24-28 août 2016_Au festival Les Percéides, Percé, Québec

Août 2016 et 2017, j'ai eu la chance d'animer les tables-rondes au festival LES PERCÉIDES dans le cadre de la Grande rencontre des arts médiatiques en Gaspésie

Note de programme. Le public est convié à venir activement prendre part à une discussion, avec tous les artistes présents à la Grande rencontre des arts médiatiques en Gaspésie, qui explore la thématique de cette année : l’expérience sensitive. Il s’agit de s’interroger sur la portée de l’audiovisuel et sur sa capacité à faire vivre une expérience dépassant les sens qu’il convoque de prime abord : l’ouïe et la vue.  C’est ainsi une invitation à découvrir les différents univers créatifs des artistes qui articulent diverses langages médiatiques.

http://perceides.ca/films2016/cine-rencontre-le-film-comme-experience/


Après le programme de cinéma expérimental : 
Esther Bourdages, Leslie Supnet, Clint Enns, Guillaume Vallée
c Sarah Seené

 

/// ENGLISH FOLLOWS

Le 3 mars 2016, Eastern Bloc accueille la série “Un microphone dans une tempête de noize”, fondée par Esther Bourdages en 2012. Ouvert à l’incongru, ce rendez-vous sonore entrelace les musiques improvisées, expérimentales, et toutes nouvelles formes musicales puissantes en couleurs et en textures. Eastern Bloc tient à remercier la Délégation Wallonie-Bruxelles du Québec pour le soutien apporté à la présence de Yannick Franck.

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March, 3, 2016, Eastern Bloc is hosting the series “A microphone in a storm of noize”, founded by Esther Bourdages in 2012. Open to the incongruous, this sonic meeting intertwines improvised music, experimental, and the all powerful new musical forms, rich in colors and textures. Eastern Bloc wishes to thank the Wallonia-Brussels Delegation of Quebec for their support to the presence of Yannick Franck.

———————————————————————
YANNICK FRANK
https://soundcloud.com/yannickfranck

MARK LOWE
https://soundcloud.com/lowebrau

ÉMILIE MOUCHOUS
https://soundcloud.com/gmackrr

Le 1er mai, nous avons lancé le numéro #31 - Musique et politique de la revue .dpi. Merci encore à tous les auteurs, artistes impliqués, comité éditorial et à la chouette équipe du Studio XX. Bonne lecture! http://dpi.studioxx.org/fr/no/31-musique-et-politique

Bibliographie

« Avons-nous une contre-culture ?», éditorial, Musique et politique, Revue .dpi, Studio XX, Montréal, no 31, 2015.

« Musique et politique »,  Revue .dpi, Studio XX, Montréal, no 31, 2015.

Interview audio : Karine Philibert et les femmes changent la lutte, Revue .dpi, Studio XX, Montréal, no 29, 2013.

May 1st, we launched #31 of .dpi Journal, Music and Politics! Thanks a lot to all writers, artists involved, editorial commitee, and to the great team to Studio XX.
I wish you a good reading http://dpi.studioxx.org/en

Auteur.e.s/writers: Megan Mericle, Joseph Sannicandro, Deanna Radford, Julie Alary Lavallée, Arman Koushyar
Artistes/artists: Ultra Red, Olivia Block, Marites Carino

 .dpi is a feminist journal of art and digital culture. Based in Montreal and published online, .dpi offers a unique and bilingual space for dialogue and interdisciplinary critical reflection, research, experimentation, and documentation. .dpi is a space where many voices situated at the intersection of art, technology and feminisms can be heard. - See more at: http://dpi.studioxx.org

Dans le cadre des Sessions organisées par le centre Dazibao, je prépare une communication qui traitera des partitions graphiques et des relations qu'elles entretiennent entre les champs du sonore et du visuel.

en janvier 2015.
http://dazibao-photo.org/fr/upcoming/session-8-esther-bourdages-fr

Luciano Ori, Fantasia Chromatica, technique mixte (1986) (détail)

Publication

A fascinating discussion with sound artist Richard Garet speaking on the first major exhibition on sound art in New York last year entitled “Soundings: a contemporary score” by critic / sound artist Esther Bourdages (QC).

Blackflash Mag, issue: 31.2 on newsstands May 2014.

Full article here: 

https://blackflash.ca/2014/10/24/soundings/

Excerpt

Esther Bourdages: According to the historian of media arts and experimental music, Douglas Kahn: “Comparing the artistic utilization of the mechanical recording of the objects of the two major senses, that is sight and hearing (what John Cage calls the public senses), we can note a remarkable historical lapse: approximately 100 years between the eyes and the ears…^[9].” It took a while for sound to gain independence from the image, becoming an artistic form in its own right. Whether in performance, music composition, photography, installation, moving images, or as a signal to generate sound and/or images, sound is at the center of your practice: it is the major component. Do you consider yourself a sound artist first?

Richard Garet: I think that I consider myself an artist, a contemporary artist, whose work utilizes sound at its core. Rather than distinguishing between whether sound or visuals are the most important thing I would indicate that, for me, time is the most sensitive thing. My pieces are time-based and even when they reach complete stillness time is still very present. Also my pieces range from total immateriality to material form depending on the work, and that changes the focus too. Especially if the work is also comprised of visual elements that are orchestrated and articulated within the work. Also there are at play elements of interdisciplinary approaches to media, and a wide range of media sources are involved from analog to digital. However, if someone calls me a sound artist this is accurate too, but I find the term somewhat limiting and boxing… I prefer to be seen as an interdisciplinary artist.

 

 

 

 

J'ai initié cet événement __Expérimentation télématique@Eastern Bloc

    Though the ubiquity of high-speed networks seems to brings us ever closer to the fantasies of Virtual Reality, we should remember that the technological precedents for telemusic stretch back as far as the advent of telephony.   Christopher Haworth

Le Lab d’Eastern Bloc convie ses membres et sa communauté lundi le 25 novembre à assister à une performance musicale en réseau, aussi appelée télémusique et musique télématique.

À cette occasion, les musiciens montréalais invités, Joseph Sannicandro, Andrea Jane Cornell, Silvano Mercado et Esther B. performeront en temps réel avec les étudiants du Dr Christopher Haworth, de la classe de télémusique du département de musique de l’Université de Calgary. Basée sur des jeux d’improvisation, ils interprèteront ensemble une partition graphique en réunissant deux lieux géographiquement éloignés dans un même espace-temps de création.

Le centre présente en première une expérience de télémusique dans l’optique d’explorer les possibilités et le potentiel qu’offre la technologie de la téléprésence en tant qu’instrument et véhicule d’idées. Les performeurs et le public sont appelés à porter une attention particulière aux caractéristiques offertes par de ce médium, telles que les effets de délais et les variations de résolutions sonores. Ainsi les forces et les faiblesses du système deviennent des composantes à part égales. Il s’agit de ressentir l’instant présent sous différentes perspectives, en tenant compte qu’il se renouvelle constamment en aller-retour, entre la perception de l’espace sonore numérique et celui du lieu immédiat. Investir ces espaces sonores c’est aussi observer leur superposition et leur entrelacement.

Montréal
Andrea Jane Cornell : accordéon et électroniques
Silvano Mercado : banjo et ordinateur
Joseph Sannicandro : console de mixage, délais/loop pédale et lecteurs de ruban magnétique
Esther B. : tourne-disques

Calgary
Ensemble de laptop :
Alyssa Aska, Simon Fay, Brian Garbet, Christopher Haworth

I initiated this event__Telematic Experimentation

Eastern Bloc Lab invites its members and community to a networked musical performance, alternately called telematic music on Monday November 25th, 2013.

The event will include real time performances by Montreal musicians Joseph Sannicandro, Andrea Jane Cornell, Silvano Mercado and Esther B. and the students of Dr. Christopher Haworth’s telemusic course from the University of Calgary’s department of music. Together, through improvisation and experiment, they will interpret a graphic composition by connecting two geographically distant locations in a single space-time creation.

The center’s event is the first of its kind to showcase a telemusical expérience. The aim is to explore the possibilities and potential telepresence technology gives us, as an instrument and vehicle for ideas. The performers and public alike are encouraged to tune into the features offered by this medium, such as delay effects and variations in sound résolution. The strengths and weaknesses of the system are equal créative components in the exercise. It is about experiencing presentness from different perspectives while taking into account the constant state of renewal that occurs in the exchange between digital sound space perception and our perception of the immediate environment. Investing in these sound scapes is about observing how they superpimpose and interlace.

Montreal
Andrea Jane Cornell: accordéon and homemade electronics
Silvano Mercado: banjo and laptop
Joseph Sannicandro: mixing board, delay/loop pedal, and tape players
Esther B.: turntables

Calgary
Laptop Ensemble:
Alyssa Aska, Simon Fay, Brian Garbet, Christopher Haworth

Andrea Jane Cornell is a sound and radio artist and improviser based in Montreal, Canada, who revels in the practice of everyday listening where the sonorities present in any given environment can be likened to an assemblage of musical instruments randomly orchestrated by its inhabitants.

Silvano Mercado is an independent film music composer. Coming from a traditional and classical training, his late work has been mostly focused on sound textures, electronic production, and field recording. However, he still loves acoustic instruments, trying as much as he can to extract its hidden natures.

Joseph Sannicandro is a writer interested in aesthetics and technology. He works with tape loops and field-recordings, exploring the potential of limitations.

Esther Bourdages works in the visual arts field as a writer and curator. She study sculpture in the expanded field (site specific art, installation) in relationship with sound and digital art. Performing under the name Esther B., she plays turntable, (man) handles vinyl records, and records soundscapes. She is actually president at Eastern Bloc.

Alyssa Aska is a composer who writes both acoustic and electroacoustic works. Recent works make use of live processing of electronics and gesture control and tracking.

Simon Fay's research is focused on the composition, performance, and improvisation of electronic and electroacoustic music, and the creation of software which facilitates the creation and performance of such music.

Brian Garbet has composed acoustic and electroacoustic music for film, theatre and concert. In 2002 he was a Jeu de Temps/Times Play national prize winner for his composition Ritual. He has received airplay and performances across Canada, the United States and Finland.

Christopher Haworth is a sound artist and writer from Preston, Lancashire. His research interests are in sound synthesis, the technological use of perception in sound composition, and the history of music technology. He is currently exploring these aspects in relation to networked music and telepresence.

Curatorial Statement

Curatorial Statement

My curatorial research explores art forms such as site specific art, installation and sculpture, often in conjuncture with the digital. I am particularly interested in developing interdisciplinary critical statements that relate to contemporary ideas in the fields of architecture, anthropology, urbanism, and cultural studies. Recent projects have examined urban environments in relation to the social and historical fabric of cities. Additionally, I study sound as an independent rather than supplementary medium, and I am particularly interested in work that deploys sound as a vector of social and politic values. The acoustics of the space and the context of exhibition are central in my sound curation, and I try to challenge conventional modes of presentation.