Fenêtre Ovale

Depuis juillet 2020, je participe à l’émission du collectif bruxellois Fenêtre Ovale sur la webradio LYL. Tous les deux mois, nous présentons un sujet mettant en lumière les rapports entre le son et le vivant au sens le plus général qui soit.

Retrouvez toutes les émissions ici : https://lyl.live/show/fenetre-ovale

Voici les bibliographies et playlists de mes sujets.

Emission #00 – 23.07.20

Sujet : Le feedback

– Aufermann, K. (2005). Feedback and music: you provide the noise, the order comes by itself. Kybernetes, 34(3/4), 490–496.
– Lessour, Théo. (2015). Chaos-phonies : Du jazz à la noise, le sacre du chaos. Ollendorf & Desseins.
– Saladin, M. (2017). Electroacoustic Feedback and the Emergence of Sound Installation: Remarks on a line of flight in the live electronic music by Alvin Lucier and Max Neuhaus. Organised Sound, 22(02), 268–275.
– Sanfilippo, D., & Valle, A. (2013). Feedback Systems: An Analytical Framework. Computer Music Journal, 37(2), 12–27.
– Wilson, D. R. (2017). Failed Histories of Electronic Music. Organised Sound, 22(02), 150–160.

Playlist :

Variation for DX9 – Malcolm Riddoch
Fluidité et mobilité d’un larsen – Pierre Henry
Electronic Music for Piano – John Cage (version de Augustino Di Scipio)
Pea Soup To Go (mix) – Nicolas Collins
One Hour as Peyote – Michael Prime
No Ideas but in Things (DVD extract) – Viola Rusche & Hauke Harder
Bird And a Person Dyning – Alvin Lucier
Times Square (Charles Eppley recording) – Max Neuhaus
Omnht – Eliane Radigue
Pendulum Music – Steve Reich
nimb #6 – Toshimaru Nakamura
Sauterelles Criquets Pays Bourbonnais Août 2019 – Julien
Crickets At Night (Clean sound) – Defelozedd94
SummerInsectChorus – kvgarlic
Applause Crowd Theater – Jedo
Calligraphy – Tomoko Sauvage

Emission #02 – 02.12.20

Sujet : L’espace-temps spectral des musiques hantologiques

– Aspe, B. (2018). Les fibres du temps. Editions Nous, Antiphilosophique collection.
– Davis, C. (2005). Hauntology, spectres and phantoms. French Studies, 59(3), 373-379.
– Fisher, M. (2012). What Is Hauntology? Film Quarterly, 66(1), 16-24.
– Fischer, B. (2020). Belbury Poly, Jim Jupp and Ghost Box Records. The Haunted Generation. https://hauntedgeneration.co.uk/2020/08/07/belbury-poly-jim-jupp-and-ghost-box-records/
– Laclau, E. (1995). « The Time Is out of Joint ». Diacritics, 25(2), 86-96.
– Morin, E. (2014). Introduction à la pensée complexe. Editions Points.
– Roy, E. (2014). Displacing the Past. Mediated Nostalgia and Recorded Sound. Volume!, 11(1), 145-158.
– Touboul, H. (1995). Le fantôme de la liberté. L’≪Hantologie≫ de Jacques Derrida, Modern & Contemporary France, 3:1, 78-81.

Playlist :

– Ursula Bogner – Modes (Recordings 1969-1988 – Faitiche – 2008)
– Wrong Water – Kombinat (Dozen – Muscut – 2018)
– The Caretaker – A Last Glimpse Of The Land Being Lost Forever (Patience (After Sebald) – History – Always Favours The Winners – 2012)
– Belbury Poly – ffarrisees (The Gone Away – Ghost Box – 2020)
– Boards Of Canada – Corsair (Geogaddi – Warp – 2002)
– The Automatics Group – Swedish House Mafia/PJ feat Velvet/Roll Deep/Paul Van Dyk/Deepest Blue/Supermode (Summer Mix – Entr’acte – 2011)
– Jürgen Müller – Vast Worlds Beneath (Science of the Sea – Digitalis – 2011)
– Emeralds – It Doesn’t Arrive (Does It Look Like I’m Here? – Editions Mego – 2010)
– Bernard Parmegiani – L’Instant Mobile (L’Oeuvre Musicale – INA-GRM – 2008)
– Horla – The Coconut Fall (Fantômes – Le Cabanon – 2019)
– London Contemporary Orchestra – d|p 1.1 (William Basinski – The Disintegration Loops – 2002 (Live recording 12-08-12 – Queen Elizabeth Hall))

Emission #04 – 24.03.21

Sujet : Les théories du chaos à travers GenDyn de Iannis Xenakis et la Gutter Synthesis de Tom Mudd

– Gribbin, J. R. (2005). Deep Simplicity : Chaos, Complexity and the Emergence of Life. Penguin Books.
– Hoffmann, Peter. (2009). Music Out of Nothing ? A Rigorous Approach to Algorithmic Composition by Iannis Xenakis. https://depositonce.tu-berlin.de/handle/11303/2589
– Luque, S. (2009). The Stochastic Synthesis of Iannis Xenakis. Leonardo Music Journal, 19, 77-84.
– Mudd, Tom. (2017). Nonlinear Dynamics in Musical Interactions. Centre for Research in Computing, The Open University. https://oro.open.ac.uk/52231/
– Mudd, Tom. (2019). Between Chaotic Synthesis and Physical Modelling : Instrumentalising with Gutter Synthesis. 7th Conference on Computation, Communication, Aesthetics & X, Milan, Italie. https://2019.xcoax.org/pdf/xCoAx2019-Mudd.pdf
– Serra, M. (1993). Stochastic Composition and Stochastic Timbre: GENDY3 by Iannis Xenakis. Perspectives of New Music, 31(1), 236-257. doi:10.2307/833052
– Solomos, Makis. (2013). IANNIS XENAKIS TROIS COMPOSANTES DE L’UNIVERS XENAKIEN. Dans Théories de la composition musicale au XXe siècle (Vol. 2, p. 1057‑1080). Symétrie.

Playlist :

– Iannis Xenakis – Gendy3 (1994 – Neuma Records)
– Iannis Xenakis – S.709 (1997 – Electronic Music Foundation)
– Antoine Hubineau – Gendyn Max object examples (port by Stephen Lumenta) (2021)
– Tom Mudd – Gutter Synthesis 1 (2018 – Entr’acte)
– Tom Mudd – Gutter Organ 2 (2018 – Entr’acte)
– Tom Mudd – Gutter Organ 3 (2018 – Entr’acte)
– Tom Mudd – Gutter Organ 1 (2018 – Entr’acte)

Le programme Gutter Synthesis est disponible ici : https://github.com/tommmmudd/guttersynthesis