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    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Sound Perception and Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Finished Projects
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "Transfer" for 10 Musicians and Electronics
    • L'Annonce faite à Marie
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2022.23
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • ManiFeste festival from 2012 to 2022
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In support of IRCAM's research and creation missions, the educational program seeks to shed light on the current and future meaning of the interactions among the arts, sciences, and technology as well as sharing its models of knowledge, know-how, and innovations with the widest possible audience.

    • 2022.23 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • TS2 and Partiels
    • Sound spatialization
    • From PureData to audio plugins
    • Sensors, Interfaces, and Interactive Machine Learning
    • Other training programs
    • Practical Information
    • Advanced Programs
    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
    • Music Doctorate
    • AIMove Master
    • School Programs
    • Studios of Creation
    • Mixed-Music
    • Artistic and Cultural Education
    • Career Discovery Visit
    • Images of a Work Collection
    • ManiFeste-2022, the Academy
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

    • The IRCAM Forum
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  • Art + Sound = Sound Art?








Sat 23 June 2018,
2 p.m.- 7 p.m.
Ircam
salle Stravinsky
Downloads

art+son_programme_fr_en.pdf

Free entry, limited seats available.

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Research
Encounter






Art + Sound = Sound Art?

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Sound art is a hybrid, multidisciplinary form of creation that raises questions on the use of museum space as public space, on the status of composers, and on the very nature of an artistic object or a musical work. We situate this artistic category—which is often presented in situ—somewhere between visual arts and contemporary and/or electronic music, or between object and performance, without clearly defining its position. With the abundance of questions posed by this form of artistic expression, this workhop will focus on the following themes: the political contents of sound arts, the origins of this art form with a look back at the work of Max Neuhaus, and a discussion about the current role of sound in the museaum context. Two documentaries will also be screened during the workshop: Her Noise – The Making Of, on the organization of a sound art exhibit at the South London Gallery in 2005, and a film on the exhibit Sonic Boom (2000) and its curator. 

Organization: Annelies Fryberger (LabEx CAP IRCAM, Analysis of Musical Practices Team)

With Christophe Kihm (Haute École d’art et de design de Genève), Gascia Ouzounian (université d’Oxford), Lina Džuverović (université de Reading)

In connection with the exhibition "Coder le monde" at the Centre Pompidou

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With the support of Labex CAP (Création, Arts, Patrimoines) and the CRAL (EHESS).
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