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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
    • Perception and Sound Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • 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 parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

    • 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.

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  • Coder le monde








June 15 through Mon 27 August 2018,
11 a.m.- 9 p.m.
Centre Pompidou
Galerie 4

Entry with a ticket to the museum & exhibitions.

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Creation
Exhibit






Coder le monde

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As a part of "Mutations/Créations 2"
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Presented as a part of “Mutations/Créations 2”, an event at the crossroads of several disciplines­—music, architecture, design, and speech—the exhibition "Coder le monde" (Coding the World) weaves together connections among the arts and reveals common points connected to the development of digital technologies, to the evolution of programming languages, and to the expansion of networks. The exhibition reveals a common aesthetic and decisive universe that questions our daily lives, completely inundated with digital logics. Spread out over the 500 square-meters of the Centre Pompidou’s Galerie 4, the exhibition is organized in 6 specific sections: the history of code, the Algorists (an international group of visual artists from 1955 to 1975), music and code, digital literature, digital conception for architectural and industrial design, the body and code.

The "Music" timeline offers a classification of the relationships between musical theorization and mathematical formalization, illustrating the appearance of paradigms that ushered in the very concept of coding. We go from the 17th century combinatory vision of the world to the first mechanical machines used to calculate music in the 19th century, paving the way for algorithmic composition and the research of the 20th century on real-time, micro-computing, programming languages, ubiquitous computing, Web Audio, and artificial creativity.

Curation coordonnated by Frédéric Migayrou, deputy director of the Musée national d’art moderne and Camille Lenglois,  assistant curator, Mnam-CCI. "Music" Timeline:  Moreno Andreatta, director of research CNRS, STMS-IRCAM-Sorbonne Université, with the support of Roseline Drapeau, IRCAM librarian.

Pockets of Space

Audio & visual installation (exposition version), Premiere 2018
The OpenEndedGroup, specialized in 3D visual projection, and the composer Natasha Barrett, explorer of spatial projection on a sonic stage, met for the first time in their imaginations. In Pockets of Space, the same algoryhtm for growth, the same rhythm of breathing leads to the evolution of image and sound, the passage from a point to a figure, from an identifiable sound source to its musical abstraction.

OpenEndedGroup (Marc Downie et Paul Kaiser) video
Natasha Barrett music
Benjamin Lévy IRCAM computer music design

An Experiment With Time

Audio & Visual Installation
John W. Dunne, an aeronautical engineer, philosopher, and fly-fishing lover, published An Experiment with Time in 1927. The installation makes it possible for the past and the future to coexist, premonitory dreams and dreams that refer to neither memories nor anticipation. Marked by this offbeat endeavor, the Italian composer Daniele Ghisi has taken off in this curious time-dilating machine. Through the use of aliases projected on screens and electronic databases, several different series nest together in his installation: a day, a year, and a lifetime considered to be a polyrythm.

Daniel Ghisi installation: sound, video, animation
Inspired by the eponymous book by John W. Dunne

With the support of the ULYSSES Network funded by the Creative Europe Programme of the European Union and the Sacem.

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Coproduction IRCAM/Les Spectacles vivants-Centre Pompidou. With the support of the VERTIGO program supported by the European Commission DG Connect as a part of the STARTS platform-Science, Technology and the ARTS-H2020 program.
  • Le ballet interactif Hakanaï, d'Adrien Mondot et Claire Bardainne  © Romain Etienne / item
    Le ballet interactif Hakanaï, d'Adrien Mondot et Claire Bardainne © Romain Etienne / item
  • Le ballet interactif Hakanaï, d'Adrien Mondot et Claire Bardainne  © Romain Etienne / item
    Le ballet interactif Hakanaï, d'Adrien Mondot et Claire Bardainne © Romain Etienne / item
  • © DR
    © DR
  • © Charles Sandison
    © Charles Sandison
  • An Experiment With Time  © Daniele Ghisi
    An Experiment With Time © Daniele Ghisi
  • Le ballet interactif Hakanaï, d'Adrien Mondot et Claire Bardainne  © Romain Etienne / item
    Le ballet interactif Hakanaï, d'Adrien Mondot et Claire Bardainne © Romain Etienne / item
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