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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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review – sans repères (popmusik records) – Hawái (CL)

popmuzik002_01

France Jobin
Sans repères
Japan, popmusik records
popmusikrec_002
LP (180g Heavy Vinyl)
Edition of 300

Sans repères. Sin prácticamente ninguna referencia a la que poder atarse, sin punto alguno al que poderse afirmar más que la forma en unos sonidos ignorados se presentan. Atravesar a través de los canales por los cuales circula la información virtual puede ser una actividad muy tediosa como también estimulante. Siempre me ha parecido interesante la forma como esa información se expone, a veces incluso más que el contenido mismo. La estética de la materia, la forma sobre el fondo. Resulta fascinante ver el orden de las cosas, líneas de separación y textos en tamaño reducido que exteriorizan datos comprimidos. A veces uno puede perderse dentro de ese espacio de ceros y unos, sentirse absorto en la belleza del diseño en HTML. En uno de esos instantes pude descubrir un pequeño sello que solo contenía escasa información acerca de los sonidos que él se albergaban y, más importante, las imágenes de cómo esas notas se expresaban en forma real, una aproximación en representación hexadecimal de un hermoso ruido. Y volvemos a la realidad. Popmuzik es una plataforma con sede en Fukuoka, Japón, que operó también como tienda de discos y además como productora de eventos organizando varias presentaciones de interesantes artistas. Sin embargo, es ahora recién que se aplica a la publicación de ediciones propias. Así es como aparecen sus primeras dos impresiones en formato vinilo y en tiradas limitadas. Dos trabajos donde la belleza exterior se encuentra en concordancia con la belleza que se extrae de los oscuros surcos.

France Jobin es una artista canadiense que antes solía publicar sus trabajos bajo el nombre de I8U, una historia desarrollada por más de diez años. La compositora de Montreal decide hace no mucho tiempo atrás descubrir su nombre y dejar de estar escondida bajo esa otra identidad. De esa manera es como aparece “Valence” (LINE, 2011) [184] y, recientemente, “The Illusion Of Infinitesimal” (Baskaru, 2014) [326],“donde la artista se encierra todavía más en las panorámicas silenciosas… Tres piezas, tres prolongados desarrollos de minimalismo electrónico y ruido ambiental reducido a su expresión más esencial… El universo sonoro de Jobin se concentra en sí mismo, una instrospección que limita lo más posible cualquier estridencia, dejando que las explosiones de sonido se conviertan en implosiones… ‘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”. En este su tercer trabajo de esta nueva etapa de su trayecto artístico Jobin despliega y ordena sonidos recolectados de forma natural, un trabajo que amplía aún más los límites de su obra, dejando el silencio por la quietud y el estruendo contenido de armonías de formas imprecisas. Sans repères / sin referencia. Un trabajo que tiene la forma de 12 pulgadas, la belleza a 33 y un tercio de revoluciones por minuto, una obra presentada impecablemente con una fotografía de Eri Makita en la portada y con un elegante diseño a cargo de Keiji Tanaka en cartón color naranja en su interior. “Sans repères”, popmuzik02, la segunda referencia de este nuevo label de música panorámica es una obra hecha desde registros externos los que son procesados para dar existencia a dos prolongados desarrollos de una música fascinante. “Grabaciones de campo en Fukuoka y Yanagawa durante un paseo en bote en sus canales. Creado enteramente con grabaciones de campo reunidas mientras estaba de gira en Japón, ‘Sans repères’ explora las posibilidades llevadas a cabo en la ausencia de absolutos puntos de referencia”. Lo que fue recogido junto al agua quieta al pasar por el proceso aplicado por la artista canadiense resulta en pausados desarrollos de energía estática, electrónica brillante que recompone el sonido natural y lo transforma en armonías digitales. La raíz original de esta música espontánea queda escondida detrás del sistema de pulsos y unidades binarias, líneas ocultas de ruido que se transforman en tratamientos lumínicos de notas y espacios amplios. Lo cierto es que de las formas primeras solo quedan rastros borrosos. El procedimiento aplicado sobre la materia prima que sirve de base a estas composiciones se reduce a una idea e impresiones abstractas, separando sus átomos en fragmentos que luego son esparcidos sobre un lienzo blanco de partículas de luz y acordes decimales extendidos. Dos notas, apenas seis segundos que desaparecen en el vacío. Un silencio, apenas un segundo, incluso una fracción de él. Una melodía interrumpida, un loop que se propaga con su pureza imperfecta hasta que el espacio que separa una porción de otra queda reducido a cero.“Sans repères”, y la música que se va formando de manera imperceptible, las variaciones que se desarrollan de forma invisible. Un ruido intangible que adquiere tonos diferentes conforme hay más presencia de luz. Hasta que ocurre un quiebre, un instante donde sobre ese lienzo cae polvo de estrellas generando nudos repetitivos de partículas ásperas. La belleza de la imperfección que más tarde se convertirá en hilos de electrónica inmaterial y después en un estruendo abrasivo. Casi veinte minutos de una música gloriosa. “Sans repères” tiene una estructura similar. Sin embargo, los matices hacen que sea una obra nueva dentro de su uniformidad. 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. “‘Sans repères’explores the possibilities brought forth in the absence of absolute points of reference”. 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.

 

 

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review – the illusion of infinitesimal – (baskaru) 2014 – AVANT MUSIC NEWS (USA)

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France Jobin
The Illusion Of Infinitesimal
FRANCE BASKARU KARU:27 CD (2014)

 

 

If you put music to images of cells as seen under a super-resolution microscope (like these), this is what it might sound like. France Jobin (aka i8u) composes the barely seen into the barely heard. The three pieces on The Illusion of Infinitisemal are each petite, graceful, moiré patterns constantly in flux and very, very quiet. Unlike the microscope, you can only amplify so far. Though grouped under three titles, each track is in fact a cluster of ambient narrative miniatures. Revolving slowly, expanding infinitely outward and metastasizing benignly into something entirely unheard-of, as long as you listen closely.

Stephen Fruitman

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

KARU27_1440x1440

France Jobin
The Illusion Of Infinitesimal
FRANCE BASKARU KARU:27 CD (2014)

Je suis prêt à soutenir, aussi paradoxal que cela puisse sembler, que cet album, ou plutôt sa musique, cette expression du fragile aux portes de la perception, cette expérience intime du minimalisme formel et tonal, entretient un rapport serré avec le langage. Je pourrais ne prendre à témoin que la suite numérique qu’offre la liste des trois morceaux : -1/2, 0 et +1. Mais c’est d’autre chose qu’il s’agit. Lorsqu’il est question d’exprimer un sentiment délicat, il arrive que la parole défaille, se fragilise, proche de chuter ou de disparaître. Il convient d’accorder alors son discours à son esprit et plus encore aux rythmes de son corps. Plonger ainsi en soi requiert le don de la microscopie et de la lente navigation. C’est ainsi que vogue France Jobin sur la musique qui est un calme miroitement, sur une surface faiblement fluctuante, soumise à la brise la plus faible. Pourtant, sous l’effet d’un tropisme lunaire, le flux et le jusant guident le retour incessant du motif que l’on ne songe même pas à qualifier de répétitif tant il semble appartenir à la séquence naturelle, bien plus qu’à l’artifice de l’homme. Ce fredonnement de lumière s’éloigne comme le jour au crépuscule, mais, ainsi qu’au pôle pendant certaine période, la nuit ne tombera pas, laissant le couchant s’éterniser. Mer et ciel se fondent en un harmonique unique, un filin légèrement vibrant, une quasi-monochromie. Avec ses fuselages bleutés, ce minimalisme évoque les beaux sons des frères Voigt, Gas et Sturm, sans le rythme. C’est une musique qui laisse au regard, à l’oreille, le soin de la compléter, car elle s’exile aux abords du perceptible sans délaisser la vague mais en la filtrant, sans sacrifier sa densité mais son volume.
On nous prévient d’ailleurs, sur la présentation que le label offre à ce disque, que le volume d’écoute, mais aussi sa modalité (écouteurs ou haut-parleurs) conditionneront l’approche et la réception de la musique, que de nouvelles formes, de nouvelles structures se dévoileront selon le contexte. Je me suis cantonné à un volume toujours assez faible, mais la double expérience des enceintes et des écouteurs offre effectivement des paysages, non différents, mais un panorama infime bénéficiant d’un éclairage, d’une hygrométrie, d’une attention au relief qui varient ainsi sensiblement. Il me semble également qu’avec le casque les épiphanies d’harmoniques s’exacerbent, alors que les enceintes offrent un empan plus large. Pareillement, le casque permet un rendu quasi tactile des minuscules effondrements qui traversent de loin en loin la vague lumineuse, retrouvant alors le panorama car dénonçant telle la vigie la rotondité de l’horizon.
Le langage, lui aussi, ne permet-il pas diverses interprétations selon, que sais-je, l’heure, le temps, la fatigue, l’humeur, la connaissance du lieu, le rappel à un contexte antérieur, le ton… Je parle avant tout d’un langage murmuré, proche du secret que seul peut révéler complètement le retour au non-langage, et l’on sait ce que cela implique. Alors, pour s’approcher, rôdant dans ce domaine flou où les perceptions sont toujours sur le point de trahir, on s’accorde aux respirations, aux teintes changeantes, au frisson sur la peau, à la musique.

feardrop, Denis Boyer, 2014-09-17
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CONTEXT-ing / Listening as CONTEXT

CONTEXT ( see below for more info)

December 2 -7 | 2014

VIP PREVIEW | December 2

THE DIRECTOR’S PROJECT : CONTEXT-ING / LISTENING AS CONTEXT

CONTEXT-ing / Listening as CONTEXT creates immersive and intimate situations for listening to the work of sound artists exploring the ontological aspects of sound while also working with various materials, approaches, and techniques.

CONTEXT-ing / Listening as CONTEXT will be premiered on the VIP opening night in the 2600sq.ft Sound Positions Pavilion – a dedicated space annexed to the main CONTEXT pavilion featuring 12 individual sound stations, making it the most important and largest sound project in an art fair – and continues during fair hours from December 3rd – 7th.

CONTEXT-ing / Listening as CONTEXT Artists include: 

Tania Candiani, Mexico

Richard Chartier, USA

Richard Garet, Uruguay / USA

France Jobin, Canada

Emeka Ogboh, Nigeria

Kristin Oppenheim, USA

Manuel Rocha, Mexico

Steve Roden, USA

Hong-Kai Wang, Taiwan

Hildegard Westerkamp, Germany / Canada

Jana Winderen, Norway

Zimoun, Switzerland

See more at: CONTEXT art Miami

VIP PREVIEW | December 2 
By Invitation Only – VIP Cardholders and Members of the Press

Collectors, curators, artists, art enthusiasts and members of the press are invited to experience an exclusive First View of the highly anticipated Art Miami and CONTEXT fairs for a cocktail reception benefiting the Pérez Art Museum Miami.

This can’t miss event is the first opportunity to acquire the finest works from the emerging, cutting-edge, contemporary and modern art movements prior to the fairs’ opening to the public the following day.

CONTEXT, along with the 25th edition of Art Miami, commences on December 2, 2014, with the sister fair’s highly anticipated Opening Night VIP Preview to benefit the Pérez Art Museum Miami (PAMM). The 2013 preview attracted 13,600 collectors, curators, artists, connoisseurs and designers, and the fair hosted a total of 72,500 attendees over a six-day period.
This immediately reinforced the CONTEXT fair as a proven destination and serious marketplace for top collectors to acquire important works from the leading international galleries representing emerging and mid-career cutting-edge works of art.

The combined exhibition space of CONTEXT and Art Miami will increase the overall roster of galleries to 200 participants and cover 250,000 square feet. Convenient parking is available for both fairs through the use of a four-story parking garage with 2,000 spots, located directly across the street from the CONTEXT and Art Miami Pavilions. A network of complimentary shuttle buses will run round-trip service between Art Miami, CONTEXT, Aqua Art Miami and Art Basel Miami Beach.

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sans repères on popmuzik records

France Jobin
sans repères
popmusikrec_002
LP (180g Heavy Vinyl)
Edition of 300
September 21st 2014

Field recordings in Fukuoka and in Yanagawa during a boat ride in the canals.

Created entirely with actual field recordings gathered while on tour in Japan, sans repères explores the possibilities brought forth in the absence of absolute points of reference.

cover photo: Eri MAKITA (http://www.erimakita.com)
artwork: Keiji TANAKA (http://www.calamariinc.com)

thanks to:
Sachiko, Shuhei, Riku, Tatsuki and Arata Miyagi, Keiichiro Shibuya, Sho Nakao, Yu Fuji, Kenta Inamasu, duenn, “quiet eating machine” (Takahiro Horie & Kennichiro Sakai), Yuki Aida, Emi Aida special thanks to Jun Iijima, who let me record his piano during sound check in Tokyo @ Super Deluxe, which i processed for this album.

BUY

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Mirror Neurons – New AV collaboration – Sound: France Jobin & Fabio Perletta, Visuals: xx+xy visuals

France Jobin + Fabio Perletta with xx+xy visuals
Mirror Neurons

Mirror Neurons represent a distinctive class of cells that fire both when an animal executes an action and when it observes another individual performing the same action. Discovered by Italian neurophysiologist Giacomo Rizzolatti and his team at the University of Parma while doing a research on the neural representation of motor movements in monkeys, the precise function and influence of these neurons has become one of the most important topic in neuroscience. They have been linked to many behaviours and abilities, from empathy to learning by imitation and language acquisition, as well as implicated in conditions such as autism and other brain disorders. These findings suggest that the mirror neuron system plays a key role in our ability to experience empathy.

Initiated by sound artists France Jobin and Fabio Perletta, Mirror Neurons is a media-project investigating the notion of empathy and physical distance. The entire album is the result of extended sound files exchange between Montréal (Canada) and Roseto degli Abruzzi (Italy). Each of the pieces is based on rough sounds and their consequent re-working, listening and reaction, processing and imitation. The ongoing process helped artists to draw inspiration in terms of stimuli for the act of composing itself in two very distant cities, different climate, time zones and languages. The piece will make its debut at the 2014 AxS Festival.

Like much of Jobin and Perletta’s recent works, Mirror Neurons explores the artists’ interest in intersection between science and art, as well as the infinitely small and invisible. In order to further develop the concept of distance/connectivity, visual artists xx+xy visuals from Rome have been involved in the process. They created a multi-dimensional, generative and ever-changing sound visualization through the use of quiet textures and subtle movements emphasizing the slowed sense of time of the work itself.

view excerpt on vimeo here

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Event Horizon – Sound: France Jobin, Video: Cédrick Eymenier

EVENT HORIZON (v.9) – France Jobin – Cédrick Eymenier

Event Horizon (TRAILER) from Cedrick Eymenier on Vimeo.

EVENT HORIZON is an experimental audio/visual work by France Jobin (audio) and Cédrick Eymenier (visual) developed in the summer of 2009.The title of the piece was drawn from the physics term “event horizon” which is a bizarre boundary in space time which gives a black hole it’s name.  It is the proximity point in which no matter or radiation (ex.light) can escape and thereby affect an outside observer.  It is the black holes effects on its surroundings and the light that doesn’t pass the event horizon that gives physicists their awareness that the black hole exists.

This project involves the observation of a cityscape after nightfall. The minimal light observed over the city at night masks the flurry of activity that is obscured by buildings and darkness.

EVENT HORIZON explores the solitary observations of events transmitted via minimal stimuli and the understanding of the existence of incomprehensibly massive amounts of activity that cannot affect the outside observer other than the knowledge that it exists and it is obscured.

In short, it explores the interaction of the subject with the city and the emotions that come with various sensory stimuli and the contemplation of
what the darkness obscures.

France Jobin | Cédrick Eymenier

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Mirror Neurons – world premiere at A × S / ak-sis / FESTIVAL 2014 | CURIOSITY

Mirror Neurons : France Jobin + Fabio Perletta with xx+xy visuals
will premiere at A × S / ak-sis / FESTIVAL 2014 | CURIOSITY September 25th 2014
as part of Synergetica Screening. (see below)

AxS Festival 2014 | CURIOSITY is presenting the North American premiere of SPHAERAE, a large-scale temporary public artwork by Dutch architect Cocky Eek. SPHAERAE is an inflatable pavilion — a component of an ongoing strand of research by architect Eek into the pneumatology and tactility of inflatables and lightweight spaces. Developed in partnership with Synergetica Lab in Amsterdam and the Artscience Interfaculty program in The Hague, SPHAERAE consists of five semi-transparent bubbles of different sizes, which together form a multi-dome construction designed for immersive, synaesthetic experience.

Eek was inspired to create SPHAERAE by 10,000 Peacock Feathers in Foaming Acid, an audiovisual performance work by Netherlands-based artists Evelina Domnitch and Dmitry Gelfand. In 10,000 Peacock Feathers, Domnitch and Gelfand use laser light to scan the surfaces of nucleating and dissipating soap bubble clusters.

DOMNITCH GELFANDFeathers_TodaysArt

Unlike ordinary light, the laser’s focused beam is capable of generating a large-scale projection of molecular interactions as well as mind-boggling phenomena of non-linear optics. Sphæræ’sinflatable structure was designed to both serve as a platform for this uniquely spectacular work, as well as create a venue for other artists, scientists, and performers to make 180° works and compositions which explore the phenomena of light, sound and movement within the domes.

AxS Festival 2014 will present Domnitch + Gelfand in a live performance of 10,000 Peacock Feathers in Foaming Acid — the work that inspired the creation of the SPHAERAE platform — and Solunaris, a new collaborative work by William Basinski & Richard Chartier commissioned by the Pasadena Arts Council and curated by Domnitch + Gelfand.

SPHAERAE will also feature the premiere of Sol Path, a new interactive music work by composer/cognitive scientist Bruno Louchouarn.A concerto for solo viola/percussion/soundscape, Sol Path features live performance by renowned viola soloist Brett Deubner, and immersive multi-media by Asheville, North Carolina-based designer Adam Larsen.

Sol Path is inspired by the exploratory path that the Rover takes over the course of a Martian day — a Sol — which is collaboratively programmed by a team of Earth-bound explorers. Sol Path was created in part with composer Louchouarn in residency at NASA/JPL. Through his dialogues with the Mars Curiosity team — rover drivers, artificial intelligence designers, the “planetary protection team” and others — actual data from the Curiosity mission will become inputs to Louchoarn’s composition and inform the very shape of the experience.

SPHAERAE will be on view for the duration of AxS Festival 2014 | CURIOSITY and feature projects including work, as a far-ranging program of sound works, video screenings, and talks by artists including Chris Duncan, Jeff Cain,Mattia Casalegno, France Jobin, Favio Perletta, xx+xy visuals, Francisco López, Intimatchine, Lucky Dragons, Mike Harding/Touch, Yann Novak, Eric Parren, Paul Prudence, Steve Roden, Jet Smits, Julie Tolentino, Martijn Van Boven, Bas Van Koolwijk, and Virons.

SYNERGETICA SCREENING

Curated by Evelina Domnitch and Dmitry Gelfand, the ArtScience Interfaculty and Synergetica Lab present a series of multi-sensory performances and installations in the context of synthetic biology. Founded in 2006 in The Netherlands, Synergetica is an art-science laboratory, investigating photonics, fluid dynamics, acoustics, quantum chemistry and psychophysics.

Visit the Synergetica website: synergeticalab.com

The North American premiere of SPHAERAE is made possible in part by the Mondriaan Fund and GuestHaus Residency.