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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
  • 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
    • Chloé Thévenin in studio
    • Oren Boneh in studio
    • Tristan Murail in studio
    • Martin Matalon in studio
    • Sébastien Gaxie in studio
    • Murcof in the studio
    • Vimala Pons in studio
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 24.25
    • 2024-2025
    • Replay Concerts
    • Seasons from 1996 to present
    • ManiFeste-2024 Website
    • ManiFeste festival from 2012 to 2024
    • 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.

    • Training Courses
    • Training Courses 2024.25
    • Max, Max for Live
    • Computer-Assisted Composition
    • ASAP & Partiels
    • Sound spatialization
    • Designing Audio Experiences on the Web
    • Generative AI
    • Sound Design
    • Practical Information
    • Higher Education
    • Cursus Program on Composition and Computer Music
    • Master ATIAM
    • Sound Design Master's Program
    • Mixed-Music
    • AIMove Master
    • Discover Research at IRCAM
    • Cultural Outreach
    • Cultural Mediation at Middle School Students
    • Médiations culturelles au lycée
    • Digital Workshops
    • TACT
    • Images of a Work Collection
    • Group Tours
    • ManiFeste-2025 Festival Academy
    • 2025 ÉLAN award
    • Spatial Composition Workshop
    • In Situ Polytopes
    • ULYSSES Ensemble
    • Auditors
  • Innovations

    Engaged with societal and economic issues at the intersection of culture and IT, research at Ircam has forged a reputation for itself in the world of international research as an interdisciplinary benchmark in the science and technology of sound and music, constantly attentive to the new needs and uses in society.

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  • Bernard Lubat








Mon 9 December 2019,
2 p.m.- 6:30 p.m.
Institut des Systèmes Complexes
Auditorium de l’ISC-PIF
Prices

Free Entry

Free entry. Registration required at contact (@) digitaljazz.fr

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Research
Encounter






Bernard Lubat

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Musique, Technology, Politics
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For the past fifteen years, multi-instrumentalist jazzman Bernard Lubat has worked closely with Marc Chemillier and Gérard Assayag on computer systems that promote improvised human-machine co-creativity. As a prelude to the release of the CD, this day on Bernard Lubat will provide the opportunity to hear interactions between a musician and software in an encounter combining performances, conferences, and discussions. Lubat will give his point of view during an "investigation" into his conceptions of music and the world.

Surrounded by specialists in computer music and complexity science, Lubat will discuss the role of technologies in society at a time when democracies are confronted with algorithms for manipulating public opinion. He will also talk about his relationship with composer Pierre Boulez, a selection of whose works will be performed on this occasion. The day will end with a completely new experimental workshop. Bernard Lubat will improvise in duo with a "virtual Pierre Boulez" generated with the help of creative software.

Organization
Marc Chemillier (CAMS-EHESS) and Gérard Assayag (STMS-IRCAM), with the support of IRIS Création, cognition, société (PSL)

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Program

Opening

2pm

Introduction
Interventions by Jean-Marie Schaeffer, director of studies at EHESS, director of research at CNRS, scientific director at IRIS Création, cognition, société-PSL, and Jean-Pierre Nadal, director of studies at  EHESS, director of research at CNRS, director of CAMS

2:15pm

Anthèmes II (partie 1) by Pierre Boulez for violin and electronics
Performed by the violinist Marie-Aude Melliès with Carlo Laurenzi, IRCAM computer music designer 

Session 1

2:30pm

Human-machine improvisation: presentation and performance
Bernard Lubat on piano, Marc Chemillier, director of studies at EHESS (CAMS-EHESS) and Gérard Assayag, head of the Musical Representations team (STMS-IRCAM) on the computer

3pm

Conference on the individual, politics, and networks  
David Chavalarias, CAMS-EHESS, director of the ISC-PIF, Politoscope project

3:30pm

Discussion with Bernard Lubat on music, politics, and technologies 

4:15pmBreak

Session 2

4:30pm

Performance and conference “Where Do Musical Structures Come From?”
Elaine Chew, researcher CNRS in the Musical Representations (STMS-CNRS) and pianist. Performance of Sonate n°1 for piano by Pierre Boulez (1946), and rhythmic variations generated from cardiac arrhythmias  (European project ERC COSMOS)

5:15pmHybrid Improvisation
Bernard Lubat on piano with a virtual Pierre Boulez, based on the performance by Elaine Chew
5:30pmDiscussion on sources of inspiration by Bernard Lubat
including his meeting with the music of Pierre Boulez
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