singulum LINE_075 – The Answer Is In The Beat

singulum_cover

Singulum

LINE_075 | CD + Digital | limited edition of 400 | February 2016

Typical of the Line label, the latest release by Montreal-based sound artist is ultra-minimal, but it contains moments of beauty. You need to turn it up loud, but it’s worth it, it sounds amazing. The opening track (“n”) fades in slowly, and has very beautiful piano loops and granulated effects. Eventually the loops sort of dissolve into a cloud, but they still retain their beauty, and it ends with an echoing, pulsing bass tone. The other pieces are shorter. “l” starts out with another gorgeous, minimal loop and gradually adds some haunting, engrossing synthesizer drones. “m” starts out a bit darker and more haunting, and eventually seems to drift towards something brighter and calmer, but then it ends up more chilling than before, concluding with a lightly piercing sine wave. “s” doesn’t change too much for the first half, just slowly layering in different synth pads, but the second half has more tonal variation, giving it a half-remembered-melodies feel. Very calm, slow moving, and tranquil.

Paul Simpson

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review – singulum – LINE_075 – 2016 – a closer listen

singulum_cover

Singulum

LINE_075 | CD + Digital | limited edition of 400 | February 2016

Like a sluggish mummification process, the light and creamy textures of Singulum are gently wrapped around the body, embalming the slowly developing ambient music. On Singulum, Montreal sound artist France Jobin gently nudges her music forward, and it’s so hushed it’s hardly there at all; it’s an incredibly subtle approach.

Inspired by quantum physics, Jobin uses a series of quiet field recordings that are in turn manipulated, processed and lightly looped, the latter enjoying a healthy, liberal amount of space and freedom (an open loop, if there is such a thing), her modular synthesizers rearranging and transforming the music beyond all recognition. Science, sound and music are inextricably linked, so close as to resemble sons and daughters. They are elegant, despite the stuttering glitches that occasionally pass by. Reshaping both the timbre and the tonal quality of the original recording results in an entirely new entity being created.

Shapes inside the music are gently rearranged, changing beyond recognition but never entering their final state of being. As Jobin says, ‘Singulum represents an unobtainable goal, the process of decay while conserving a continuation of information’. Slowly shifting, and almost meditative in its breathing, the music is a secret ocean of calm. As soon as the pale, soft tonal intakes are taken, the exhalation of the music is the only thing that can follow. The non-intrusive sound of a bass frequency passes through, feeling heavy and yet somehow light, stuck in its black ice, and the lighter tones suddenly disperse, vanishing without a trace.

Singulum’s music is filled with a special kind of light. Translucent notes ghost around the music. And like a good friend, a lower bass accompanies the transparent ambient lines as they continue their journey. If you wanted to be technical, I guess you could call it microscopic ambient minimalism. To an extent, you need to concentrate to pick everything up; the ambient music flows easily and, on the surface at least, it holds a good deal of simplicity. But belying that simplicity is an all-consuming intelligence. After all, this is not an easy thing to produce – far from it. It’s easy to access and goes down nicely, but you can go deeper and deeper, too. In that sense, the listener can make it a challenging listen if he / she chooses to, and it’s a pleasurable record no matter how you decide to approach it. Everything falls into place at just the right time, and that’s not a coincidence. It may have been inspired by and rooted in science, but the slightly metallic drones are mystical, too. Like the pyramidal structures that lie inside Area 51, surrounded by nothing but a clear lake and the arid Nevada desert, they have a mask of the unknown hovering around them. Trance-like, the music progresses slowly. A soft hiss of static kisses the music as it travels along, keeping it steady. As the record draws to a close, a soft, glowing chord pulses at regular intervals. This being a LINE release, a pair of headphones is not only recommended but essential.

(James Catchpole)

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review – the illusion of infinitesimal – (baskaru) – 2014 – etherreal – (FR)

KARU27_1440x1440

France Jobin
The Illusion Of Infinitesimal

BASKARU KARU:27 CD (2014) France

Nous n’avons jamais parlé de France Jobin sous son propre nom, mais nous suivions son travail depuis qu’on l’a découverte fin 2010 avec son projet i8u chez Dragon’s Eye Recordings. C’est donc un plaisir de la retrouver, cette fois chez Baskaru avec cet The Illusion Of Infinitesimal qui formait un trio avec les sorties simultanées des albums de Laurent Perrier (Plateforme #1) etYoshio Machida (Music From The SYNTHI).

Des trois albums publiés par le label français, c’est de celui de France Jobin que l’on se sent le plus proche, certainement pour son épure, son style minimaliste, sa simplicité pourrait-on dire aussi, oscillant selon les titres entre l’ambient, le drone, et la vague microsound, le tout s’étirant en moyenne sur des pièces d’une vingtaine de minutes. Il ne nous a pas fallu longtemps pour être conquis puisque l’on se fait immédiatement happer par les nappes limpides, à la fois claires et feutrées de -1/2. On perçoit tout de suite le minimalisme de la musique de la Canadienne, et une finesse qui se manifeste ici de façon étonnante, par de brèves sonorités, entre le glitch électronique et le tintement régulier d’une note de piano. 

Cette première pièce surprend également par sa forme, avec une nette cassure, un changement de style au bout de 8mn qui nous amène vers un jeu de boucle ambient, feutrée et lumineuse, assez entêtante, qui contraste fortement avec la dernière partie qui allie un drone sombre et linéaire à des micro-tintements suraigus. Un final de toute beauté, précis et contemplatif.

Avec 0, France Jobin adopte une approche différente, amenant notamment ses évolutions plus en douceur. Superbe entrée en matière avec une douce boucle de basse, quelques nappes tronquées, mais surtout des cliquetis et ce qui nous fait penser au balancier d’une horloge. On sent le temps filer lentement, accueillant ensuite de nouvelles strates enveloppantes pour arriver à mi-parcours sur une ambient ample, aérienne. Celle-ci s’estompe sur le final et nous permet du même coup de retrouver les éléments de l’intro, subissant ici quelques effets de hachage et cassures.

+1 est à la fois le dernier et le plus long des trois titres qui composent cet album. Là encore l’approche est différente avec une introduction beaucoup plus difficile d’accès, abstraite, composée de micro-sonorités qui demanderont à l’auditeur de tendre l’oreille. Petit à petit ces expérimentations s’estompent au profit de cette même ambient, linéaire et minimale, étrangement relancée parfois par une sorte de tintement strident. Enchainement de nappes douces, minérales, qui ne cessent de prendre de l’ampleur avant une ultime montée d’une nappe/drone qui pourrait être produite par un violoncelle.

Douceur, minimalisme, apaisement et contemplation sont donc au programme de ce superbe album.

etherreal – Fabrice Allard – 31.01.2016

4.35-R0-413 performed at EMPAC

france_jobin_mick_bello

Photo: Mick Bello

Thursday, October 15th 2015
Concert Hall
EMPAC
110 8th street,
Troy, NY 12180

 

The electronic music of composer France Jobin can be described as “sound-sculpture,” revealing a minimalist approach to complex sound environments where analog and digital methods intersect. While her music often makes use of restraint and limit, she isn’t one to shy away from extremes. Her skillful interplay between highs and lows, louds and softs, creates an intricate narrative, which stretches the listener’s perception and continually refocuses attention.

Using an array of specifically placed loudspeakers numbering in the dozens, Jobin will present a new work built for the EMPAC Concert Hall.

We’re offering a special ticket package for Thursday and Friday’s shows. For $20 ($10 for RPI students), admission is available to both Oneohtrix Point Never and France Jobin. Call the EMPAC box office at 518-276-3921.

France Jobin is a sound/installation artist, composer, and curator residing in Montreal, Canada. Her installations express a parallel path, incorporating both musical and visual elements inspired by the architecture of physical spaces. Her works can be “experienced” in various music venues and new-technology festivals across Canada, the United States, South America, South Africa, Europe and Japan.

ESCUCHAS – MOMA Medellin

Final postcard

P Orbital released on LINE (Valence, LINE_054) will be part of the first multichannel sound art exhibit ESCUCHAS at the Museum of Modern Art  in Medellin, Columbia starting, December 2nd 2015.

ESCUCHAS (Listenings) is a new sound art exhibition curated by Miguel Isaza.

In the contemporary context, sound art arises as a space that welcomes sound and the act of listening to it; also serving as a critical device aimed at the dominant tendency to see, think and touch. In this type of artistic process, sound is the central element and method of aesthetic, sensory, material and conceptual analysis. Elusive to closed definitions, it finds its own niche in practice, especially in the listening act and in artistic manifestations such as sculpture, installation, performance and composition.

Sound is a fundamental element of our vital experience, although often ignored in regards to the attention and thoughtfulness we put into it. As an artistic medium, technique, process and focus, sound has been present in the music discourse for millennia, but it is just recently when, hand-in-hand with technological exploration,it finds new directions and vindicates itself as a creation space on its own right.  Even if sound art is produced by and incorporated into non-electronic media like sculpture and installation, it is in fact through the processes of environmental sound recording and digital manipulation of sounds, objects and spaces, where the possibilities to work turn to be rich, taking on, often, a path that goes back and forth from the act of listening.

To listen is, within this context, silence and stillness. It is paying attention to the shapes that sounds might take, and from there, opening up to new dimensions. The act of listening is silent and invisible; it implies a method of being closer to sound but also an attitude of meditation, imagination and creation of realities that come from the experience of sound itself and its relations, thus playing a role that transcends the audible in order to relate to other aspects of human activity, such as language, perception, time and space, matter, affects, emotion, heritage, culture, politics, economy, and ecology.

Escuchas (listenings) is an exhibition on par with the aforementioned plurality of processes and manifestations of sound artistic processes. It is a selection of audio works, twelve in total, created as multi-channel pieces, and specially adapted by each artist for being presented in LAB3, played continuously all day long. The works directly reflect upon the incidence of sound in the aesthetic values of visual arts such as space, form, surface, texture, body, matter, concept, which are directly questioned from sonic aspects such as transience, ubiquity, invisibility, vibration, and listening.

The selection of works aims to explore sound as an independent artistic dimension, valid in its own right, hence providing a space for immersion in the act of listening where stillness, silence and meditation are welcome. The LAB3 presents itself as a place that is not experienced in a single visit, but as an intimate space for an ongoing dialogue, where consciousness expands thanks to the outside-inside sounds, where the visitor is incited to enter and reenter over and over again.

ecos.eter-lab

Artists on display

Alejandro Cornejo (Peru) | sonodoc.org/alejandro-cornejo-montibeller

Budhaditya Chattopadhyay (India) | budhaditya.org

David Velez (Colombia) | davidvelezr.tumblr.com

Edu Comelles (Spain) | educomelles.com

Perletta Fabio (Italy) | fabioperletta.it

France Jobin (Canada) | francejobin.com

John Grzinich (United States) | maaheli.ee

Manrico Montero (Mexico) | manricomontero.com

Robert Curgenven (Australia) | recordedfields.net

Simon Whetham (UK) | simonwhetham.co.uk

Yann Novak (United States) | yannnovak.com

Yannick Dauby (France) | yannickdauby.com

Opening: December 2 / 6:30 pm

 

Singulum on LINE

 

singulum_cover

France Jobin
Singulum
LINE_075
CD + Digital
Edition of 400
February 2016

Returning to LINE after her critically acclaimed 2012’s Valence (LINE_054), France Jobin brings us the four sparse elegant works that comprise Singulum. 

Quantum physics inspires me to draw a parallel between the fundamental building blocs of physics, sounds and music. I put field recordings through a series of editing and manipulation processes which result in very different sounds from their origins. These manipulations affect time, timbre, harmonics and the essence of each sound, whereas composition influences how they relate to each other.

Singulum represents an unattainable goal, the process of decay while conserving a continuation of information.

All sounds recorded at various locations in North America, Europe, and Japan and at EMS (Stockholm) using the Serge and the Buchla 200 modular synthesizers as well as the Nord Modular.

Cover image: Mark Hogben.

Thank you to EMS (Stockholm), Sporobole (Sherbrooke), EMPAC (Troy), Andreas Tilliander, Argeo Ascani, Fabio Perletta (Farmacia 901), Ennio Mazonn (CConfin).
Special thanks to Richard Chartier and Mark Hogben.

TRACKS:
1.  n (16:58)
2.  l (06:30)
3.  m (08:55)
4.  s (13:35)

LINE

review – mirror neurons (DER) – Hawai – CL

mirror_neurons_DER

Mirror Neurons on DER
CD + Digital – 500

Release Date April 21, 2015
Cover xx+xy visual

Bonus Video

All orders through DER’s Bandcamp will receive an excerpt of Mirror Neurons.
Visuals :  xx+xy visuals 
Sound : France Jobin and Fabio Perletta

‘Mirror Neurons’ explores the artists’ interest in intersection between science and art, as well as the infinitely small and invisible”. Fragmentos microscópicos dispersos en una gráfica invisible, puntos aislados dispuestos sobre planos ubicados en espacios quietos. La música también es silencio, o al menos una aproximación a él, ruido estático que parece establecerse en un mismo lugar. Sin embargo, ese silencio es en realidad millones de fracciones en movimiento, trozos de sonido que se intersectan en líneas cruzando los diferentes puntos cartográficos. Lo que era vacío es en realidad una infinidad de matices del sonido, múltiples formas auditivas que representan las muchas variables de la composición acústica. Una de las últimas ediciones físicas de Dragon’s Eye es un encuentro entre dos creadores que comparten visiones sobre el sonido, apreciaciones sobre las manifestaciones auditivas que emergen desde ángulos apartados de la estridencia, visiones plasmadas en sus respectivos cuerpos creativos.“France Jobin es una artista sonora y de instalaciones, compositora y curadora residente en Montreal, Canadá. Su arte auditivo puede ser calificado como ‘esculturas de sonido’, revelando un acercamiento minimalista a complejos ambientes sonoros, donde intersectan lo análogo y lo digital. Sus instalaciones expresan un camino paralelo, incorporando tanto elementos visuales como musicales inspirados por la arquitectura de los espacios físicos”. Obras para nonvisualobjects, Room40, ATAK, Murmur. Sus tres trabajos bajo su nombre, posteriores a I8U, han sido revisados en este sitio: “Valence”(LINE, 2010) [184], “The Illusion Of Infinitesimal” (Baskaru, 2014) [326] y “Sans repères” (popmuzik records, 2014) [349]. El primero, donde “el volumen al que son reproducidas las materias de esta obra alcanzan niveles muy bajos, al límite de lo perceptible, y solo con una cuidada atención logran percibirse las ricas capas que quedan subyacentes a la aparente quietud… Se puede tanto escuchar como ver los sonidos que se desplazan a lo largo de los más de mil segundos de esta pieza que comienza a crecer lenta y paulatinamente, como partículas microscópicas que concentran masa y energía alrededor de su núcleo, hasta decantar en un resplandor incandescente, una eclosión tardía de estruendos contenidos. ‘The Illusion Of Infinitesimal’, estas composiciones de France Jobin conforman una enorme obra de ruido digital estático, la ilusión de la quietud en manchas minúsculas y notas que se desvanecen en el silencio”. El segundo, una preciosa obra de estruendos naturales,“fragmentos entrelazados creando un bucle interminable que termina por ser cubierto por la densidad desvanecida de las armonías sintéticas que se vuelven en superficies impolutas con pequeñas manchas de ruido, los restos del polvo estelar que cubren esta otra cara, la arena del río que traspasa la naturaleza fluvial hasta la naturaleza artificial. Al final solo quedarán los remanentes, partículas digitales que envuelven el terreno vectorizado… Sintetizando las bondades que presentaban sus creaciones anteriores, este trabajo utiliza como punto de partida unas grabaciones de las cuales solo quedan su materia más pura, una materia física que se convierte en una substancia intangible y una música de delicadeza variable. ‘Sans repères’, una obra surgida desde la belleza análoga que luego de un fascinante proceso desplegado por France Jobin culmina en hermosas piezas de ruido digital y notas transparentes”. Por su parte, Fabio Perletta, “artista sonoro y multimedia nacido en 1984 que vive y trabaja en Roseto degli Abruzzi, Italia. Sus trabajos incluyen música electrónica, instalaciones de luz y sonido, presentaciones en vivo y diseño gráfico. A través del uso de computador y software personalizados, la búsqueda sonora de Perletta explora la intersección entre áreas complementarias como la física, psicología y percepción humana”. Obras como “Field: Atom(s) Entropy” (Farmacia901, 2013) o “Liminality” (Dragon’s Eye, 2014) [354], este su primer trabajo para el sello de Los Ángeles, además de su trayectoria previa como Øe. Sin embargo hasta ahora sólo un álbum personal, el impecable “Interstitial Spaces” (Farmacia901, 2015) [310], “una estridencia oculta bajo una densa nube de electricidad, un extenso trabajo donde el desplazamiento de partículas adquiere formas intangibles y donde cada uno de los postulados que dirigen Farmacia901 cobran especial significado… Electrónica de una nitidez inquebrantable que emana de un centro de sonidos de pureza luminosa… Ciencia como música, música como ciencia. El eco del vacío reduce las notas a un esencialismo diáfano, una obra especialmente intensa dentro de su inmovilidad… Permanencia y quietud, una constante de notas débiles… La estridencia imperceptible de Fabio Perletta genera hermosos paisajes dentro de su estabilidad transparente y su estética del silencio”.

“Las neuronas especulares harán por la psicología lo que el DNA hizo por la biología”Vilayanur S. Ramachandran, neurocientífico. Como es habitual, inspirados por aspectos ajenos a la música, o quizá íntimamente ligados, France Jobin y Fabio Perletta elaboran un trabajo donde se encuentran ciencia y sonido. “Mirror Neurons” es la primera colaboración entre ambos creadores, trabajo de arte digital en el cual a partir de un concepto extraído de la neurociencia se generan impulsos auditivos de dimensiones ínfimas. Jobin y Perletta, desde la distancia, construyen piezas de electrónica minimalista en las que pequeñas señales producen una música aparentemente muda, largos desarrollos sostenidos en entramados de difícil aprehensión, lo que queda relegado de la confusión habitual. Grabado desde sus respectivos estudios, este álbum es una transformación continua de datos en intercambio, un flujo de pistas que termina por depurarse hasta quedar en prolongados registros de audio. Tal como sucede en sus trabajos particulares, la masa de estridencia que pudiera existir termina por ser absorbida como si fuese encerrada en una cámara hermética que amplifica de manera leve los golpes más mínimos. “Mirror Neurons” son respuestas sonoras a estímulos físicos. “Las neuronas especulares representan una distintiva clase de células que se activan tanto cuando un animal ejecuta una acción y cuando observa a otro individuo realizar la misma acción. Descubiertas por el neurofisiólogo italiano Giacomo Rizzolatti y su equipo en la Universidad de Parma mientras realizaban una investigación sobre la representación neuronal de los movimientos motrices de los monos, la precisa función e influencia de estas neuronas se ha vuelto uno de los más importantes temas en la neurociencia. Han sido relacionadas a muchas conductas y habilidades, desde la empatía a aprender a través de la imitación y el aprendizaje de un idioma, así como implicada en condiciones como el autismo y otros desórdenes cerebrales. Estos descubrimientos sugieren que el sistema de neuronas especulares juega un rol fundamental en nuestra habilidad para sentir empatía”. Actividad neuronal convertida en nervios eléctricos, transitando en curvas, líneas que emiten pequeños disturbios dentro de la horizontalidad. Jobin y Perletta fabricaron este álbum con diferentes rastros que luego atravesaron filtros, donde sólo aparecen unos atisbos al final del proceso.“Iniciado por los artistas sonoros France Jobin y Fabio Perletta, ‘Mirror Neurons’ es un proyecto de medios investigando la noción de empatía y distancias físicas. El álbum entero es el resultado de extensos archivos sonoros intercambiados entre Montreal (Canadá) y Roseto degli Abruzzi (Italia). Cada una de estas piezas está basada en ásperos archivos y su consecuente reelaboración, escuchando y reaccionando, procesando e imitando. El proceso en desarrollo ayudó a los artistas a encontrar inspiración en términos de estímulos para el acto de la composición en sí mismo en dos ciudades muy distantes, diferentes climas, zonas horarias y lenguaje. Como muchos de los trabajos recientes de Jobin y Perletta, ‘Mirror Neurons’ explora el interés de estos artistas en la intersección entre ciencia y arte, así como lo infinitamente pequeño e invisible. En orden a desarrollar el concepto de distancia / colectividad, los artistas visuales de Roma XX+XY se han involucrado en el proceso. Ellos crearon una multi-dimensional, visualización sonora generativa siempre cambiante a través del uso de texturas quietas y sutiles movimientos, enfatizando el lento sentido del tiempo de la obra misma. A pesar de ser presentada en vivo en un gran espacio, el video intenta crear un ambiente inmersivo y una ocasión única de reflexionar acerca del funcionamiento de nuestras emociones y la importancia de la interacción humana”. Parte de esa visualización realizada por xx+ xy queda plasmada en la portada de este disco, en esas estrías grises parte del diseño formal de Dragon’s Eye –existe un archivo de video, un extracto disponible en la red que muestra ese complemento de imágenes–. “Mirror Neurons” son tres piezas que en total suman cuarenta y seis minutos, cada una con formas particulares, todas parte de una misma forma. Sonidos unidireccionales que resaltan en fracciones eventuales, trazos extensos cubiertos de pequeños eventos que emergen de sus superficies planas. Encima de estructuras tendidas reposan pequeños objetos sonoros que despuntan como respuesta a un movimiento eléctrico que subyace a ellas, organismos biológicos que interactúan con entidades artificiales. Los tres paisajes al interior de esta obra nacen de estos archivos intercambiados entre Canadá e Italia, datos encriptados los que exploran las diferentes posibilidades del sonido, distintos matices del ruido que se desplazan siguiendo trayectorias rectilíneas. Microbios auditivos afloran desde “Parallel”, contaminando la pureza de sus tonos, disgregados en una luz incandescente, la misma que irradia “Reflection”, un reflejo de notas suspendidas y melodías ondulatorias. “Mimesis” parte de eventos inmóviles que se bifurcan en mareas inmutables, suma de decimales acústicos, tal como son cada segmento de estos diseños de sonido.

‘Mirror Neurons’ explores the artists’ interest in intersection between science and art, as well as the infinitely small and invisible”. Líneas de estruendos de una pureza transparente, la unión de estos dos artistas ubicados en geografías diferentes da como resultado sonidos de hermosa austeridad auditiva. “Mirror Neurons” son directrices armónicas extendidas en un plano horizontal, interpoladas por fragmentos microscópicos. France Jobin y Fabio Perletta crean paisajes de minimalismo tonal, acústica celular en órbitas graduales.

mirror neurons @ roBOT 08 festival Bologna, Italy

mirrorneurons

Mirror Neurons @ roBOT 08 festival, Bologna, Italy
October 10th 2015 @Palazzo Re Enzo – Sala Re Enzo

France Jobin
Fabio Perlettaxx+xy visuals

Mirror neurons are a fundamental discovery in neuroscience, which is due to an Italian researcher, Giacomo Rizzolatti, and his team at the University of Parma. It is also the base from which the sound artists France Jobin and Fabio Perletta created “Mirror Neurons”, another step of their journey to investigate the crossroads between science and art, between the visible and invisible, between distances and intersections – the two work very far from each other, Jobin lives in Montréal while Perletta lives in Roseto degli Abruzzi but their exchange is continuous and relentless). Finally, the visual work made in a generative matrix by the Roman collective XX+XY visuals makes their performance even richer.

Empac – residency October 5th – 16th 2015, concert etc

ESTO_AaronEsto_50

Residency – October 5th – October 16th 2015
Concert – October 15th 2015 – 8pm Concert Hall
In conversation :  Mark Fell and France Jobin – October 7th 2015 – 7pm

Concert

The electronic music of composer France Jobin can be described as “sound-sculpture,” revealing a minimalist approach to complex sound environments where analog and digital methods intersect. While her music often makes use of restraint and limit, she isn’t one to shy away from extremes. Her skillful interplay between highs and lows, louds and softs, creates an intricate narrative, which stretches the listener’s perception and continually refocuses attention.

Using an array of specifically placed loudspeakers numbering in the dozens, Jobin will present a new work built for the EMPAC Concert Hall.

France Jobin is a sound/installation artist, composer, and curator residing in Montreal, Canada. Her installations express a parallel path, incorporating both musical and visual elements inspired by the architecture of physical spaces. Her works can be “experienced” in various music venues and new-technology festivals across Canada, the United States, South America, South Africa, Europe and Japan.

CURATOR: 

ARGEO ASCANI

In conversation : Mark Fell and France Jobin

Often, the mark of excellence in electronic music and sound art is the ability of the composer to hide their identity and virtuosity behind an inscrutable bank of machinery or within the ambient acoustics of the space in which the piece is performed. Whether or not this obfuscation is willful, it results in a genre of music that is vastly diverse in both its effects and technical configurations. In this conversation between Mark Fell and France Jobin, two masters of their understated craft will step forward to engage in dialogue and answer questions about the aesthetics, techniques, and politics of their work.

Fell has been in residence at EMPAC to develop Recursive Frame Analysis, a new work for sound, light, and dance; meanwhile, Jobin has been working on the premiere of a multi-channel sound piece for the Concert Hall.

Mark Fell is a multidisciplinary artist based in Sheffield, UK. He is widely known for combining popular music styles such as electronica and techno with more academic approaches to computer-based composition, with a particular emphasis on algorithmic and mathematical systems. As well as recorded works, he produces installation pieces, often using multiple speaker systems. He started his career in the ’90s house and techno scene as one half of electronic duo SND and released The Neurobiology of Moral Decision Making earlier this year on label The Death of Rave.

France Jobin is a sound/installation artist, composer, and curator residing in Montreal, Canada. Her installations express a parallel path, incorporating both musical and visual elements inspired by the architecture of physical spaces. Her works can be “experienced” in various music venues and new-technology festivals across Canada, the United States, South America, South Africa, Europe and Japan.

 

 

und transit @ la vitrine sonore – sporopole

und transit – a 16.5 hours – multichannel sound installation @ Sporobole‘s Vitrine Sonore

11227903_10153258198449037_3922572741823182292_n©France Jobin

On alternate weeks from September 15th 2015 to October 31st 2015 –
Every day – from 8 a.m. to 12:30 a.m.

Week of 09.15.015
Week of 09.29.2015
Week of 10.11.2015
Week of 10.25.2015

___________________________________________________________________________________________________________

Und transit

We all have a capacity to ignore the space we must use to get to our destination. Like most passage ways, they are a means to an end, and rarely are treated as an end in itself. Upon being introduced to minoritenplatz, I was immediately struck by the loneliness and practicality of this passage way.

Inspired by the solitary and functional aspects of La vitrine sonore’s location, I plan to collect a number of field recordings from in and around its emplacement, in order to create a series of soundscapes based on the sound of emptiness in this space.

France Jobin

und transit – sound installation will be presented in September 2015 at la Vitrine Sonore of Sporobole in Sherbrooke. The result of a 3 week residency in situ, will transform this passageway into a place to stop, listen and meander.

 

La vitrine sonore

Sporobole launches a new annual program that provides a curator the opportunity to gather sound artists around a curatorial approach and concepts about the Sound Window diffusion device. During a three-week residency, each artist will have unlimited access to the sound laboratory and will develop a project which will be broadcast and discussed during a round table that will conclude the year’s program.

The Sound Window is a permanent system for sound projection on the façade of Sporobole, along the sidewalk on Albert Street. Made up of sixteen loudspeakers, it makes it possible to enter into direct contact with passers-by making their way to the above-ground parking garage next door to Sporoble on city’s main street, Wellington. The linear arrangement of the sixteen speakers and their position at the geometrical interface between Sporobole and the thoroughfare make this new outdoor sound gallery a singular platform for sound spatialisation and the projection of works of sound art.