interplace

re place

Dans un cadre très carré, la jeune fille est endormie. Elle a fermé les yeux, est tombée dans le sommeil et s’est perdue dans les dédales des couloirs du Centre Pompidou,. Autour d’elle, des œuvres, un chant quelque part dans l’immensité.  À quoi rêve la jeune fille ? 
Une création sonore fraîche, surprenante, à écouter sans plus tarder, qui vous révèle le Centre Pompidou comme vous ne l’avez jamais entendu. 


Auteure et voix : Sabine Zovighian
Musique et réalisation : Arnaud Forest
Prise de son : Samuel Hirsch
Chant lyrique : Mathilde Ortscheidt
Direction éditoriale : Morgane Elbaz & Silvain Gire
Co-production ARTE Radio

Jeune Fille Endormie, de Sonia Delaunay

C’est une histoire avec des nuages, des cochons, New York et des toupies. Une déambulation sens dessus dessous à travers cinq œuvres du Centre Pompidou. Chacune convoque un univers onirique et décalé, composé de sons enregistrés en binaural dans le musée, puis samplés, bouclés et déformés au fil de la narration. Une fiction sonore renversante pour petits et grands enfants ! 

Texte et voix : Laure Chatrefou 
Réalisation & musique : Arnaud Forest 
Direction éditoriale : Morgane Elbaz, Silvain Gire
Co-Production Centre Pompidou - ARTE Radio

Tous Les Jours À Beaubourg !

Binaural journey finding my soundscape heritage from Variana - Italy.

Soundscape Heritage Variana

Please listen with headphones to fully appreciate the binaural spatialization.
The recording session was taken at dusk, between 7:00 and 9:00 PM.
I used the PM-01 binaural from Luhd Microphones.
https://www.luhd-mics.com/store/p16/PM-01Binaural.html

Soundscape - Canterno (binaural)

Excerpt from the score for 'Invisible Histories', live dance in the gallery space (Limerick City Gallery of Art, July '18).  A collaboration with dancer/ choreographer Mary Whycherley and sculptor Rory Tangney. 

"Rich with sensations and images, Invisible Histories sees the audience follow Mary's performance through different spaces in the gallery, each with a different texture -  each housing a new art work by Tangney, and each  with a unique sound world from La Cosa Preziosa. This exciting new piece will look at memories not as fixed narratives from the past but as emotional experiences that create transforming collisions with the present."

Funded under the Arts Council’s Dance Project Award and in partnership with Limerick City Gallery of Art; Visual Carlow; West Cork Arts Centre; Void, Derry and Dance Limerick.

Tour dates:
Visual Carlow 9th September 
West Cork Arts Centre Skibbereen 31st October 
Void Art Centre Derry 15th November 

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More info:
http://gallery.limerick.ie/Events/INVISIBLEHISTORIESbyMaryWycherley.html

A Quiet Alarm (excerpt)

The main task was just to test new hydrphones from Limpet Mics.
But suddenly started to improvise with granular stuff and feedback. :)
Anyway, I like how the water drops interact with granular samples.
Fostex FR2-LE
H-01 hydrophones @limpet-mics

Hydrogranular

Usually when I use my iPad as part of the process, it's just that: part of the process, creating something that I then employ in another context (like a sample for my modular synth), or processing something external (such as my electric guitar). This time, I wanted to do something where the iPad was the beginning as well as the end of the process, and everything in between, all the way through uploading the finished recording to SoundCloud. 

The short version of the process: I recorded my breath (something closer to a breathy vowel), then cut it up into slivers, then enacted some alterations on those individual slivers, then triggered them, then recorded a second variation triggered differently, then combined the two tracks by overlaying them, and then uploaded. 

This is part of the current Disquiet Junto project (number 0384), in which we find rhythmic material in our breathing. When working with the sample-triggering, I set the pace of this to 60bpm, which is sort of my happy pace. I didn't think of the start of each breath as the pace, but instead various moments within the breath.

For more detail, here are the iPad apps I used: I recorded the breathy vowel into AudioShare. It took several tries to get the quality I was looking for. The iPad's microphone turned most of the initial breath attempts into harshly serrated white noise, which is when I added a vowel/hum quality to the breath, and that took the edge off it. I transferred the sample from AudioShare to ReSlice, and then I used ReSlice to break it down into evenly divided segments, and then changed the attack, decay, and release on those slices, in order that each had a unique quality (I also set two of them to play in reverse). I used the Autony app to trigger the slices in ReSlice for one track, and then added more randomness within Autony to a second round of triggers, yielding a second track of equal length. I could have done those two tracks separately and added them together after the fact, but I wanted to hear what they sounded like together, so I did this all in the AUM app. When I was happy with the balance between the two Autony-triggered ReSlices, I transferred the two lines to the Cubasis 2 app, then used the mixdown tool within Cubasis to output a finished mix. Then I sent that back to AudioShare, and used AudioShare to upload to my SoundCloud account.

More on this 384th weekly Disquiet Junto project — Breath Beat / The Assignment: Explore breath as a resource for rhythm — at:

https://disquiet.com/0384/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0384-breath-beat/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project adapted (cropped, colors changed, text added, cut’n’paste) thanks to a Creative Commons license from a photo credited to Victor Morell Perez:

https://flic.kr/p/4M5zUQ

https://creativecommons.org/licenses/by-nc/2.0/

The Body Pneumatic (disquiet0384)

Multi-channel field recording of 12,000 Italian bees at Buckeye Creek Farm Cherokee GA.
The setup consisted of four wooden packages of bee's containing 3000 bees each stacked on top of each other creating a wall of swarming noise. 

 Captured with the Neumann RSM 191-A/S and DPA SMK 4060 omnidirectional miniature stereo microphones. Everything was recorded at 24-bit 96khz with the Sound Devices 744T and Mixpre-D. Free Download

Watch the video here: https://vimeo.com/63253584
http://buckeyecreekfarmga.com/

Multi-channel field recording of 12,000 bees at Buckeye Creek Farm.

La Cosa Preziosa (Susanna Caprara) is a soundscape artist and field recordist originally from the south of Italy and based in Dublin, Ireland.  

Part of her work is focused on the creation of short-form audio works that explore poetry, humour and the unexpected, through the exclusive use of her own field recordings. These works take the form of narrated fiction, experimental composition and micro documentaries. 

As a soundscape designer she composes original works for large scale productions such as live performances, radio productions and gallery installations. Currently working on a soundscape for the contemporary dance piece 'Invisible Histories' by Mary Wycherley featuring sculptures by Rory Tangney and opening at Limerick City Gallery of Art in summer 2018.

Recent projects include Onironautica (RTÉ Lyric FM commission for Art's Birthday 2017, finalist in the EBU Ars Acustica Prix Palma Award), composing a soundscape for a Lucien Clergue photograph as part of Landscape/ Soundscape at Penn State University (USA) and co-curating 'Mean Time', a live performance inspired by the women of 1916 (Richmond Barracks and live broadcast on RTÉ Lyric FM, nominated for an IMRO Radio Award and a New York Radio Festivals Radio Award).

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Free monthly mini soundscape dispatches at http://www.lacosapreziosa.net/the-secret-soundscape-club

A Quiet Alarm (excerpt)

La Cosa Preziosa

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