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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
    • Vimala Pons 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 23.24
    • Season 2023.24
    • Replay: 2022.23 Concerts
    • Seasons from 1996 to present
    • ManiFeste-2023 Website
    • ManiFeste festival from 2012 to 2023
    • 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 2023.24
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • Sound spatialization
    • Designing Audio Experiences on the Web
    • Interact, Compose, Improvise with Generative Agents
    • Other training programs
    • Practical Information
    • Higher Education
    • Cursus Program on Composition and Computer Music
    • Master ATIAM
    • Sound Design Master's Program
    • Mixed-Music
    • Music Doctorate
    • AIMove Master
    • Discover Research at IRCAM
    • Cultural Outreach
    • Cultural Mediation
    • Digital Workshops
    • TACT
    • Images of a Work Collection
    • Group Tours
    • ManiFeste-2024 Festival Academy
    • 2024 ÉLAN award
  • 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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  • Eror (The Pianist)








Fri 22 February 2019,
and
Sat 23 February 2019,
8:30 p.m.
Onassis STEGI
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Creation
Concert






Eror (The Pianist)

Edit






EROR, a piece for musical theater combining live performance and animation, inspired by the word λάθως (láthos, error), a graffiti tag repeated on the walls of Athens during the financial crisis. The work refers to political, geographical, and societal instability via the digital instability—the introduction of randomness and algorithmic error in the musical material, in the sound, in the image. The musical and sound scores (piano gestures, short tomb-tributes, live sound actions, and field recordings) are transformed and broadcast in the concert hall, on stage, and inside the piano with the assistance of a complex computer environment. The performance includes intermission-happenings where the pianist’ sound actions effect the acoustic and electronic sound. The stage space is defined by video projections of animated shadows—a parade of figures that move and travel indiscernibly, colored shadows of the residents of an emptied city.

GEORGIA SPIROPOULOS EROR (THE PIANIST) world Premiere
fantasmagory for a disguised pianist, electronic, and animated graffiti theater
Commissioned by Onassis STEGI

Georgia Spiropoulos concept, Composition, Dramaturgy, Art Direction
bestbefore (Andreas Karaoulanis) video Animation
Benjamin Lévy Computer Music Design IRCAM
Woozy (Vangelis Hoursoglou) Artwork Drawings
Arnaud Jung light Design
Alvise Sinivia piano
Sylvie Martin-Hyszka director Assistant, Set Design, Costumes:

Edit
Commissioned and Produced by Onassis STEGI. Coproduction IRCAM-Centre Pompidou. With the support of the Abbaye Royale de Fontevraud
  • Georgia Spiropoulos et Alvise Sinivia  © Ircam-Centre Pompidou
    Georgia Spiropoulos et Alvise Sinivia © Ircam-Centre Pompidou
  • Georgia Spiropoulos  © DR
    Georgia Spiropoulos © DR
  • Alvise Sinivia  © Ircam-Centre Pompidou
    Alvise Sinivia © Ircam-Centre Pompidou

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Concert
Creation

Eror (The Pianist)

22 February to 23 February 2019
Onassis STEGI
by Georgia Spiropoulos
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