wiki Intermission

(n) & SNAHACK- ATTACHED DOCUMENTATION

SÉDIMENTS (en)

“SEDIMENTS” is a poetic project of sonification and sound installations based on data collected by the GIP-Loire-Estuaire (variables and movements of the river Loire captured in real time or recorded). The challenge of this art work is to sonify the data from a nomadic studio, the (n)A.

The (n)A is either arranged as a resonator or as a support base for the deployment of sound devices in the landscape and acts as immersive research space which allows to test various perceptions of the environment and to re-invent a sensorial experience.

SEDIMENTS is also part of a reflective process on the issues related to landscapes. It deals with the link between the qualities of the larger landscape and daily practices of its inhabitants (animal life, industrial, agricultural, functional, urban or rural activities). The project wants to be a catalyst of debates around current themes related to human/technology/nature/landscape.

Sédiments description

SEDIMENTS is a poetic project of sonification and interactive sound installations based on the tools and data of the estuary of the Loire, collected by the GIP (invisible data captured in real time or recorded over long periods which generate hydro-sedimentary models). The hydro-sedimentary model simulates the evolution over time of the main physical parameters of the estuary: currents, water level, salinity and turbity are calculated over the length of a characteristic year. The results are available over the full length of the estuary. The challenge of this art work is to sonify the data from a nomadic studio, the (n)A, choosing a sound signature for each of the retained parameters, while considering the variations over time and the different contexts. The (n)A, fitted as resonator and immersive research space, is posted in different places of the estuary and thus allows to test various perceptions of the environment in which we find ourselves and to re-invent a sensorial experience.

Estuaries are complex environments where various parameters can change strongly and rapidly under the influence of two main factors: the flow of the river and the tide. The estuary of the river Loire comprises a large variety of environments and species depending on water levels and the salinity gradient. Large developments to strengthen the port function during the 20th century (canalization and filling of the river arms), have led to a lowering of the water level, an ascent of the salinity front up to Nantes and the development of the phenomenon of maximum turbity. They have also led to hypoxia of the estuary which is harmful for aquatic life.

SEDIMENTS uses an experimental approach and is based on the idea of transduction in the large landscape of the estuary. The project experiments with different geographical zones and different devices which convert the physical aquatic signs (the data and variables of the Loire collected by the GIP) in sound vibrations that interact with the investigated places. The sound landscapes form part of any ecosystem and are a fundamental manifestation of life. Every individual and species contributes and reacts differently to a given sound context with its own perception mechanism and uses different strategies of communication. SEDIMENTS will contribute to this sound ecosystem by grafting itself onto the landscape (communication network, existing infrastructural equipment, industrial installations, vegetation which the (n)A uses as resonators).

Sédiments-artistic challenges

SEDIMENTS and the (n)A form an opportunity to bring together contributors, researchers, artists, theoreticians on sound art and ecology and to give them a living context to meet in. The experiments will appeal to very different domains and landscape practices such as walking, sound art, installation practice, bio-acoustics, biology, ecology, ethology and the artistic practice of synthesizing audio, programming and interaction with environments. We still know very little about the complex relations between landscapes and sound landscapes or the importance of an acoustic ecology for the well-being of all living organisms, including ourselves. The creative process of SEDIMENTS offers an artistic research connected to the notion of ecological entropy, in the heart of the projects conducted in the (n)A – nomadic Atelier – an atelier designed as a mobile and autonomous “landscape laboratory”. This work cell is a powerful experimentation space “live” amongst the data of the context in which it posts itself for some time. The report in real time, often repeated in various sound works (an approach that is turned around in SEDIMENTS!), here takes the form of the chosen context. The aim is to propose perceptual experiences, confronting the data collected in the invested “zone” with their quasi-architectural remodelling to create devices, listening, perambulation, observation, analysing fields of the context explored. The aim is in some ways to prove diverse perceptions of the environment in which we find ourselves, to re-invent an experience. The nomadic atelier allows the experimentation with immediately collected environmental data while engaging with collective processes or the experience of the “common” that is born through the crossing of experiences and competencies (collaborative workshops, public time, meetings, conferences, debates, manufacturing, film projections, various experimental practices, walks, friendly moments and so on) via the atelier that becomes a meeting place, a space for shared experiences. Designed as an atelier which plays its own production model as an artistic object, the challenge of the n(A) is to respond live to aesthetic proposals while reacting to the chosen contextual issues: for SEDIMENTS the estuary of the Loire is a “field” that is deployed. The work developed and presented in the n(A) consists of questioning the imaginary, our perceptive modalities, by adopting a method specific for each site, a “tailored” technology. The n(A) becomes a laboratory for the development of tools that allow to practice a place (to apprehend it, to cross it) thanks to artistic proposals that are “immediately” receivable. It is the incessant relation inside/outside that generates the aesthetic proposal. Furthermore, the sharable aspect that the n(A) aims at and the collective dynamic deal with a form of “ultra mediality” as discussed by Roberto Barbanti. The technological means that are used break the barrier between technè and bios, between artifice and nature. The technology seems to hide in nature, to own it and it is the hybridising between subject and object that creates new conditions in the perception. To say it differently and to quote Barbanti: “the medium, the material aspect of the technical phenomenon, while disappearing, tends to absorb those “old” determinations, the subject and the object, and thus creates new conditions in the perception”. This research is about this ultra-media dynamic, an artistic positioning that exceeds questions of representation.

The n(A) wants to explore the actualisation of this artistic writing. The acoustic dimension of SEDIMENTS is not so much a temporal deployment as an attempt to find relational modalities to “listen” in a different way to the landscape of the estuary. While posted outside the atelier n(A) allows for the convergence of the energies of the explored spaces, the environmental dynamics, their complexity, by inventing its own method, from the tools to means for diffusion and sharing. The SEDIMENTS project inaugurates the research cycle of the n(A).

Marina Pirot / Sept 2016

Artistic team :

(n) and SNhack/Jean-François Rolez for the basic modules of the installations

Sédiments partners :

Funding : DICAM-DRAC des Pays de la Loire
SCAM (Société civile des auteurs multimédias)

Support in kind : Les maraichers des Coûets

(n)A & SNHACK MODULES (en)

The (n)A, or nomadic Atelier, a light structure equipped with different modules, enables moments of research and creation in the landscape, sharing with the public during presentations and workshops, as well as everyday life.

The (n)A is a nomadic atelier made from an old construction site cabin for public works. It is an autonomic mobile unit destined for short working days. With room for small tools, multimedia materials, electronics, documentation and diverse materials, it can serve as support or base camp for public presentations and ateliers organised outside (for instance workshops with art schools and other participating places). The atelier holds basic commodities, storage space as well as modular working units such as foldable tables.

The (n)A is economical in is energy use and offers the necessary comfort for work that involves writing, concept development and realisation. As an experimental project the (n)A is implanted temporarily in vacant spaces (urban voids, interstices within urban programmes) and explores the alliance between nomadism, and social, cultural and ecological mutations of our cities and countryside. As a place for artistic research, practice and creation, it is also a place of interaction, exchange and experiment with the context and landscapes it is temporarily implanted in.

The fitting out of the (n)A follows a scalable constructive principle based on the re-use of materials and self-construction to easily adapt to different usages (space for work, diffusion, documentation, life …).

The (n)A is built on an existing structure, an old construction site trailer of 2500 kg that has been converted into an atelier with help of the agency Adhoc architecture, the Wouab atelier and other local resources such as Station Services for recycled materials.

A nomadic studio residency, the n(A): nomadic Atelier in the landscape is the method used to explore new practices engaging experimentation through art. The experience of art in the process of being (in times in which art residencies multiply, animating local political debates as well as territorial stakes on a European level) has become a research tool for prospective projects.

Through the method of the nomadic atelier, the experience of nomadism (in a Deleuzian sense) also corroborates that of a mobile experimental laboratory, rehabilitating subjectivity in common aesthetic experiences. Testing the concept of enaction (Bateson, Varela, Thompson), it tries to rehabilitate the subjective in our practices in the sense of an enlargement of ecology (interactions that are the common conditions for existence).

The axes of development implemented in the artistic explorations of (n) in association with SNhack are:

- ingenuity in the creative process (DIY, natural and open artistic systems). Situating the artist in-between the handyman and the engineer, it is a question of highlighting the versatile ability of things to link themselves. We don’t want to multiply the theoretical knowledge of engineering sciences, but rather encourage everyone to profit of their own stock of knowledge, their ability to make links and, via their knowledge sharing networks, induce an experimental practice that builds for a large part on ingenuity and craftiness.
- linking of landscape practices (art and environment, art and ecology), of places, context and network practices (electronic, data processing). The aim is to transmit, through and with this practice, the possibilities that are offered by a science of the concrete.
- autonomy and modules. (n) proposes ateliers to create modules of artistic creation with the ateliers themselves seen as modules. From this modularity follow possibilities for networking and inter-connectivity. The aim is also to share strategies of emancipation for artists vis-a-vis alienating systems of conception, production and diffusion by proposing the use of free software, materials and open networks.

RONCES DES VENTS (fr)

Un espace rond de dessins, de textes, disposés sur une rose des vents, rendue visible par un point d’accès WIFI. Ronce, comme plante sauvage, vivace, pas très désirée, se reproduisant par marcotage autant qu'essaimage et dont les taillis abritent passereaux autant que renards, autonomie, contre pouvoir, abris, utilité naturelle …

Il suffi d'aller en un lieu précis avec son smartphone, sa tablette, sa liseuse ou un lecteur WIFI, là un point d'accès WIFI nous fait voir une page, tel éparpillage., un cercle y est représenté, ou plutôt une sorte de rose des vents( un dessin peut aider à la latéralisation genre table d'orientation). En faisant correspondre le nord du paysage au nord de la rose des vents, on peut faire défiler tous les objets présent sur le lieu et représenté par des points sur la rose des vents.

Cela permet de poser dans l'espace sans l'aide de GPS, ni de boussole, des images, des textes et de les mettre en situation grâce à une machine économique comme le partageoir.

Il serait possible aussi d'y laisser un objet numérique en l'associant avec un point sur la rose des vents et ainsi d'offrir une sorte de murs circulaire de tag libres.

En posant des informations de localisation d'autres ronces sur la rose des vents, il serait possible de créer un cheminement rizomatique balisé par ce système. Une rose des vents indique la direction des suivantes avec leur situation, distance, etc. Suivre de pas en pas les différentes ronces construise la fiction de façon dynamique.

Des codes peuvent donner accès à des niveaux différents de déplacement, de fiction …le code se rentrant comme pour un coffre fort en tournant le bouton.

INTERMISSION, BODY & MIND

Notes Moni in English par mail : Marina

From the moment that Tanka presented his work in Paris in 19.. until today- his current work in Ch. Republic Juin 2017,  Body Weather has made an impact on the landscape of cultural performance making, training and performing. It is a practice that spans across many countries in Europe and the world, due to those who originally trained with Min Tanka in Japan and who created and founded Body Weather and the Body Weather Farm.  In France, the original members of Mai Juku have worked in many capacities to transmit and disseminate the traditional practices of Body Weather, in the form of workshops, performances; conferences; retreats; at universities, at dance festivals, within dance organization (including the CND). This has produced a plethora of dancers, dance practitioners, performing artists, academics who utilise Body Weather within their contemporary dance work in France.

From the moment that Tanka presented his work in Paris in 19.. until today- his current work in Ch. Republic Juin 2017,  Body Weather has made an impact on the landscape of cultural performance making, training and performing. It is a practice that spans across many countries in Europe and the world, due to those who originally trained with Min Tanka in Japan and who created and founded Body Weather and the Body Weather Farm.  In France, the original members of Mai Juku have worked in many capacities to transmit and disseminate the traditional practices of Body Weather, in the form of workshops, performances; conferences; retreats; at universities, at dance festivals, within dance organization (including the CND). This has produced a plethora of dancers, dance practitioners, performing artists, academics who utilise Body Weather within their contemporary dance work in France.

The interpersonal exchange and the presence of ‘another’ in Body Weather is at the core of the training methodology. The ‘other becomes a representation of the micro/marco environments and symbiotic nature of that and the self, and used as a specific tool to create a performer who is an ‘open source’; by questioning one’s perception,  ……..

The interpersonal exchange and the presence of ‘another’ in Body Weather is at the core of the training methodology. The ‘other’ becomes a representation of the micro/marco environments and symbiotic nature of that and the self, and used as a specific tool to aid in the ontological questioning of self, environment, time, space, embodiment and performance; and in the stripping away of fixed notions of identification. The aim is to create a performer who is an ‘open source’ for receiving ‘what is’ without the interruption of preconceived notions and perceptions constructed by society. This is practiced very specifically through touch; through framed dialogues and verbal exchanges, as well as in observation.

From a phenomenological standpoint, the research then is ‘why touch’? ‘The way of touching?’ ‘how to touch’, ‘the different languages of touch’ – what do the various modalities of touch within the framework of traditional techniques of Body Weather do to the body/ to the performer/ to perception as a tool to take into performance.  To research the possibility that in touch we make changes and in changing patterns of the body this could also change patterns of conceptualization and cognition and ways of moving in the world/in performance. In order to research these questions we will introduce other practices framed by the theories of cognitive sciences and concerned with touch, such as BMC and Feldenkrais, as a way to measure, qualify and quantify the practice of touch within Body Weather. We will re-inform the traditional sets of exercise in Body Weather by proposing the techniques of other methodologies as a way to create a new set of Body Weather training exercises for contemporary performers

Working Methodologies: 

The archives: analysis of the documents of the archives at the CND; in the form of oral analysis, written analysis and practical analysis.

Working in the studio/research workshops; there will be a practical application of traditional techniques of Body Weather taken from the archives. We will invite specialist from other fields of practice to work with the research team in the studio; practitioners of BMC, Feldenkrais, and neuroscience to provide us with varying practical and theoretical viewpoints on interpersonal exchanges through touch.  They will take the discussion and analysis from the objectivity/subjectivity of the artistic experience, to the objectivity/subjectivity of the practice and theory of cognitive and neuro sciences. The interface between these different positions will enrich how the participants speak and know about the experience; and more concretely what this does to the body/the brain. This information will be feedback into the practical creative application of touch.

Working in the environment: practical application of the work will be taken in to outside environments.

In the acknowledgement of the fragility of language as a tool to prescribe, transcribe and describe the experience and sensations of touch/ of the moving body, we will invite a linguist to help us analyse the responses of the participants and to help in the aim to find a common language, and to scrutinise the language of transmission in different techniques.

TUBE

A Living Sculpture and Live Sound Installation

'tube' - Dominique Leroy The reconversion of an old tank with molasse for cows into a gigantic physical, electronic, and networked instrument. At the same time a maquette was made to build on the side of the tube a little laboratory where artists can work and further explore the properties and possibilities of the object, leaving it completely intact. The tank is from 1940 and is weighing 30 tons, having a size of 6m x 2.5m. This live sculpture will be realized next year with appropriate funding. Residents can even sleep inside of it. Pictures of the tube maquette (object) and tube sound installation: http://wiki.dominiqueleroy.info/dokuwiki/doku.php?id=tube Guy Van Belle, 19 Juillet 2015

JARDIN (n)Ô