sonore pour le spectacle vivant. Depuis quelques années, il enseigne à la faculté de Paris 8 en Licence 3 et pour des DNMADE cinéma d’animation. Il transmet grâce à des ateliers auprès de jeunes fragilisés (Regards vers l’Autre, Jaris Act’pro). Il travaille les notions de hors-champs, de temporalité singulière et interroge le point de vue de l’auditeur.

“«The walls and the ears» Extract 1: Collège Germaine Tillion, Paris. Claude Parent.” - 4’02

2022

MARTINOT Elise (author, director) / BRICARD Pascal (sound engineer)

Claude Parent designed a middle school between the Paris ring road and the Maréchaux. The building is a Brutalist vessel, housing the educational community and students, aged 12 to 16. A large slope serves the classrooms, and the movement of bodies is encouraged by a dynamic circulation system. A common space, the atrium, links all areas from ground to sky. This astonishing college is little-known, but it gives users a great deal of freedom of movement. How do adults and children perceive this place? Does Claude Parent's utopia stand the test of time, and how is it perceived? Does it bring something unexpected? It's a sonic journey to the heart of a place of knowledge and learning about citizenship.


















Elise Martinot – autrice / réalisatrice Biographie Architecte-urbaniste, diplômée de l’Ecole Nationale d’Architecture de Paris-Belleville en 2006, elle crée depuis une dizaine d’années des outils de sensibilisation à l’architecture. La transmission est indissociable de sa pratique. A travers les ateliers, les conférences in-situ, différents univers se mêlent et s’entrecroisent. Chorégraphie, musique et cinéma ont fortement influencé son parcours et sa pratique pédagogique. Depuis 2019, c’est avec la Cité de l’Architecture et du Patrimoine qu’elle crée des stages avec les adolescents leur offrant un cadre stimulant et expérimental encourageant le processus de projet, imaginant une méthodologie et une scénographie originale, faisant appel à tous leurs sens. L’idée de faire entendre l’architecture « vivante » est née grâce à ces ateliers et s’inscrit dans une démarche de partage des connaissances par les sens. Ecouter les lieux grâce aux atmosphères et aux usagers, c’est approcher l’architecture par des biais étonnants, comme une invitation à un nouveau voyage passant par l’ouie. La Cité de l’Architecture et du Patrimoine a encouragé le projet et permis sa concrétisation. Le projet : Ce projet de mise en son de l’architecture est une aventure sensorielle: comment faire entendre le lieu ? L’écoute des atmosphères et des usagers ouvre l’imaginaire. Elle donne à entendre l’espace et la vibration de l’oeuvre architecturale. Comment, à travers le temps, les idées les plus avant-gardistes et utopistes survivent-elles ? Comment les usagers vivent-ils cette utopie architecturale? Est-ce que la durée permet une appropriation surprenante ? L’expérience est menée par l’autrice et réalisatrice Elise Martinot, avec Pascal Bricard au son qui rejoint le projet. Ils inventent une méthodologie et un ton permettant une écoute au casque au plus près des sensations. Pascal Bricard –ingénieur du son / créateur sonore Biographie Après une formation en audio à l’INA en 2005, il partage son activité entre le travail du son en studio, et la prise de son en tournage documentaire. Il fait aussi de la création sonore pour le spectacle vivant. Depuis quelques années, il enseigne à la faculté de Paris 8 en Licence 3 et pour des DNMADE cinéma d’animation. Il transmet grâce à des ateliers auprès de jeunes fragilisés (Regards vers l’Autre, Jaris Act’pro). Il travaille les notions de hors-champs, de temporalité singulière et interroge le point de vue de l’auditeur.

“«The walls and the ears» Extract 2: Judicial Court, Bordeaux. Richard Rodgers.”” - 4’02

2022

MARTINOT Elise (author, director) / BRICARD Pascal (sound engineer)

In the heart of Bordeaux's Cité Judiciaire, a new kind of courthouse was born in the 90s. Less impressive than a traditional courthouse, less banal than a 1970s judicial precinct, it's thanks to the architecture that a balance is found. Transparency is the architectural metaphor for democracy. The court must no longer intimidate, but create an inviting solemnity for the citizen. Utopia lies in the idea of transparency and a tenuous link with the city. Beyond that, the building is a living, bioclimatic organism, with a light structure that allows the void to exist. A multitude of activities, functions and users make up a jurisdiction, and, ambiences as well as testimonials hint at this living complexity.


















Jean-Baptiste Masson est compositeur et chercheur. Son travail se concentre sur les relations entre l’écoute, la technologie et la société. En 2022, il a achevé un doctorat sur l’histoire des ‘chasseurs de son’, les preneurs de son amateurs, des origines aux années 1970.

“Riga, Central Market, April 17, 2011” - 5’50

2023

MASSON Jean-Baptiste

The sounds of Riga's Central Market, which occupies a huge building that used to be an airship hangar. I wander among the stalls and halls.



Jean-Baptiste Masson est compositeur et chercheur. Son travail se concentre sur les relations entre l’écoute, la technologie et la société. En 2022, il a achevé un doctorat sur l’histoire des ‘chasseurs de son’, les preneurs de son amateurs, des origines aux années 1970.

“The sources of the Seine, December 21, 2008” - 6’53

To be completed

MASSON Jean-Baptiste

Radio recording and field recording at the source of the Seine. A visibly distressed woman calms herself by dipping her feet in the spring. A jay utters sinister calls, a plane flies past noisily while a buzzard hovers, as if all the sounds in the environment were emanations of this person's distress. The cold spring water seems to do the trick, and it's with a calmer mind that she leaves.



Jean-Baptiste Masson est compositeur et chercheur. Son travail se concentre sur les relations entre l’écoute, la technologie et la société. En 2022, il a achevé un doctorat sur l’histoire des ‘chasseurs de son’, les preneurs de son amateurs, des origines aux années 1970.

“Riga, Puskin iela, April 17, 2011” - 3’24

2023

MASSON Jean-Baptiste

I've been lent an apartment for the unexpected night I have to spend in Riga. I'm taking advantage of this unexpected time to spend the day recording the city. I'm staying on Puskin iela - Pushkin Street. I leave the apartment to go to the Central Market.



Jean-Baptiste Masson est compositeur et chercheur. Son travail se concentre sur les relations entre l’écoute, la technologie et la société. En 2022, il a achevé un doctorat sur l’histoire des ‘chasseurs de son’, les preneurs de son amateurs, des origines aux années 1970.

“Mmabolela, November 2013” - 6’58

2013

MASSON Jean-Baptiste

Day 7, 5am. I've had very little sleep since we arrived. We've come to the banks of the Limpopo to record the morning chorus. I break away from the group and climb the bank on the Botswana side. I arrive in a lunar setting adorned with phantasmagorical sand structures. I put down the microphones, lean against one of these strange mounds and watch the sun rise. Swarms of birds fly by, cicadas wake up, a coqui francolin nibbles under the microphones.



juL McOisans, is a mediatical engineer and musicologist. He joined Cresson in 1993 to take charge of the laboratory’s publications and the promotion of research. In 2003, he launched the first systematic collection, archiving, digitisation and publication of the sound recordings made in the lab since its origins: (cres s o u n d programme).

“Meditation cylinder” - 1’28

2003

McOISANS juL

Architectural sound prototypes. In the Unesco gardens in Paris, this small circular pavilion by Tadao Ando is designed on the basis of a Zen garden. The 33m2 cylindrical structure in smooth concrete rises 6 meters, paved with granite slabs on the ground. It is pierced by 2 symmetrical openings at its base. From inside the cylinder, you can hear the sound of flowing water outside, filtered by the shape and materials of the building, creating a humming sound. The interior of the cylinder is also marked by the strong reverberation of voices: the fragment ends with the love song of a woman who plays on this reverberation.



juL McOisans, is a mediatical engineer and musicologist. He joined Cresson in 1993 to take charge of the laboratory’s publications and the promotion of research. In 2003, he launched the first systematic collection, archiving, digitisation and publication of the sound recordings made in the lab since its origins: (cres s o u n d programme).

“Le Corbusier by the ear” - 3’32

2022

McOISANS juL

Architect Le Corbusier is well known around the world about his conceptions & constructions with armed-concrete. Less about the sonic qualities that some his buildings afford. Here is an almost « bare-hand » acoustical test of his latest church in Firminy (fr-42). With a door, a low-resonance handrail, a voice, a flute & a clap (over 9 seconds of reverberation !).



juL McOisans, is a mediatical engineer, musicologist and composer at Cresson laboratory. Stefania Giametta is an architect, PhD in urban planning. She has devoted her university education to soundscape issues, dedicating to these themes both bachelor’s and doctorate performed at Università IUAV di Venezia after her DEA at the Cresson laboratory in Grenoble. Together they worked in several occasions on sounscaping Venezia.

“Place on the lake” - 9’34

2006

McOISANS juL / GIAMETTA Stefania

Excerpt from the soundtrack of 5 short audio-video landscapes on the theme of water and asphalt, in the diffuse city of Veneto, the mainland part of Venice, with the aim of illustrating the notion of isotropy, exhibited at the 10th Venice Architecture Biennale. In collaboration with the University of Architecture of Venice (IUAV), under the direction of B.Secchi and P.Vigano.



Destination vingt-sept est une association de médiation culturelle active dans les cantons de Genève et de Vaud en Suisse, qui œuvre à rapprocher les milieux culturels et sociaux pour permettre à chacun·e le plein exercice de ses droits culturels. www.destination27.ch

Léonie Rose Marion est une artiste qui vit et travaille à Genève. Diplômée de l’Ecole de Photographie de Vevey et de la HEAD-Genève, elle travaille également en tant que médiatrice au centre de la photographie de Genève et assistante pédagogique en photographie à la HEAD.

Le FMAC, Collection d’art contemporain de la Ville de Genève a pour missions principales de développer la présence de l’art dans l’espace public, de constituer et valoriser la collection patrimoniale, de favoriser l’accès à l’art contemporain auprès du public et de soutenir la scène artistique locale.
www.fmac-geneve.ch

La Roseraie est un centre d’accueil qui offre des espaces chaleureux de primo-information, d’orientation, d’accompagnement psychosocial, de formation et de partage d’expériences pour toute personne migrante sans distinction. Le centre a pour objectif de favoriser la participation des personnes migrantes à la vie locale et de prévenir l’exclusion et la précarité.
www.centre-roseraie.ch

“Art Truck #005 – sound command for an exhibition on freedom” - 5’18

2023

MEIERHANS Iris / Destination vingt-sept

Participants from the Roseraie reception center, accompanied by Sarah Maes and Iris Meierhans Geneva 20.6.23 (elaboration of the commission with the group) and Léonie Marion (sound recording and editing) for Destination vingt-sept.

This sound clip was produced by Léonie Rose Marion with migrants from all over the world, who were commissioned to create an exhibition for their neighborhood on the theme of freedom. The sound commission was handed over to the FMAC, the City of Geneva's contemporary art collection, in February 2023. The exhibition created in response to the commission was displayed in the Minoteries district of Geneva throughout May 2023. Art Truck is a Destination vingt-sept project involving the creation of an art exhibition with a small group of participants from a social structure. In Geneva, it is run in partnership with the FMAC. The participants take on the role of sponsors of the exhibition, which is brought to them by a museum truck and displayed in the places where they live or socialize. They then become cultural ambassadors, presenting the exhibition to those around them.



Cristina Mercuri
Born in 1996, she got her BA in Electronic Music Composition with honors at METS Conservatorio di Cuneo, where she’s pursuing her Master’s degree. She attended masterclasses with J. Harrison, A. Vande Gorne, J.M. Berenguer, Y. Hofmann. Recently, she took part in the Euro project EASTNDC festivals.

“Tahijitu Black & WhiteSoul” - 6’59

2022

MERCURI Cristina

Childhood. The fragility of children reveals harmony and balance and becomes the spirit from which the strength for change springs. Fragility and delicacy, fragility and awareness, fragility and strength. This passage decides to tell a true story: the sinking of a boat with at least 480 people on board, which took place on 11 October 2013. Abandoned for more than 5 hours, 268 people die, including 60 children. The fact is told by Fabrizio Gatti in the exclusive L’Espesso.



Cristina Mercuri
Born in 1996, she got her BA in Electronic Music Composition with honors at METS Conservatorio di Cuneo, where she’s pursuing her Master’s degree. She attended masterclasses with J. Harrison, A. Vande Gorne, J.M. Berenguer, Y. Hofmann. Recently, she took part in the Euro project EASTNDC festivals.

“Chrion.2060” - 6’26

2019

MERCURI Cristina

Chiron 2060 is the name of one of the biggest periodic comets known in the solar system. It is also considered a very special centaur asteroid. So this piece is the hypothetical description of the fascinating and unknown cosmic space. Rich in celestial bodies, electromagnetic radiations, magnetic fields, cosmic rays, matter and dark energy! But even here, human contamination has arrived. The fact is told by Stefan Cikota in an article by the Royal Astronomical Society.



Cristina Mercuri
Born in 1996, she got her BA in Electronic Music Composition with honors at METS Conservatorio di Cuneo, where she’s pursuing her Master’s degree. She attended masterclasses with J. Harrison, A. Vande Gorne, J.M. Berenguer, Y. Hofmann. Recently, she took part in the Euro project EASTNDC festivals.

“Fragility in a Hypogeum World” - 6’48

2019

MERCURI Cristina

“Fragility in a Hypogeum World” is the description of an imaginary underground soundscape, bordering on the real and surreal, which exalt the natural elements, especially water and earth. The musical discourse develops playing with fusion and contrast of natural and artificial sounds, which is a metaphor for men’s and nature’s sensibility as well as the fragility of their relationship. Idea inspired by the article by Federica D’Auria published on Il Bo Live University of Padova.



Michael Mersereau is a media artist in Oakland, California. Mersereau’s work has been exhibited at festivals both nationally and internationally at the Museo de Arte Contemporáneo de Oaxaca, Mexico. The Diego Rivera Anahuacali Museum in Mexico City, and Maison de la Culture Claude Léveillée in Montreal.

“Inland Empire” - 0’59

2012, remastered 2022

MERSEREAU Michael

The in between pauses and sounds of now deceased actor Bruno Ganz composed into a vocal arrangement.



Heikki Uimonen (PhD) is professor of cultural studies at the University of Eastern Finland. He is an ethnomusicologist and co-host in radio programme Evening of Sounds. His research interests include sonic construction of place, mediated music, social use of music, transforming soundscapes and how all these intertwine.

Helmi Järviluoma is a Finnish sound, music, and cultural scholar and writer. She is a Professor Emerita of Cultural Studies at the University of Eastern Finland. Her 180 publications, Acoustic Environments in Change (2009) together with Simon Fraser University, and Gender and Qualitative Methods (Sage 2003/2010) continue to draw attention. She has written/co-written and directed altogether six radio features for Finnish Broadcasting Company. She was chosen as the Professor of the Year 2019 in Finland.

Jukka Mikkola (MSS) is a Finnish journalist and radio editor specializing in sounds and soundscapes as well as in electronic and experimental music and their history. As a result of over thirty years of experimental sound activity, producing and listening to sounds is an integral part of his existence. He still manages to marvel at everything sounding around him.

“Evening of Sounds” - 6’16

To be completed

MIKKOLA Jukka (sound design) / JÃRVILUOMA Helmi (recording) / UIMONEN Heikki (producer)

Evening of Sounds live radio programme transmits environmental sounds to the world. It brings sounds and places together in unique ways by fulfilling audience’s requests on contemporary soundscapes and sounds of the world gone by. Special sound postcards are composed of narratives and environmental sounds. You will hear about herding cattle, birds and cowbell signals in the 1930s and 1940s and an 82-year-old lady describing vividly her relation to different motors and engines in her life.






Charles Millot, né le 27 octobre 1990 à Nantes, est artiste, musicien, et architecte diplômé de l’ENSA Paris Malaquais en 2020. Chacun de ses projets incarne l’envie de faire des passerelles entre les arts. Grand voyageur qui parcourt le monde, à chaque escale il capte les sons et les musiques…dont voici quelques extraits.

“Evening walks - Venice travels during the 2014 Biennale Element of architecture” - 6’57

2014

MILLOT Charles

Venice travels during the 2014 Element of architecture Biennale



Charles Millot, né le 27 octobre 1990 à Nantes, est artiste, musicien, et architecte diplômé de l’ENSA Paris Malaquais en 2020. Chacun de ses projets incarne l’envie de faire des passerelles entre les arts. Grand voyageur qui parcourt le monde, à chaque escale il capte les sons et les musiques…dont voici quelques extraits.

“Nocturnal ballads - Paris, 2016, Agora, Place de la République recordings following Nuit Debout” - 3’30

2016

MILLOT Charles

During the Nuit debout events in the metro towards République, the sound of a violin in the square, discussions with various interlocutors.



Charles Millot, né le 27 octobre 1990 à Nantes, est artiste, musicien, et architecte diplômé de l’ENSA Paris Malaquais en 2020. Chacun de ses projets incarne l’envie de faire des passerelles entre les arts. Grand voyageur qui parcourt le monde, à chaque escale il capte les sons et les musiques…dont voici quelques extraits.

“Nocturnal ballads - Paris, 2016, Agora, Place de la République recordings following Nuit Debout” - 7’01

2016

MILLOT Charles

During the Nuit debout events



Charles Millot, né le 27 octobre 1990 à Nantes, est artiste, musicien, et architecte diplômé de l’ENSA Paris Malaquais en 2020. Chacun de ses projets incarne l’envie de faire des passerelles entre les arts. Grand voyageur qui parcourt le monde, à chaque escale il capte les sons et les musiques…dont voici quelques extraits.

“WALL-WALL Garden of the Beaux-arts” - 3’01

P7/9 To be Continued 2028 - Common site project ENSAPM-ENSBA

2016

MILLOT Charles

MUR-MUR the story of the trees. November 2, 2018. An in-between. A void. A silence. Between schools, from one branch to another. The two plane trees are the witnesses of time, they've seen it all, heard it all since the Alexandre Lenoir Museum. It is said that they are the oldest trees in Paris and that the school walls were built around them. Monuments of nature, significant plant columns that support the vault of heaven. How can we decipher the language of trees, what do they have to tell us? Is it time to bring them back to the garden from which they were taken? Let's open the gates and let nature grow!



My name is Jimmy Ngenzi Mugisha, a Rwandan artist pursuing a master’s in Architecture, Atmospheres, and Digital Culture. My work is centered on soundscape, music production, and storytelling through sounds. Using electronic techniques and digital tools, I strive to create sonic landscapes that capture the mind and soul. With a deep passion and unwavering commitment to my art, I am constantly pushing the boundaries of sound to foster connections among individuals from all walks of life and cultural backgrounds. AWAKEN Album by Jim MGS( Artist Name).”Awaken” is a testament to the power of sound, a call to embrace the beauty of your surroundings, to open our hearts and minds to the wonders of nature and spirituality. It is an invitation to break free from our physical limitations and discover the magic that lies within. Let the music transport you to a world beyond, where anything is possible, and the only limit is the boundaries of your own imagination.

“Martian Love” - 3’21

2022

MUGISHA NGENZI Jimmy

Martian Love traverses cosmic distances, a journey through the vastness of space and time, exploring the possibility of life beyond our world. It is a symphonic missive, a love letter composed to convey our deepest affections for those we hold dear. Pondering the notion of communicating with them from another planet, Martian Love pulses with electronic beats and ethereal melodies, a thrilling voyage through the celestial heavens, provoking contemplation of the enigmatic mysteries of the universe and the boundless power of love to transcend all barriers.



My name is Jimmy Ngenzi Mugisha, a Rwandan artist pursuing a master’s in Architecture, Atmospheres, and Digital Culture. My work is centered on soundscape, music production, and storytelling through sounds. Using electronic techniques and digital tools, I strive to create sonic landscapes that capture the mind and soul. With a deep passion and unwavering commitment to my art, I am constantly pushing the boundaries of sound to foster connections among individuals from all walks of life and cultural backgrounds. AWAKEN Album by Jim MGS( Artist Name).”Awaken” is a testament to the power of sound, a call to embrace the beauty of your surroundings, to open our hearts and minds to the wonders of nature and spirituality. It is an invitation to break free from our physical limitations and discover the magic that lies within. Let the music transport you to a world beyond, where anything is possible, and the only limit is the boundaries of your own imagination.

“The Message” - 5’23

2022

MUGISHA NGENZI Jimmy

Le Message is a glowing beacon of hope, resplendent with an inspiring melody and poignant lyrics that reveal the mysteries of our spiritual essence, extending far beyond the limits of the physical realm. It is a ballad of resilience, a reminder that amidst life’s arduous trials, there is always a glimmer of hope to cling to. “Le Message” is a hauntingly beautiful composition that elevates the spirit, transcending the mundane to bring us ever closer to the divine.



Romana Nanga est une architecte et sociologue angolaise ( ENSA Paris La Villette et EHESS). Depuis sept ans, elle mène une recherche intitulée « La deuxième vie de l’immeuble colonial luandais, 1975 - », et s’intéresse aux processus d’occupation et d’adaptation mis en place par les Angolais pour se réapproprier cet héritage bâti de la période coloniale.

“The demonstration block” - 6’36

2023

NANGA Romana

This "story from the future" transports the listener to Luanda, Angola, and invites him or her to take a thirty-two year leap back in time. By then, all the buildings that made up Luanda's colonial, modern and tropical heritage have disappeared, with the exception of one, the "Immeuble-témoin" (demonstration block). This text is a reflection on the future of colonial architecture in Africa, and also deals with the aging of a city, its transformations, its identity and its capacity to renew itself.



Andrii Nidzelskyi, a Ukrainian sound engineer, works for documentary and fiction films in Ukraine. From the very first week of the large-scale Russian invasion of Ukraine, he made sound recordings of the war ambiance around Kyïv and then in the south and east of the country.

Presented by Perrine Poupin, a French sociologist specialising in protest and resistance movements in Ukraine and Russia who has been working with Andrii since 2017.

“Kyiv during the war!” - 1’

2022

NIDZELSKYI Andrii / POUPIN Perrine

No guys, it’s not sound design or sound effects, I just put a microphone in my homeyard and recorded this atmosphere.. This is ordinary day in the our beautiful city and as in other cities throughout Ukraine continues heroic opposition of the Ukrainian people to the russian military invasion. In the agony of powerlessness, the occupiers are destroying civilians and children with air strikes, destroying kindergartens, schools, churches and all infrastructure, trying to persuade us to surrender!



Andrii Nidzelskyi, a Ukrainian sound engineer, works for documentary and fiction films in Ukraine. From the very first week of the large-scale Russian invasion of Ukraine, he made sound recordings of the war ambiance around Kyïv and then in the south and east of the country.

Presented by Perrine Poupin, a French sociologist specialising in protest and resistance movements in Ukraine and Russia who has been working with Andrii since 2017.

“Battles near Kyiv, 9am, yard, March” - 3’14

2022

NIDZELSKYI Andrii / POUPIN Perrine

In this extract, we can feel the fear and pain that Ukrainians are currently experiencing: the sounds of artillery fire and impacts, mixed with those of birds, barking dogs, and a kind of “silence” full of anguish between two bombings. We are here in the suburbs of Kyiv, in March 2022.



Andrii Nidzelskyi, a Ukrainian sound engineer, works for documentary and fiction films in Ukraine. From the very first week of the large-scale Russian invasion of Ukraine, he made sound recordings of the war ambiance around Kyïv and then in the south and east of the country.

Presented by Perrine Poupin, a French sociologist specialising in protest and resistance movements in Ukraine and Russia who has been orking with Andrii since 2017.

“Between destroyed private houses, yard, windy, Irpin” - 2’51

2022

NIDZELSKYI Andrii / POUPIN Perrine

The recording took place in a residential area in Irpin, on the outskirts of Kyiv, in March 2022. Here we hear the sound of rain, the metallic clatter of doors slamming, birds, dogs barking, the silence of an area where civilians have fled in the face of the threat of Russian encirclement and where Russian armed strikes have been unleashed.



Andrii Nidzelskyi, a Ukrainian sound engineer, works for documentary and fiction films in Ukraine. From the very first week of the large-scale Russian invasion of Ukraine, he made sound recordings of the war ambiance around Kyïv and then in the south and east of the country.

Presented by Perrine Poupin, a French sociologist specialising in protest and resistance movements in Ukraine and Russia who has been working with Andrii since 2017.

“Cemetery, flags, windy, Irpin” - 1’37

2022

NIDZELSKYI Andrii / POUPIN Perrine

In Irpin, on the outskirts of Kyiv, we are standing in a cemetery in March 2022. Far away, you can hear the rumble of artillery. Since the war, the town cemetery has had a large military section. There are many new crosses. The date March 2022 is written several times on the gravestones, which number in the hundreds. The town suffered greatly. The inhabitants had to wait for the Russian army to leave before they could bury the bodies that littered the courtyards, streets and gardens. Taking away the corpses was forbidden by the Russians. Those who dared were shot.



Andrii Nidzelskyi, a Ukrainian sound engineer, works for documentary and fiction films in Ukraine. From the very first week of the large-scale Russian invasion of Ukraine, he made sound recordings of the war ambiance around Kyïv and then in the south and east of the country.

Presented by Perrine Poupin, a French sociologist specialising in protest and resistance movements in Ukraine and Russia who has been working with Andrii since 2017.

“Missile Attack, 5am, Mykolaïv” - 2’42

2022

NIDZELSKYI Andrii / POUPIN Perrine

In March 2022, in Mykolaïv, a port and industrial town in the south of Ukraine, the sound of Russian air strikes can be heard in the early hours of the morning, and their effects, car alarms and the collapse of a wall or building.


Andrii Nidzelskyi, a Ukrainian sound engineer, works for documentary and fiction films in Ukraine. From the very first week of the large-scale Russian invasion of Ukraine, he made sound recordings of the war ambiance around Kyïv and then in the south and east of the country.

Presented by Perrine Poupin, a French sociologist specialising in protest and resistance movements in Ukraine and Russia who has been working with Andrii since 2017.

“Siren, 3am, night, yard, windy, Mykolaiv” - 5’16

2022

NIDZELSKYI Andrii POUPIN Perrine

In March 2022, in a courtyard in Mykolaïv, a port and industrial town in the south of Ukraine, in the night and the wind, we experience the sound of warning sirens sounding to warn citizens of air raids.



Andrii Nidzelskyi, a Ukrainian sound engineer, works for documentary and fiction films in Ukraine. From the very first week of the large-scale Russian invasion of Ukraine, he made sound recordings of the war ambiance around Kyïv and then in the south and east of the country.

Presented by Perrine Poupin, a French sociologist specialising in protest and resistance movements in Ukraine and Russia who has been working with Andrii since 2017.

“Night atmosphere of the front-line city of Kharkiv” - 2’

2022

NIDZELSKYI Andrii POUPIN Perrine

What can disturb your peace on this rainy night? You will probably hear the attack the S-300 anti-aircraft missile systems. And although they are designed to destroy air targets - in particular, cruise missiles, aircraft, helicopters, ballistic missiles, Z-nazis attack ground targets in the city of Kharkiv from russian territory. The specifics of the operation of such a missile is that it creates a layer of damaging elements, debris. It’s such an indiscriminate attack. For about half a year, this is already a familiar atmosphere for many cities of Ukraine, an atmosphere to which one doesn’t want to get used to.



Orphnoise is a sound project by Michel Kessler + that oscillates between Noise, Glitch, Deep Listening and Musique liminale in search for sounds with a space-filling materiality. In particular, techniques of algorithmic composition such as granular synthesis and cellular automata are used.
https://orphnoise.bandcamp.com/

Michel Kessler + is a collaborative architectural practice that engages with the political dimension of space production across different media (from microarchitectures, competitions, exhibitions, texts, actions, theater and films to sound and code). In exchange with others, Michel Kessler + develops projects that understand architecture as an open process.
https://www.instagram.com/michelkesslerplus/
https://www.instagram.com/architectureliminale/

“Mars Records” - 6’11

2023

Orphnoise is a sound research project by Michel Kessler

On February 17, 2022, Orphnoise received a mysterious email from an astronomer named Henry Fagot, who was working on the exploration of the planet Mars. He claimed to have access to a variety of audio recordings of sounds on Mars. He said he was not entirely sure what was making these sounds. They appear to be generated by parts inside the seismometer that contract as they cool, especially at sunset. All of the sources were altered, sometimes radically, in Orphnoise’s studio to achieve a disturbing, haunting quality.



José Luis Carles
Composer and ecologist. PhD in Biological Sciences. Professor at the Interfaculty Department of Music, UAM. Expert in soundscapes, psychoacoustics, and sound environment. Specialized publications. Director and Cristina Palmese, of the program "La Casa del Sonido" (Radio Clásica. RTVE). Director of the International Congress on Sound and Audiovisual Spaces, and Iberoamerican Meetings on Soundscapes.

Cristina Palmese
PHd Architecture. Lecturer at the European University of Madrid. Soundscape specialist, she is an independent researcher and founder of Paisaje Sensorial Office-lab, which develops transversal projects of Architecture/Unban/Landscape. Her work combine theoretical, applied, and creative research. La Casa del Sonido in Radio Classica de Spanish National Radio-television RTVE.

“Imaginary City” - 6’45

2023

PALMESE Cristina / CARLES Jose Luis

We present an imaginary journey around a city that is a mixture of three cities (Madrid, Naples, and Venice) by means of their recorded, interchanged, and mixed soundscapes.The sounds compose an imagined city, they compose the becoming of a possible reality creating a new space-time through listening.






José Luis Carles
Composer and ecologist. PhD in Biological Sciences. Professor at the Interfaculty Department of Music, UAM. Expert in soundscapes, psychoacoustics, and sound environment. Specialized publications. Director and Cristina Palmese, of the program "La Casa del Sonido" (Radio Clásica. RTVE). Director of the International Congress on Sound and Audiovisual Spaces, and Iberoamerican Meetings on Soundscapes.

Cristina Palmese
PHd Architecture. Lecturer at the European University of Madrid. Soundscape specialist, she is an independent researcher and founder of Paisaje Sensorial Office-lab, which develops transversal projects of Architecture/Unban/Landscape. Her work combine theoretical, applied, and creative research. La Casa del Sonido in Radio Classica de Spanish National Radio-television RTVE.

“Echoes from the Mediterranean” - 7’

2023

PALMESE Cristina / CARLES Jose Luis

This work focuses on the voice, nomadism, and refugees, forced nomads, forced to leave their homes with nothing, leaving behind their origins, their habitats, and the customs of their ancestors, with the risk of losing their identity and the richness of a culture that remains only in their memory. All that remains for them is to try to survive in an anonymous and hostile environment. With the voices, a documentary work is created that combines the real and the virtual, the concrete and the imaginary, in an attempt to transform into music and sound the vital and subjective experiences, the contradictions and ambiguities of both the refugees and the populations that host them.



Ira Oznobikhina is an independent researcher and artist. Before winter 22 she was a PhD student at European University. Today Irina continues her research and focuses on the affective side of auditory experience and environment. Her works are devoted to atmospheres, sound art, and sonic ecology.

Co-author:
Nikita Safonov is a musician, practicing sound artist and researcher. He is also producer and founder of music label Shell Holes Audio Community.

“No Reason Two Resonate” - 1'37

2023/2024

OZNOBIKHINA Irina, SAFONOV Nikita

There is no sense in-between the auditory experiences and sonorous atmospheres. ln sonically polluted places, especially underground, silence becomes densely poetic, so that the possibflity to attune to the vibrant acousmonium of the city is soundly contingent. The urban sound environment has everything at once, though. Transient routes, noisy patterns and pulsating rhythms merge into sonobiographical paysages of habituai places that unfold sonically different when there is nothing left to hear. Ceiling plaster of the underpass in Moscow, destroyed by the humidity, can naturally resonate with the shabby walls of the houses in Camogli built by the Ligurian Sea shore arc. Within the contrasting glimpses of the humming city areas, there is always something more, and I pronounce it with my voice deeply in the night while being in bed to live through a sonorous trace, embreathing it for one more trial. With my voice as more than nothing.



Ira Oznobikhina is an independent researcher and artist. Before winter 22 she was a PhD student at European University. Today Irina continues her research and focuses on the affective side of auditory experience and environment. Her works are devoted to atmospheres, sound art, and sonic ecology.

Co-author:
Nikita Safonov is a musician, practicing sound artist and researcher. He is also producer and founder of music label Shell Holes Audio Community.

“The Not-So-Silent Prayer” - 36''

2023/2024

OZNOBIKHINA Irina, SAFONOV Nikita

Since the 24 of February more than 800 thousand refugees have abandoned Russia. This recording is a fragmentary sonic note devoted to peace. Mixed with vocalisation of a blackbird, — Messiaen’s main sonic fascination, soundscape of an abandoned industrial area in the South of Moscow and extracts of Safonov’s talk on sound theory: audiovisual litany [audiovisual’naya litanya] and corporeal sensations [korporeaysovannye oshushenya], the transient qualities of sound become affectively noticeable and bodily present



Eleni-Ira Panourgia is a sound and visual artist, and postdoctoral researcher at Filmuniversität Babelsberg KONRAD WOLF. She completed a PhD in Art at the University of Edinburgh as a Scholar of the Onassis Foundation. Her work focuses on the development of new forms of expression that combine sound, objects, spaces and environments.
https://eleniirapanourgia.com/

“Water-drought patterns” - 6’44

2023

PANOURGIA Eleni-Ira

Water-drought patterns tells the story of an aquatic environment suffering drought. Transitions between real places and their future condition are explored through the fictional dimensions of sounds of organisms and matter. Processed airborne, underwater and surface vibrations express forces, flows and competing elements and reveal multiple listening perspectives in space. Micro events and textures transmit plant and animal reactions to drought; adapting, struggling, behaving differently. Listeners navigate across multiple temporal and spatial scales and scenarios.



Fanny Rahmouni exerce conjointement deux métiers obscurs, celui d’urbaniste et d’autrice radio. Après de nombreuses années à tenter de donner forme au chaos des villes, elle renonce et décide de se mettre à leur écoute. Elle commence par enregistrer ses explorations pédestres, des cimetières pour chiens de région parisienne aux prairies inondables de la Loire, avant de réaliser plusieurs balades sonores avec les Conseils d’Architecture d’Urbanisme et d’Environnement en Ile-de-France. Fin 2020, elle intègre la troisième promotion du collectif de radio Transmission, où elle n’a de cesse de creuser et d’amplifier son obsession pour les gens qui racontent des lieux, les sons qui parlent de son, et la création sonore à plusieurs.

“The Metropolitan Journey - From Versailles to Marly-le-Roi” - 4’14

2018

RAHMOUNI Fanny

Sound exploration from Versailles to Marly-le-Roi. Journey through parkland, shopping malls, private residences, golf courses and a dog cemetery, guided underground by the Marly machine, responsible for supplying water to the Château de Versailles. Between the Seine and the Côteau, it's easy to get lost.



Fanny Rahmouni exerce conjointement deux métiers obscurs, celui d’urbaniste et d’autrice radio. Après de nombreuses années à tenter de donner forme au chaos des villes, elle renonce et décide de se mettre à leur écoute. Elle commence par enregistrer ses explorations pédestres, des cimetières pour chiens de région parisienne aux prairies inondables de la Loire, avant de réaliser plusieurs balades sonores avec les Conseils d’Architecture d’Urbanisme et d’Environnement en Ile-de-France. Fin 2020, elle intègre la troisième promotion du collectif de radio Transmission, où elle n’a de cesse de creuser et d’amplifier son obsession pour les gens qui racontent des lieux, les sons qui parlent de son, et la création sonore à plusieurs.

“Metropolitan-Air Motorway Travel” - 1’58

2018

RAHMOUNI Fanny

Considerations gleaned along the A4 freeway, where we drift in the footsteps of Kraftwerk and the Impressionists, between discomfort and fascination.

 



Fanny Rahmouni exerce conjointement deux métiers obscurs, celui d’urbaniste et d’autrice radio. Après de nombreuses années à tenter de donner forme au chaos des villes, elle renonce et décide de se mettre à leur écoute. Elle commence par enregistrer ses explorations pédestres, des cimetières pour chiens de région parisienne aux prairies inondables de la Loire, avant de réaliser plusieurs balades sonores avec les Conseils d’Architecture d’Urbanisme et d’Environnement en Ile-de-France. Fin 2020, elle intègre la troisième promotion du collectif de radio Transmission, où elle n’a de cesse de creuser et d’amplifier son obsession pour les gens qui racontent des lieux, les sons qui parlent de son, et la création sonore à plusieurs.

“The Metropolitan Journey – From Yvette to Orge” - 4’04

2018

RAHMOUNI Fanny

Sound exploration from the Yvette valley to the winding course of the Orge. A collective journey through a peri-urban and peri-rural mosaic where highways, orchards, TGV lines, fields, electrical substations, sand quarries and housing estates rub shoulders, before ending the day with our feet in the water.



Ana Maria Romano G.
Colombian composer-sound artist. Her creative interests stem in the intersection of gender, sound and technology, listening, soundscape, experimentation and the political dimension of the creative. She coordinates Plataforma Feminista En Tiempo Real. Co-founder of Paisajistas Sonoras América Latina.

“Infinite recondite - To cross” - 6’18

2023

ROMANO G. Ana Maria

Work arises from sound recordings that I made in July 2022 in Charca de Guarinocito, located in La Dorada (Caldas, Colombia), in an area where it is hellishly hot, of incredible beauty and with many terrestrial, water, and air beings. The Charca is a madrevieja, it is an arm that opened from the Río Magdalena, is a complex ecosystem that survived the bad decisions of a mayor who turned it into a sewage depository, community resistance actions managed to reverse and initiate restorative actions.



Delphine Roussel, créatrice du podcast “pote.casteuse”, s’évertue à magnifier par des montages audios le quotidien du génie de nos vies. Urbaines ou rurales, elle explore les individualités de nos parcours pour mieux souligner nos spécificités et contradictions.

“But where do you want to go to be better?” - 2’55

2022

ROUSSEL Delphine

"But where do you want to go to be better?" is a sound creation celebrating life in the countryside. Farmers' children have a strong bond with the land and nature. In the 90s, instead of spending their summers at summer camps, a group of siblings thrive on playing and learning in a beautiful playground. And above all, growing up on a farm means experiencing your parents' work every day, right from breakfast.



Christian Ruby, philosophe, membre de l’Observatoire de la liberté de création et de l’Association pour le développement de l’histoire culturelle.
Site : christianruby.net

“On the new panic crisis of otherness” - 6’45

2023

RUBY Christian

Reflecting on the panic crisis of otherness specificity as experienced since the beginning of the 21st century. She doesn't resort to distilling the hatred of others from known traits. Rather, she promotes a higher degree of hatred. For example for gender changes, different sexualities, feminisms, disabilities, refugees, etc. She functions as a rejection of the other for his otherness by refusing to take into account “her” otherness for him while the other strongly confirms it.



Julian Scordato is a composer and artist whose practice focuses mainly on sound, graphics, algorithms and interactivity. He studied composition and electronic music at the Conservatory of Venice and sound art at the University of Barcelona. He is the Coordinator of the Electronic Music School of the Conservatory of Padua.

“Earth song” - 5’51

2014

SCORDATO Julian

The low frequency radio waves that propagate in the Earth’s atmosphere assume distinct characteristics in relation to the emitting source as well as the receiving point, affected by phenomena such as reflection and absorption. Considering the electromagnetic radiations generated by natural disturbances, these phenomena have been transposed into an audio feedback network in order to obtain imaginary results by exploring the effect of space-time parameter variation: a kaleidoscope of sounds floating in a dynamic system with ever-changing variations of the rules of the counterpoint. Audio data courtesy of CARISMA (Canadian Array for Realtime Investigations of Magnetic Activity), operated by the University of Alberta, funded by the Canadian Space Agency.



Nick Seider is the creator and producer of Green Valley Radio, an audio entertainment project that seeks to bring history to life through emulated radio broadcasts and audio dramas. He started this project at the outset of 2021, and has built it out to a production team of over 15 friends and like minds across the United States.

“Green Valley Radio: February 28, 1944" - 6’59

January 2024

SEIDER Nick
Seider & Company

Our submission for this Chicago exhibition is a short broadcast that takes you for a moment to 80 years ago - February 28th, 1944 - with news researched through the California Digital Newspaper Collection (University of California, Riverside). Learn more about our project at GreenValleyRadio.net



Emmanuelle Sénami se qualifie comme une Mélomane invétérée, une amazone des sons et une amoureuse des arts. Podcasteuse, elle est une observatrice sonore. Une Observatrice tout court. Le son est pour elle un oeil auditif qui crée une ouverture sur le monde pour mieux inspirer l’intime

“Bibèdévo" - 4’25

2023

SENAMI Emmanuelle

Sound recording, production and mixing: SENAMI Emmanuelle

End music “Bibèdévo” written by Kwali

This sound showcase is an open sound experience. It takes you into two adjacent towns. We don't know their names. However, they give us access to their identity in a teeming, inhabited, rhythmic and festive way. Their diurnal side is pronounced. The nocturnal one is insomniac and benevolent by “beating drums”. This showcase gives us news of living places and witnesses of a solar daily life.



Laurine Sézérat est docteure en urbanisme à Rio de Janeiro. Ses recherches portent sur les dynamiques contestataires en milieu urbain et questionnent les représentations qui structurent notre manière d’habiter le monde. Cherchant à décloisonner les approches entre recherche et création, elle a régulièrement recours à des dispositifs artistiques dans ses travaux.

“27° W” - 5’19

2023

SEZERAT Laurine

27° W is an invitation aboard a sailboat stuck in the middle of the Atlantic Ocean in this famous area traditionally called the “Doldrums”. Located at the equator, this zone is moving but difficult to get around during a crossing. The wind is very variable there, and can even disappear for several days. Between deadly boredom and poetic drift, the piece offers an immersion in this out-of-this-world context, where the winds tell the story. All sounds were recorded on board.
Percussions : Pedro Castro



Agathe Simon is a Paris-based artist, born in 1977. Her practice develops through three primary media: film and video, sound, and performance. Further to her Ph.D. degrees in French literature from Sorbonne University and in music from the Paris Conservatory (CNSMDP), she has travelled a decade around the world for creation residencies and research stays. She has created artistic projects in Antarctica and the Arctic. Since her return to Paris in 2017, she has been the artistic director of the production company The Group. Trained at the Fémis Documentary Workshop (the French state film school), she is responsible for the film workshops and the documentary workshops at the Sorbonne University. Since 2023, she has been an associate researcher at the ACTE Institute (Arts Creations Theories Aesthetics) at the University of Paris 1 Panthéon-Sorbonne.
http://www.agathesimon.com/en/ https://soundcloud.com/agathe_simon

“Year 1 (excerpts)” - 2’50

SIMON Agathe

2018

In preparing "Year 1", Agathe Simon has asked persons from nine countries to conduct personal research into their first year of life, and then to record an account. Sent from Argentina, Canada, Iceland, Italy, Ivory Coast, Norway, Russia, Sri Lanka, and the United States, these narratives became the primary matter of a sound creation intended to accompany an immersive performance in Paris. Sound creation voices (excerpts): Maxim Evstropov (Russia), Eryn Foster (Canada) Conception, editing, and mixing: Agathe Simon Post production: Philippe Kadosch Production: Anne Rannou & Étienne Roussel | The Group
http://www.thegroup.fr/year-1



Francesco Saverio Simone
Project manager, enhancer, cultural communicator. It projects its activities in the urban regeneration sector with actions aimed at the recovery and redevelopment of historical contexts. Founder and coordinator of urban communication magazine terpress (www.terpress.com). Designs and implements recovery interventions of infrastructures and collective spaces. “to regenerate is to allow to re-know areas of identity through the cornerstones of the territory and sustainability. A regenerated space is not only a clear improvement in the social quality, but makes the culture of a community concrete of which the places are manifestations of meanings”.

“We are maps” - 1’36

2023

SIMONE Francesco Saverio

We are maps. In the indefinable condition of discovering… ambiguous and uncertain, beyond which to grasp the certain landing of a conviction. Migration is expressed in a contaminating fluid permanence, without which it has never been possible to create communities. The renunciation of migration is therefore a degenerative phenomenon, which does not bring values, is projected into one future community. Continuous physical and intellectual migration is neither right nor wrong, but generator of new communities, it is a human and natural element at the same time a sea that constantly floods and retreats.



Lana Steyler is a multidisciplinary artist and an avid traveller. Specialising in polyphonic chants from around the world, she is dedicated to researching forms that link plastic and sound creation. For over 10 years, she has been creating contextual forms that link vital flow to inevitable encounters.

“FuturSoundScape” - 5’53

2023

STEYLER Lana

A walk between countryside and machines, companions and mornings, crampons and contaminated, the young and the vitaminized.


Lana Steyler is a multidisciplinary artist and an avid traveller. Specialising in polyphonic chants from around the world, she is dedicated to researching forms that link plastic and sound creation. For over 10 years, she has been creating contextual forms that link vital flow to inevitable encounters.

“Star stories” - 4’12

2023

STEYLER Lana

Told improvisation or improvised tale initiated by an experienced moment within a stoned landscape.



Lana Steyler is a multidisciplinary artist and an avid traveller. Specialising in polyphonic chants from around the world, she is dedicated to researching forms that link plastic and sound creation. For over 10 years, she has been creating contextual forms that link vital flow to inevitable encounters.

“Grigri” - 2’24

2023

STEYLER Lana

The words, the memories, the identity cards, the bits of life of objects that have had one. Following numerous trips, numerous exchanges, numerous gifts and numerous loans, anonymous objects having experienced different wanderings express themselves together to bear witness to their stories.



Lana Steyler is a multidisciplinary artist and an avid traveller. Specialising in polyphonic chants from around the world, she is dedicated to researching forms that link plastic and sound creation. For over 10 years, she has been creating contextual forms that link vital flow to inevitable encounters.

“The Rock Wall” - 1’32

2023

STEYLER Lana

A walk. A transcription of the flow of human thoughts in an attempt at contemplative meditation. A look at ourselves and everything else, at the link between inside and outside, at how we feel connected to the world.



Pascaline Thiollière est enseignante à l’ENSA Grenoble et chercheuse à AAU-Cresson. Elle s’intéresse particulièrement aux spatialités et pratiques autour de la mort et du deuil, mais aussi au rapport sensible et intime à la température et au climat, comme à la part culturelle des ambiances avec un fort enthousiasme pour les dynamiques des villes africaines.

“News from Conakry” - 6’57

2022

THIOLLIERE Pascaline

Recording carried out on Thursday, December 8, 2022, at approximately 8 p.m., in Conakry, capital of Guinea, in the Camayenne district, on the 3 floor. The shot is taken on the balcony of a recent building emerging from a very dense group of single-storey houses with tin roofs. In the parallel street, an open-air party with amplified musicians and a singer. In the street below there are numerous vocal interactions between passers-by, residents, street vendors. Sounds come intermittently from a mosque nearby as it is time for the last prayer of the day. Sounds of horns punctuate the listening while the traffic is barely perceptible. It must be said that honking is a way for taxi and motorcycle taxi drivers to let passers-by know that they are available. All these sound sources combine with a metabolous effect, recognizing each other distinctly but in a perpetual dynamism which makes the whole unstable, yet quite balanced. The preponderance of vocalities gives the general sound ambiance a very joyful and harmonious side.



Nicolas Tixier is an architect, professor and researcher/director at the CRESSON Laboratory. His current work focuses on the urban transect as an in situ practice, a mode of representation and a project « posture ».

“Balcony effect and composition” - 2’29

2009

TIXIER Nicolas

Bogotá case study. Montserrat, sanctuary and tourist panorama located 600m above Bogotá. We first perceive the urban background, above the parapet, with some emergences (police siren), and closer, a few voices of tourists. Suddenly the church bell starts to ring and covers everything, but it is strangely accompanied by ambient music coming from the speakers which sows confusion and cacophony in this tourist panorama.



Pietro Tonchia
Lawyer, musician, soundscape lover, member of FKL Forum Klanglandschaft (FKL)

Paola Fattori
Lawyer in Udine (Italy), graduated in piano at the Trieste Conservatory, in addition to music she is passionate about mountains and nature. She believes in choral projects, where multiple voices form a single harmony.

With the decisive contribution of
Giovanni Sollima, author and interpreter of N-ICE Cello Concert
Daniela Piussi, mountain guide, audio from Montasio
Mingma Sherpa from the Makalu valley, audio from the Requin refuge, Vallée Blanche
Corrado Bungaro, director of N-ICE Cello – History of the Ice Cello, 2021 (raiplay.it/programmi/n-icecellocongiovannisollima) – WASABI filmmakers (wasabi.eu)
Maddalena SpA, water and thermal energy measuring instruments

With the support of:
Ekita
Federico Cazorzi, professor of hydrology at the University of Udine, member of the Italian Glaciological Committee
Mariano Bulligan, cellist
Guido Candolini, mountain guide

“Reson-ice - Ice that resonates” - 5’12

2023

TONCHIA Pietro / FATTORI Paola / SOLLIMA Giovanni / BUNGARO Corrado / Maddalena SpA

With contribution of:
- Ekita.it
- PIUSSI Daniela
- Mingma Sherpa
- CAZORZI Federico
- WASABI FILMMAKERS

Glaciers to create awareness of the fragility of the water system and take care of it. The audio captures the dialogue between two glaciers. The Italian glacier at the lowest altitude, Montasio-Alpi Giulie, which remains resilient and the one of Mont Blanc, a cultural landscape which, it is hoped, it will preserve the glacial environment. The sound of a water meter evokes a countdown. Then the ice sublimates into music.The cello made of ice sculpted by Linhart on the Presena glacier intones the last song of the glaciers, the leitmotif of Giovanni Sollima’s N-Ice Cello Concert.



Marie Trossat est architecte, sociologue et doctorante (Lasur, EPFL/Metrolab.brussels). Prenant part à un projet de recherche sur Genève et Bruxelles, sa thèse s’intéresse aux architectures de l’(in)hospitalité et explore la spatialité, l’urbanité et la matérialité des espaces dédiés à l’accueil.

“Bury the tombs” - 5’09

2023

TROSSAT Marie

During the Cold War, Switzerland, fearing a nuclear apocalypse, built more than 360,000 anti-atomic bunkers. Despite their material and immaterial uninhabitability (Trossat, 2022), Civil Protection shelters are used on several occasions for accommodation on the long term of newly arrived foreign populations. In order to avoid this practice which has been repeatedly denounced, we support their definitive closure. To the earth, the earth. To the darkness, the darkness.



Maia Urstad is a sound artist based in Bergen, Norway, working at the intersection of audio and visual art. Communication technology is a recurring theme in her practice, reflecting on different aspects of contemporary technology and what soundscapes, traces and stories we leave behind when new inventions enter our everyday lives. She often looks at moments in history when a technology is on the verge of obsolescence. http://www.maia.no

“Radio Taxi Buenos Aires – Remix for Radio Utopia” - 5’34

2015 // remix 2023

URSTAD Maia

«Radio Taxi Buenos Aires» is based on recordings of Radio Taxis in Buenos Aires on December 2015. Communication between radio-taxi cars circulating the city of Buenos Aires and their central call center is here passed on via radio and VHF transmission - a technology that may be abandoned as we speak, in favour of apps and other digital, noiseless technology. This moment in sound history, on the threshold between outdated and highly valid technology, as well as the sonic traces it creates or generates, is the thematic core of this work. The recordings were first made as a sound installation at Fundacion PROA Contemporary Space in Buenos Aires, curated by Javier Aparicio and coordinated by Santiago Bengolea.



Jean-Philippe Velu a été formé en architecture et en composition électroacoustique (conservatoire de Pantin, prix Sacem). Son travail est ancré dans une approche transdisciplinaire, liant espace réel, imaginaire et monde sonore. Ses pièces acousmatiques ont été jouées dans différents festivals (Futura, Nus pieds, FIMU) elles ont également obtenu des distinctions de la fondation Destellos et du Forum Wallis.

“Frogs” - 9’22

2022

VELU Jean-Philippe

Cette pièce est née d’une prise de son réalisée près de Fontainebleau la nuit, le long d’un lac. Je pense que c’est mon meilleur concert de musique spatialisée. Les batraciens enveloppaient, dilataient l’espace, y composaient des mélodies aux rythmiques insaisissables. Jusqu’à ce moment où une voiture est passée en trombe. Cataclysme motorisé, bruit vif et blanc, affaissant le lieu, le moment, les chants. A propos de la présence de Noam Chomsky, voici une piste : « I suppose frogs pay no attention to being frogs. They take it for granted. What interests a frog are differences among frogs. From our point of view they are more or less the same, from their point of view they are all radically different. » Noam Chomsky. Prises de son réalisées entre 2019 et 2022 près de Fontainebleau, au Moulin, ainsi qu’en Bretagne près de Pont Château. Interviews en ligne de Noam Chomsky Modèle de l’ abatteuse : Komatsu 951 Fini de composer en Avril 2022.



Daniele Virgilio is an architect, urban planner and PhD in urban planning (University of Rome “La Sapienza”). His main publications and research focus on marginal territories and suburban geographies. He is currently working on the relationship between sound and place.

“This unique sound” - 6’58

2023

VIRGILIO Daniele

News of the world are coming from three deeply intertwined environments, to form a single sound: the local environment from a field recording carrying everyday life messages of an urban square in a specific time and place; the non-place environment of digital interactions and media, producing murmurs and artificial voices coming from an unpredictable elsewhere; the inner world of sounds generated by acoustic and electronic sources, sending informations from the inside.



After a mathematic background, Anourak Visouthivong enter the national school of Landscape Design of Versailles. She likes to play with the word 'physics' to question 'image', in between two animist and naturalist cultures, loogking for an algebra form and matters of life.
This project is a result of a residency in Château de La Maye, with  Fonds de Dotation Verrecchia in paternship with Manifesto.

“The Proust effect or Le chant de GaÏa” - 4'33

2023

VISOUTHIVONG Anourak

When the underground world reaches the open world, the stone reacts with the wind, with the O2 element and creates smell. Smell forms a musical scale, in aeolian mode. Voices act in metamorphic mode, moltened, suspended. This sound awakens land, air, primary movements of our body, the sacred power of feminine vocals, our very animal senses.
Like Proust, a landscape designer with his pen from his bedroom, this synaestheticscape reminds us of what COVID made us lose when we lost our senses : an "involuntary memory".



Joseph Young (born 1960) is a sound artist fascinated with the semiotics of the global soundscape. A specialist in binaural field recording, he has exhibited and performed at Tate Britain, Tate Modern, V&A (UK) and in Seoul, New York and Berlin. HIs work can be found in several permanent collections. www.artofnoises.com

“The Destruction of Language (after Le Madame)” - 7’

2021

YOUNG Joseph / Recorded and composed by Joseph Young, featuring the voices of Deborah Levy, Mine Kaylan and Patricia Hope Scanlan

Featuring the voices of poets Deborah Levy, Mine Kaylan and Patricia Hope Scanlan in conversation on the continuing importance of feminism, and inspired by the work of artist Louise Bourgeois, the work addresses a notion of News from the Other by taking their voices and subjecting them to cut-up and reduction, with repeated phrases, syllables and rhythmic cadences stretching across the stereo field. The impassioned phonetics that results, questions the didactic formalism of language itself.



Marta Zigante nasce a Torino il 2 febbraio del 2001 in una famiglia di musicisti. Il suo percorso artistico comincia con la pratica delle arti pittoriche e scultoree, per poi avvicinarsi al mondo della musica elettronica. Per questo motivo cerca di stimolare la fantasia visiva attraverso il suono.

“Against the Hurricane” - 5’16

2022

ZIGANTE Marta

“Against the Hurricane” is a piece inspired by the news of a motorist traveling the wrong way on the highway, all tied together by a musical accompaniment of stringed instruments. The situation recreated is that of a radio broadcast disturbed by interference, glitches and material recorded in field recordings of rain and storms, as if the listener were trying to listen to traffic news during a car journey in the midst of the storm.