First of a series of works that inhabit the boundary between composition, sound installation and radio art, focused on the conceptual pair Nature-Culture and the impossibility of their relationship.


Realized in AlmaVox Studio in 2021.

released October 2, 2021

Rite#1 [2021]

A Simple Sorrow, Not Mysterious

din_exp1

Agencement - Six Juxtaposed Works CD

CD / Tochnit Aleph TA153 / Edition of 300 copies

First release by japanese artist Hideaki Shimada aka Agencement since 2001. "Six Juxtaposed Works“ presents new pieces for violin, viola, cello, electronics and tape. Performed and recorded between 2013 and 2017.

Shimada (born 1962) plays violin improvisations since the late 1970’s and formed the Agencement project in the early 1980’s adding electronics and tape-techniques to his play and releasing the first self titled cassette in 1984. Between 1986 and 2001 he published four more Agencement albums on his own Pico label.

What Shimada gives us intellectually is quality in limited quantity; a maximum result from seemingly minimum effort. His work has been described as both Noise and Music, Avant-Garde and Minimalist, nervous and mellow, frantic and still, hectic and calm.

Edition of 300 copies, 6-panel digipak with artwork based on a drawing by Hideaki Shimada.

http://www.tochnit-aleph.com/catalog/product_info.php?products_id=3911

https://sites.google.com/site/hsppico/agencement

Six Juxtaposed Works

Agencement - For Dado

New Street (2015)

El canto de los vendedores de carne y verduras en el mercado... los trenes... La luz tenue y amarilla de los postes de luz reflejada en los canales al anochecer... el sonido del viento arrastrando las hojas secas en el frío inclemente del invierno; la bruma... esa espesa bruma...

a Scott, Jonty, BEASTies, y por supuesto, a Cata.

New Street (2015), para soporte fijo de audio.

« Elements » is an acousmatic piece which explores sound morphing and the modification of sound perception. The work is constructed around 5 sound elements (water, wind, city, thunder, fire ). By placing these somewhat neutral elements in new contexts, one automatically changes their perceived meaning. This aspect of modifying the listener’s perception plays an important role in the piece. Through this, the listener is invited to explore the « ways » in which we listen to and experience everyday sounds. Speech elements in the work are used to suggest associations in the listener’s mind. Within the fluid structure of the piece, the listener is placed on the borderline between concrete and abstract.

Elements

La Dernière Rose, Livia Giovaninetti (2017)

La Dernière Rose est une pièce radiophinique, le portrait croisé de 2 vielles femmes aux parcours extrêmement différents, mais qui vont connaître des expériences de vie similaires de part leur génération, leur féminité et leur condition humaine. La partie texte inclue des commentaires enregistrés au fur et à mesure sur l’oeuvre en cours, et ceux-ci ont eu un impact direct sur l’écriture musicale.

Remerciements : Ariadna Paul et Nicole Giovaninetti dont les témoignages servent de fil conducteur à l’oeuvre, Arnaud Giovaninetti, Judith D'aleazzo et Raphaël Nivet pour les témoignages complémentaires, Dana et Christophe Giovaninetti, Valentin Leverrier, Vincent Laubeuf pour les commentaires et conseils diverses, Paul Ramage pour sa contribution musicale à la partie « retraite », et Armando Balice pour ses conseils de diffusion.

LA DERNIERE ROSE

Prix Paysage sonore - Field recordings - Phonurgia Nova Awards 2019
Autoproduction, Russie
Il s’agit du cycle complet d’une journée entière ramenée à une demi-heure, enregistrée dans la péninsule de Crimée au cours d’un voyage solitaire durant l’été 2018.  L’activité sonore des insectes(principalement grillons et cigales) est indexée sur la température ambiante : elle est un marqueur sensoriel de l’environnement et une horloge biologique. Cette pièce a d'abord été conçue pour une installation en octophonie.

Yulia Glukhova (née en 1989) est une artiste sonore basée à Moscou. Son domaine d’intérêt comprend la musique électronique expérimentale, l’art technologique et le Field Recording (l’enregistrement sur le terrain).

Yulia Glukhova : Ci(r)cadian Rhythm - Prix Field recording Phonurgia Nova awards 2019


''...I gaze out over the sea and reflect upon my life, its heights and depths, its bliss and its sorrow, and often my past comes back to me like the sound of a lyre on which the master  runs through every tone, blending discord and harmony in obedience to a hidden plan...''

Friedrich Hölderlin, Hyperion  (1799)


Pelagos (πέλαγος, sea) is a suite in 7 movements (29 minutes). This is the first movement. The piece is an adventure into the composition of metaphors through the use of mimesis, allusion, and symbolism.

Pelagos_Prologue

illumination

"In-Somnia" originates from recordings of a soundwalk I did in a last winter late night in the suburbs of Bologna (IT). 
In the loneliness of this context I was attracted by different sounds whose real source was mostly hidden to my sight. 
In particular I followed a strange bird-call-like sound which became more and more unreal as much I got close to his source point, which was revealed to me only when I was in front of it: a broken car alarm which produced irregular impulses instead of the common continuous sound. 

I consider the piece my interpretation of this personal sound epiphany experience, and more in general (for those who didn't experienced it) a wander throughout mental, real and surreal soundscapes, in a perpetual search for something unknown. 

World Premiere at Salford SONIC FUSION Festival 2013 (22/03/2013)

In-Somnia

Composer, sound artist and field recordist based in Paris

Rite#1 [2021]

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