{"id":11792,"date":"2015-09-18T20:14:31","date_gmt":"2015-09-19T00:14:31","guid":{"rendered":"https:\/\/sporobole.org\/creation\/round-table-for-sound-window\/"},"modified":"2024-05-14T16:25:50","modified_gmt":"2024-05-14T20:25:50","slug":"round-table-for-sound-window","status":"publish","type":"standish_creations","link":"https:\/\/sporobole.org\/en\/creation\/round-table-for-sound-window\/","title":{"rendered":"SOUND WINDOW 2015 \/ ROUND TABLE AND ARTIST RESIDENCIES"},"content":{"rendered":"

Sporobole launched a new program that provides a curator the opportunity to gather sound artists around a curatorial approach and concepts about the Sound Wall diffusion device. During a three-week residency, each artist has unlimited access to the sound laboratory and develops a project which will be broadcast and discussed during the round table.<\/span><\/p>\n

The Sound Wall is a permanent system for sound projection on the fa\u00e7ade 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\u2019s 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.<\/span><\/p>\n

Text by curator H\u00e9l\u00e8ne Pr\u00e9vost<\/b><\/span><\/p>\n

Sporobole\u2019s outdoor space offers a very discreet installation on its fa\u00e7ade when it is not given too much attention. When walking, when moving between two activities, two places, mechanically, walking is often just for that, often a mode of transport. We can believe that it is an original cornice, designed by an architect with a free spirit. Do we even look up? Eyes and ears fixed to the ground.<\/span><\/p>\n

Then artists place the body at the centre of the listening. Inject a language, words, trigger a movement, which is not known to the wind, or traffic, or steps around you. Stop, listen, continue. Maybe talk about it. Come back tomorrow. All day and part of the evening, almost at night, non-stop, non-stop, an auditory life goes by. Comes from nowhere and goes nowhere. Faceless, discreet, it sticks to the brick front. \u201cThe listener can then experience a double crossing: the space of the work and the space of the citizen. \u201d (Chantale Laplante)<\/span><\/p>\n

Although the word work does not fully apply.<\/span><\/p>\n

It is not strictly speaking the broadcasting of a sound work on a loudspeaker. But rather the fusion of a broadcasting system with a listening to the world. The random or non-random movements that manage the very long partition will amplify the non-place and accompany, without head or tail, the wandering. The sound work revealing itself to the rhythm of the march, of the hour, according to the pace of time and the sky. Heat, rain, hail, shade, dry wind, hot paving stones.<\/span><\/p>\n

The challenge of integrating into an urban fabric, tired, flat, without any apparent contour, fluid, without object.<\/span>
\n<\/span>A minimal gesture sculpts the sound space. So small and it takes such a place. It redraws the architecture of habits. Take this street, turn right then left. Go back in time. Extend your arm or ear.<\/span><\/p>\n

\u201cWe all have the ability to ignore the space we need to use to get to our destination\u201d (France Jobin)<\/span><\/p>\n

The Sound Wall\u00a0fragments and stretches time, draws a discreet labyrinth where curiosity, the need to connect with what is foreign to us, to push the door without knocking since the path belongs only to the one who will cross space, will approach walking in line, along 16 paths.<\/span><\/p>\n

Chantale Laplante: artist-in-residence \u2013 May 18 to June 7 and August 5 to 8<\/b><\/span><\/p>\n

Chantale Laplante, composer, improviser and sound artist, explores instrumental, mixed and electroacoustic music, computer improvisation and more recently the in situ approach. She has been an artist-in-residence at several artist-run centres in Canada and Europe, including the Glasgow Centre for Contemporary Arts, the Banff Centre for the Arts, the Internationale K\u00fcnstlerhaus Villa Concordia in Germany.<\/span><\/p>\n

Her work is based on the phenomenal sensation and scope of the place that she deepens through what she calls a give to hear and the emergence of an incarnate listening. A FQRSC scholarship holder, she is a doctoral student in Arts Studies and Practices at the Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al. His research focuses on his concept of hyper-listening and experimentation in the installation-concert genre, which led to the \u201cIntra-muros\u201d event presented in June 2014 in the three rooms of the Pavillon du Coeur des Sciences in Montreal. In the fall of 2013, she was in Japan (Tokyo and Kyoto) to pursue a sound research in immersion in Japanese gardens. In the fall of 2014, she presented a radio creation based on the work CARNETs by author Marie-Line Laplante, with whom she forms the MLC collective.<\/span><\/p>\n

Residence project<\/b><\/span><\/p>\n

assi\/terre<\/b><\/span><\/p>\n

The work assi\/terre[working title] is woven from two languages: Innu and French. Innu, language on the border of disappearing\/appearing, and French, the language of translation. It is a back and forth between the song and the meaning that crosses the soundtrack. Through the links of words and rustle, and at the bend of a walk, the listener can then experience a double crossing: the space of the work and the space of the citizen.<\/span><\/p>\n

assi\/terre[working title] takes advantage of the eminently ambulatory diffusion system of the Sporobole artist centre by multiplying the number of crossings and by multiplying, by the effect of seizure, our perceptive capacity of the world.<\/span><\/p>\n

Innu Reading: Alexsa KcKenzie<\/span>
\n<\/span>Max-MSP Programming: Julian Stein<\/span><\/p>\n