Gilles Aubry is a Swiss sound artist based in Berlin since 2002. He uses location recordings, audio archives and interviews to create live performances, sound installations, CD’s and radio pieces. Informed by researches on cultural, material and historical aspects of sound production and reception, his work addresses more generally issues related to politics of the audible.
electroacoustic composer, Guillaume Beauron followed nevertheless
the electroacoustic / radio art class of Laurent Sellier in Grenoble
(95-99), and Christine Groult in Pantin (03).
He studied the art of musique concrete composition with Lionel
Marchetti in Lyon (00-02).
lives since 4 years in Gaoth Dobhair, county Donegal, Ireland
and works in Ireland and France in music and film production as
a sound engineer, sound editor and electroacoustic composer.
Jean-Philippe Renoult is a writer, radio producer and sound artist based in Paris. Dinah Bird is a radio artist living and working in Paris. Together and independantly, they make radio programmes, audio publications, installations, and soundtracks. Recent collaborations include Topographie Nocturne, a radio art project which was awarded the prestigious Prix Luc Ferrari and Dakar Morning Birds, a radio installation that transposed the dawn chorus of the Senegalese capital to an inner city garden in Northern Paris and a Berlin garden allotment. Their work has been broadcast on BBC Radio 3 and 4, France Culture, Resonance FM, Kunst Radio, ABC Classic, and through the Radia network. They have peformed and presented their work widely across Europe, in Australia, Canada and the US.
in 1963, Composer, improviser…
As an improviser, he plays a singular instrument : hurdy-gurdy
in connexion with electronic processors. In electronic music,
he plays solos under the name of NOL. He has studied fine arts
and builds projects between fine arts and music : creating sound
environments (1990-1998), sound-sculptures with Denis Tricot (Orgue
de Bois/ Wooden Organ) & Jean-Luc Guionnet (Synapses) and
performance/action/body art focusing on speaking and interface
human / machine, keeping the connection with aktionism.
About tape music composition Eric Cordier, close to “musique
concrète”, has built a musical style in which the
sound texture is always used in the respect of his own specificities,
limiting the impact of the sound treatments. Each musical piece
is composed around a strong concept or a deep thematic, according
to questions of society, memory etc.
Costa began his public activity as a sound artist in 1997. In
1998 he started a close collaboration with the Spanish musician
Iñaki Ríos inside the project ja_dijiste, which
covers several areas of common interests as sound art, free improvisation
and video creation, using software-based (max/msp, etc.) composition
& improvisation techniques and developing several conceptual
projects such as the intermedia work „Nodar”, presented
in 2002 at the Music Ex Machina festival in Bilbao, Spain.
Born 1974 in Southern France, lives and works in Taiwan since 2007.
His sound practice was initiated while studying tape music (musique concrète in French) at Cirm, Nice (France): discovery of the physicality of the magnetic tape, vertigo-inducing analog synthesis and acousmatic pleasures. However it's outdoor that things really started. He began working with field recordings in 1998 during a travel in a distant country, capturing fragments of environments, urban situations, animal signals and unusual acoustic phenomenas. Those are his favourite materials, sometimes published like they are as phonographies, or providing some montage elements for some audio documentaries or musical compositions.
des ltteers dnas un mot n' a pas d' ipmrotnncae, la suele coshe
irpmotnate est que la pmeirère et la drenèire siot
à la bnnoe pcale. le rsete puet-êrte dnas un dsérorde
toatl et vuos puoevz tujoruos lrie snas porlbmèe. le creaveu
hmauin ne lit pas cahuqu ltetre elle-mmêe, mias le mot cmmoe
poussais une exclamation de dégoût. Sur l'écran,
une énorme masse informe de couleurs venait d'apparaître
et d'exploser en tous sens; la caméra se rapprocha pour
un plan serré. De la S.F de série Z, pensais-je.
Voilà ce qui donne mauvaise réputation au genre." P.K. DICK, SIVA(trilogie divine)
Helena Gough is an English composer living in the Portuguese island of Madeira.
Her work initially focused upon the collection and manipulation of 'real-world' sound material and the exploration of its abstract properties. Occasional deviations into synthetic and instrumental sources are now developing into more prominent ingredients. Each new sound-space is created by taking everything possible from the tiniest element, working to make something from nearly nothing. This reduction in means yields a density and richness of results.
the early 1990s I have explored various approaches to sound generation,
recording and production. My techniques range from the construction
of original instrument devices and the capture of acoustic phenomenon
through environmental field recordings to digital multi-tracking
and manipulation. The resulting compositions are often studies
in extended evolutionary permutations of a selected set of sound
sources. These sources can concentrate on different properties
of sound instigation and emination that can range from the textural
animation of inanimate objects or an open-air mechanical noise
field to overtone resonations from a set of wires stretched across
a room. www.maaheli.ee
At age 2 she was familiar with Coltrane and the Rolling Stones. At 6 she discovered Artaud, followed by Ginsberg.
"Pfff. Only men", she said to herself while reading 'On the road' and dropped out of musicology and history of music for the same reason.
Eventually she believes something else is possible, and then... Mesa of the Lost women, Blimey !, Allochtone, Maelström, Grind the Gears, Faust, Stadtfischflex, Urban Sax, duo with Rogier Smal, Claude Parle, Erik Minkkinen and many others.
against a widespread current trend in sound art and the customary
standard in nature recordings, I believe in the possibility of
a profound, pure, 'blind' listening of sounds, freed (as much
as possible) of procedural, contextual or intentional levels of
reference. What is more important, I conceive this as an ideal
form of transcendental listening that doesn't denies all what
is outside the sounds but explores and affirms all what is inside
them. This purist, absolute conception is an attempt at fighting
against the dissipation of this inner world. […]
une idée marche et personne ne sait pourquoi. Ou elle peut
foirer... Vous êtes allés trop loin pour reculer,
de toute manière, non? Alors faites-le et faites-le bien;
quand les APA écouterons le disque, peut-être que
le matériel subliminal leur rentrera dans le crâne
et que ça sera suffisant." P.K. DICK, RADIO LIBRE ALBEMUTH (tirlogie divine)
François Martig scrutinize the landscape as an operator attemptive to naturalness and the resurgence of a nomadic and invasive nature, seldom to be cut down. Through his movies, sound pieces and installations, he neutralises the dualities that oppose natural and artificial, pure and impure, local and exotic, so as to question the politics, economics, aesthetics and memories that secretly determine our environment.
UI-017: with Philippe Petitgenêt, P.A.S.
music that is not yet definite, pre-determined, but that is only
possible, through our perception of an undetermined environment,
and ponctual, as it happens only when it matches its coincidental
emotion. Then, it is not possible to mistake music with its products,
knowledges and phenomenons: the technique and the langage, the
concert and the home-listening are replaced into their musical
becoming, maybe as well as the reality itself, wherein compressors
sings to the careful ears […]
He self-taught music and also studied at the Groupe de Recherches
Musicale. His work as a sound engineer inclined him towards the
sound matter and its malleable evolutions. He composes concrète
music and phonographies wherein the listener is confronted to
decontextualisation and memories of sound, in order to smear his
musical perception of nature.
and drummer, he plays improvised music since 1982, noticeably,
he has worked with such musicians as Fred Frith, Tom Cora, Keiji
Haino, K.K.Null, Jérôme Noetinger ... He currently
works as a trio with Thierry Madiot, Pascal Battus and as a duet
born sound and performance artist who has lived and worked in
europe since 1996. he has composed works for several theatre performances,
including the works of his own company, as well as performing
live soundworks for others. in 2002 he co-founded framework, an
organisation that produces a weekly radio show on london's resonance
fm. his work concentrates on the framing of sounds from our environment
which normally pass through our ears unnoticed and unremarked,
but which out of context become unrecognisable, alien and extraordinary:
crackling charcoal, a squeaking escalator, a buzzing insect, or
one’s own breath.
Frédéric Nogray is a self-taught composer and musician, attemptive to sound for its intrinsic qualities as a vibratory phenomenon, to its diffusion into space and the diversity of our perceptions. He has been using a variety of electronic and electroacoustic instruments as well as field recording techniques for live performances, records, installations and cross-disciplinary collabortations.
Since 2005 his musical approach went more instrumental with the use of crystal singing bowls (actually misappropriated industrial crucibles), with which he creates a minimal music that the listener has toapprehend within the depths of sculpted sonic materia. Lastly, he is a founding member, with Stéphane Rives, of the electronic/electroacoustic duo «The Imaginary Soundscapes», which was born in Beirut and is very much influenced by that city and its history.
work has grown from a fifteen year evolution of activities focused
on the discovery, observation and experience of unique organically
and inorganically driven sound phenomena. […] the discoveries
are later woven and worked intuitively to create non referential
sound works that test and exercise aural and temporal perception—discovering
ways to suspend time and enfold sound.
Coming out of the Arts Décoratifs school in Strasbourg in 2002, Philippe Petitgenêt works with sound as a creator and technician.
His work comes out as sound installations, small publications or radio pieces, with a special care for the relation between sound and image.
As a wandering listener, he goes as much as he can looking for new magnetic landscapes. He builts his improvisations as travels into ambient sound and sonic trekking.
- architect, phonographer and sound artist based in Riga, Latvia.
Active in field recording since 2002. Focusing on sound gathering
as non intervention policy for observation of structural models
in nature. Usually field studies such as field-mix, soundscape
mapping, sound-gathering become basic material for following work
in studio. In his field research mainly interested in biotopes
referring habitats of insects and small creatures, self-referent
and macro scale structures. Recently involves self-made acoustic
and electroacoustic instruments and sound objects as tools for
mutual discourse with nature. In 2007 initiated sound impromptu
collective "bernu rits" - "children morning".
and self-taught musician, Thomas Tilly uses the microphone as
his main instrument of work. In 2001 he creates Tô, a solo
project of concrete music focusing on environmental sounds and
found-objects manipulations. In this view, the composition and
publication on disc of such sound material have to be considered
as a sonic synthesis of a place during a certain periode of time.
(N.B. this method requires to stay, observe and study the architectural
aspects of the place in order to formulate a personal view and
interpretation of it). The knowledge of Thomas Tilly is also used
for sound-installations allowing to develop and enlarge the logic
of specific datas collected in a place – via various systems
of triggering/diffusion in situ.
Duncan Whitley practices as a visual artist and sound recordist. His creative output ranges from project-specific field recording archives, to multi-channel sound work, film and video, and site-responsive sound installations.
As an artist working with both musical and 'non-musical' sound, he is fundamentally concerned with themes of acoustic communication – language mediated in and through sound – and the experience of visual and acoustic space. His approach to working with sound is at once forensic and poetic, marked by both rigorous methodology and a delicate, subtle aesthetic language.
Les beaux arts of Mulhouse, co-fonder of NOWEB.ORG, at the CICV for a time, crusher of all kind of noises, WNE tactical force, co-fonder of NOMUSIC with LBB, NO-PLACARD with Erik Mikkinnen, Les Péruviens Volants, le pont de Belju, Dj punisher...