Entre-deux @ n38e13 in Palermo, Sicily

 

Entre-deux @ n38e13  in Palermo, Sicily

May.21.2017

France has been invited to present Entre-deux, a 4-channel site-specific sound installation, 144 minute cycles

Entre-deux will be presented in the context of Innerscape organized by Vacuamoenia. Innerscape is a week-long project where artists are invited to reflect through their own compositions on a type of exploration in unusual landscapes, trying to make to hear the inaudible.

Entre-deux will be presented for the closing of the event May 20th 2017.
Artists involved and compilation album

More about  Entre-deux :

Jobin was one of five international artists selected to present her sound installation, Entre-Deux, in the new media exhibit Data/Fields, curated by Richard Chartier at Artisphere in the Washington, DC area, along with Ryoji Ikeda, Mark Fell, Caleb Coppock, and Andy Graydon. Her proposition received critical acclaim from the national press.

Created entirely with actual field recordings from across the globe and on location around Artisphere, Montreal sound artist France Jobin’s site-specific work Entre-deux explores acts of systemic, yet subjective, information gathering. Spaces and times are chosen for their inherent beauty, then processed and reformed as location and experience itself becomes transposed. Entre-deux is the re-placing of data.  RC

This residency is made possible by the generous support of the Canada Council for the Arts, Research grant for New Media and Audio Artists.

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Inter/sperse – a new site-specific installation

LUX RESIDENCY PROGRAM 
April.24 – May.27.2017
Inter/sperse @ Museolaboratorio in Città Sant’ Angelo, Pescara, Italy
Vernissage – May.27.2017

France is the first artist to take part in the new LUX RESIDENCY PROGRAM. She was invited to create and present Inter/sperse, an in-situ sound installation that will address the territory and surroundings of Museolaboratorio.

Credits:

Curator: Fabio Perletta, Carla Capodimonti, Rossano Polidoro
Lighting design: Marco De Leonibus
Director of Museolaboratorio: Enzo De Leonibus
Technical Support: Daniele Cilli

Sounds: In and around museolaboratorio
Guitar: Marco De Leonibus
Voice: Sandro Naglia

 

This residency is made possible by the generous support of the Canada Council for the Arts,Travel Grant to Media Artists – International Residencies program.

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Guest composer @ ems Stockholm Jan 23 – Feb 1st 2017

FJ_3_color_thumb

Photo by Fabio Perletta

France Jobin will be guest composer at EMS Jan 23 – Feb 1st 2017.

France will be following up her research on modular synthesizers at EMS.

Since 1964, EMS Elektronmusikstudion is the centre for Swedish electroacoustic music and sound-art. EMS is run as an independent part of Musikverket (Swedish Performing Arts Agency).

Besides making professional studios available for the production of electroacoustic music and sound-art, EMS’ aim is to support artistic development of electroacoustic music and its integration within other artistic areas. EMS represents electroacoustic music from Sweden in various international contexts and sees as one of its main tasks to act as an informer, both nationally and internationally. Foreign composers regularly come to EMS to work and may be granted a working period by submitting a project application according to the same conditions that Swedish composers are subject to.

HISTORY

Sanne Krogh Groth

(Musicology Section, Department of Arts and Cultural Studies, University of Copenhagen)

Sanne Krogh Groth is working on a Ph.D. thesis about the electronic music studio EMS (Electroacoustic Music in Sweden) from its establishment in 1964 until the mid 1970s. Subjects of interest in this study are: early computer music studios (institutional and compositional processes), experiments with voices (synthetic and analogue), the relationship between art and science, and questions related to historiographical issues. Earlier, Krogh Groth has done work on sound art, the sound of theatre, and performance art.

Exerpt from “The Stockholm Studio EMS during its Early Years”EMS08 by Sanne Krogh Groth

EMS is and was an institution with studios for producing electronic music and sound art. The first embryo to the larger studio at the radio was a smaller studio in the workers’ society of education, which is an organization that shares its ideology with the social democratic party. This studio was set up in 1960. Courses were organized by the Norwegian composer and chairman of the society of contemporary music Fylkingen Knut Wiggen, who brought in teachers from abroad, such as Gottfried Michael Koenig, Iannis Xenakis and Henri Pousseur.

In 1964 the Swedish composer Karl Birger Blomdahl was appointed music director at the Swedish Radio. The story goes that he would only accept the job, if he was allowed to build up a studio for producing electronic music. The deal was made, and for the purpose he employed Knut Wiggen to be in charge of it. In 1965 an old radio theater studio was opened towards composers, which has later on been named “klangverkstan” or “the sound workshop”.

This studio was meant to be only contemporary and very high investments were assigned a very prestigious and for its time high-quality computer music studio, which opened in around 1970. Up until the death of music director Blomdahl in 1968, the Swedish Radio (SR) invested quite an amount of money, but since the new director lost interest, EMS in 1969 became an independent organization founded partly by SR, Fylkingen/FST and the government (through the Royal Academy of Music).

Olof Palme, who was the minister of Education from 1967-69, helped EMS directly with financial aid. In a debate book from 1960 it says: “Education and research are parts of cultural politics, which most likely will be the easiest fields to get resources to, because of these fields’ importance

for the materiel progression. Striving to heighten spiritual culture will on the other hand also in the future be squeezed.” (Assar LIndbeck: Att förutse utvecklingen fra Roland Pålsson: Inför 60-talet, Debattbok om socialismens framtid av tio författare under redaktion av Roland Pålsson, Malmö 1960 (Rabén & Shögren 1959), p. 79, translated by S.K.Groth)

With this statement in mind, the foundation, organization and ideas of EMS makes very good sense.

To Wiggen EMS was not only to be a studio for producing electro acoustic music, but also an institution of research. In an article in Interface from 1972 Wiggen writes that he would like to give the composer “the possibility of describing sounds in psychological terms. This far, this system of description exists only in the form Pierre Schaeffer has given it in his theoretical work “Traité des objets musicaux”. We at EMS shall try if given economical possibility to realize the idea in terms of a computer program.” (Knut Wiggen: The electronic Music Studio at Stockholm, its Development and Construction, Interface, 1 (1972) p. 127-165 p. 134)

His research project can be described very briefly as: – selected sound objects recorded on analogue tape are given a digital form, and the computer gives an analysis of the sound in physical terms.

composers and researchers remove the sounds to which the ear does not react and find the least possible amount of information in order to synthesize a similar sound object.

a test panel will compare the original and the synthesized sound and give its opinion about the sound in the psychological terminology invented by Schaeffer, and we will try to bridge the gap between the physical and psychological description.

the next step is to try to build “scales” between two such sound objects by allowing the computer to change the physical properties of the sounds.

a test panel will search for corresponding changes in their experiences, and we hope to construct a description in which the composer writes the desired sound within the framework of a number of psychological variables.

the composer no longer plays with a keyboard, and he no longer presses buttons. He writes his sounds and musical structures in psychological terms, and the apparatus at EMS translates these terms into sounds.

Besides the research project, Wiggen also worked on a computer program called Music Box, which later has been compared to Max MSP. The above mentioned research project was never realized in Stockholm. For various reasons, the good times ended, and various conflicts emerged from the beginning of the 1970s. On an ideological and political level, the Swedish musicologist Per O. Broman describes the turning point, as – that (…) the 1960s technique utopian visions for the future were replaced by the 1970s social utopian, and within this, the electronic music had no space, even though thoughts about electronic music as the music of the future did not lack social utopian features. (Per O. Broman: Kort historik over över Framtidens musik, Stockholm 2007, p. 72)

So to say – he sort of explains it with characteristics we also know from the student revolt of 1968. On a personal level internal to the organization, there were also major problems, which might be a concretisation of the above; the younger composers wanted democracy and to set the agenda. Besides that, it is no doubt that Knut Wiggen must have been a challenging character to work with. Jon Appleton describes him as “one of the most astute music administrators I have ever met (…) He combined the qualities of a visionary, an intellectual spokesman, a megalomaniac, and a con artist.” (Jon Appleton: review of Bits and Pieces: EMS 30 years [CD], Computer Music Journal, Vol. 23, No. 2 (Summer, 1999), p. 100-103)

This residency is made possible by the generous support of the Canada Council for the Arts, Research grant for New Media and Audio Artists.

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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.

 

Guest composer @ EMS April 5-16th 2015

francejobin_wheat
Photo : Antonello Carbone

France Jobin will be guest composer at EMS April 5-16 2015!

Since 1964, EMS Elektronmusikstudion is the centre for Swedish electroacoustic music and sound-art. EMS is run as an independent part of Musikverket (Swedish Performing Arts Agency).

Besides making professional studios available for the production of electroacoustic music and sound-art, EMS’ aim is to support artistic development of electroacoustic music and its integration within other artistic areas. EMS represents electroacoustic music from Sweden in various international contexts and sees as one of its main tasks to act as an informer, both nationally and internationally. Foreign composers regularly come to EMS to work and may be granted a working period by submitting a project application according to the same conditions that Swedish composers are subject to.

HISTORY

Sanne Krogh Groth

(Musicology Section, Department of Arts and Cultural Studies, University of Copenhagen)

Sanne Krogh Groth is working on a Ph.D. thesis about the electronic music studio EMS (Electroacoustic Music in Sweden) from its establishment in 1964 until the mid 1970s. Subjects of interest in this study are: early computer music studios (institutional and compositional processes), experiments with voices (synthetic and analogue), the relationship between art and science, and questions related to historiographical issues. Earlier, Krogh Groth has done work on sound art, the sound of theatre, and performance art.

Exerpt from “The Stockholm Studio EMS during its Early Years”EMS08 by Sanne Krogh Groth

EMS is and was an institution with studios for producing electronic music and sound art. The first embryo to the larger studio at the radio was a smaller studio in the workers’ society of education, which is an organization that shares its ideology with the social democratic party. This studio was set up in 1960. Courses were organized by the Norwegian composer and chairman of the society of contemporary music Fylkingen Knut Wiggen, who brought in teachers from abroad, such as Gottfried Michael Koenig, Iannis Xenakis and Henri Pousseur.

In 1964 the Swedish composer Karl Birger Blomdahl was appointed music director at the Swedish Radio. The story goes that he would only accept the job, if he was allowed to build up a studio for producing electronic music. The deal was made, and for the purpose he employed Knut Wiggen to be in charge of it. In 1965 an old radio theater studio was opened towards composers, which has later on been named “klangverkstan” or “the sound workshop”.

This studio was meant to be only contemporary and very high investments were assigned a very prestigious and for its time high-quality computer music studio, which opened in around 1970. Up until the death of music director Blomdahl in 1968, the Swedish Radio (SR) invested quite an amount of money, but since the new director lost interest, EMS in 1969 became an independent organization founded partly by SR, Fylkingen/FST and the government (through the Royal Academy of Music).

Olof Palme, who was the minister of Education from 1967-69, helped EMS directly with financial aid. In a debate book from 1960 it says: “Education and research are parts of cultural politics, which most likely will be the easiest fields to get resources to, because of these fields’ importance

for the materiel progression. Striving to heighten spiritual culture will on the other hand also in the future be squeezed.” (Assar LIndbeck: Att förutse utvecklingen fra Roland Pålsson: Inför 60-talet, Debattbok om socialismens framtid av tio författare under redaktion av Roland Pålsson, Malmö 1960 (Rabén & Shögren 1959), p. 79, translated by S.K.Groth)

With this statement in mind, the foundation, organization and ideas of EMS makes very good sense.

To Wiggen EMS was not only to be a studio for producing electro acoustic music, but also an institution of research. In an article in Interface from 1972 Wiggen writes that he would like to give the composer “the possibility of describing sounds in psychological terms. This far, this system of description exists only in the form Pierre Schaeffer has given it in his theoretical work “Traité des objets musicaux”. We at EMS shall try if given economical possibility to realize the idea in terms of a computer program.” (Knut Wiggen: The electronic Music Studio at Stockholm, its Development and Construction, Interface, 1 (1972) p. 127-165 p. 134)

His research project can be described very briefly as: – selected sound objects recorded on analogue tape are given a digital form, and the computer gives an analysis of the sound in physical terms.

composers and researchers remove the sounds to which the ear does not react and find the least possible amount of information in order to synthesize a similar sound object.

a test panel will compare the original and the synthesized sound and give its opinion about the sound in the psychological terminology invented by Schaeffer, and we will try to bridge the gap between the physical and psychological description.

the next step is to try to build “scales” between two such sound objects by allowing the computer to change the physical properties of the sounds.

a test panel will search for corresponding changes in their experiences, and we hope to construct a description in which the composer writes the desired sound within the framework of a number of psychological variables.

the composer no longer plays with a keyboard, and he no longer presses buttons. He writes his sounds and musical structures in psychological terms, and the apparatus at EMS translates these terms into sounds.

Besides the research project, Wiggen also worked on a computer program called Music Box, which later has been compared to Max MSP. The above mentioned research project was never realized in Stockholm. For various reasons, the good times ended, and various conflicts emerged from the beginning of the 1970s. On an ideological and political level, the Swedish musicologist Per O. Broman describes the turning point, as – that (…) the 1960s technique utopian visions for the future were replaced by the 1970s social utopian, and within this, the electronic music had no space, even though thoughts about electronic music as the music of the future did not lack social utopian features. (Per O. Broman: Kort historik over över Framtidens musik, Stockholm 2007, p. 72)

So to say – he sort of explains it with characteristics we also know from the student revolt of 1968. On a personal level internal to the organization, there were also major problems, which might be a concretisation of the above; the younger composers wanted democracy and to set the agenda. Besides that, it is no doubt that Knut Wiggen must have been a challenging character to work with. Jon Appleton describes him as “one of the most astute music administrators I have ever met (…) He combined the qualities of a visionary, an intellectual spokesman, a megalomaniac, and a con artist.” (Jon Appleton: review of Bits and Pieces: EMS 30 years [CD], Computer Music Journal, Vol. 23, No. 2 (Summer, 1999), p. 100-103)

This residency is made possible by the generous support of the Canada Council for the Arts and the Conseil des Arts et des Lettres Québec.

 

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CALQ2csm

Artist in residence at Portobeseno Festival

June 16 -22nd 2014

France was invited to take part in the artist in residence program of Portobeseno festival in the Trentino region.

The result culminated in a concert at Castel Beseno June 22nd 2014 with live visuals by live visual HYPER!ION
and SARA FILIPPI.

Castello di Beseno
ingresso libero

VOWELS
NICOLA DI CROCE
FRANCE JOBIN
LUIGI MASTANDREA / ANDREA PELATI

live visual
HYPER!ION
SARA FILIPPI

installazione audio video 
PORTOBESENO

installazione sonora 
CONCRETE BOLOGNA ELETTROACUSTICA 

La Chambre Blanche


Web Art Residency
From August 5th to September 14th, 2003 at
la Chambre Blanche in Quebec city

Meeting with the artist, Friday, September 12th, at 5:00 pm


Résidence de production Web
Du 5 août au 14 septembre 2003 à la Chambre Blanche à Quebec

Rencontre avec l’artiste le vendredi 12 septembre à 17h

LA CHAMBRE BLANCHE
185, rue Christophe-Colomb Est
Québec (Québec) G1K 3S6
T: (418) 529.2715
F: (418) 529.0048
info@chambreblanche.qc.ca
www.chambreblanche.qc.ca

ETC

May.06.09 – May.10.09

i8u and CHiKA will be taking part in an artist residency at ETC which will enable them to put the finishing touches on their new work entitled “Traverse”.
i8u | CHiKA
Traverse, 2009

In today’s connected world we have many new methods of collaborating,
and many technical and artistic problems that arise in the process.

These two artists bring this chasm into focus and explore the
possibilities given by these constraints.

This project intersects i8u’s minimal yet powerful sound sculptures and
CHiKA’s geometric minimalist patterns to create a work that expresses
the examination and limitations of itself.

France Jobin aka i8u is a sound/installation/web artist whose work has been released on ROOM40 (AUS), nvo (AU) and recently, a collaboration with Tomas Phillips on ATAK (JP). She has worked with Goem, Martin Tétreault and David Kristian.
http://www.i8u.com

CHiKA is a live media artist working in the international VJ and experimental music scene. Her performances vary from minimalist geometric patterns to unique compositions overflowing with a variety of forms and color.
http://www.imagima.com