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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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  • Georges Aperghis - Thinking Things








Sat 3 November 2018,
8:30 p.m.
Onassis STEGI
Edit
Creation
Performance






Georges Aperghis - Thinking Things

Edit






The return of Georges Aperghis to the stage with a theater of aberrations of robotics. A living quartet (song, voice, gesture), dear to the author of Machinations and Luna Park, is joined by a new, invasive, protagonist: a robot totem, designed with Pierre Nouvel and Olivier Pasquet that assures the extension of human functions. What do we preserve and what do we forsake of listening, of looking, of speech, of speech and touch?  Thinking Things puts learning circuits between man and machine back into play, mocking rituals, children’s games, a funeral ceremony or a resurrection. A new cohabitation of man with his creature, a terminal for pain or joy, Thinking Things doesn’t employ the traditional, apocalyptic vision of the robot. Close to the carnival humor of Méliès, this scherzo-panic is that of life: coding the unpredictable and striking the unexpected.

Georges Aperghis director and composition
Pierre Nouvel video creation & design, and robot programing
Daniel Lévy set & lighting design
Olga Karpinsky costume design, property master
Émilie Morin assistant director
Olivier Pasquet IRCAM computer music design
With Donatienne Michel-Dansac, Richard Dubelski, Johanne Saunier, Lionel Peintre

GEORGES APERGHIS THINKING THINGS, Premiere 2018

Edit
Production IRCAM-Centre Pompidou. Coproduction Les Spectacles vivants-Centre Pompidou, Südwestrundfunk, Centre Culturel Onassis, Ultima Oslo Contemporary Music Festival. With the collaboration of metalu.net, chantier numérique de Métalu A Chahuter. The robot impressions were produced as a part of the In Moov program created and developed by Gaël Langevin. With the support of the Sacem.
  • Tête du robot totem  © Quentin Chevrier, 2018
    Tête du robot totem © Quentin Chevrier, 2018
  • Tête du robot totem  © Quentin Chevrier, 2018
    Tête du robot totem © Quentin Chevrier, 2018
  • De gauche à droite : Olivier Pasquet, Georges Aperghis et Richard Dubelski  © Quentin Chevrier, 2018
    De gauche à droite : Olivier Pasquet, Georges Aperghis et Richard Dubelski © Quentin Chevrier, 2018
  • Bras du robot totem  © Quentin Chevrier, 2018
    Bras du robot totem © Quentin Chevrier, 2018
  • Richard Dubelski  © Quentin Chevrier, 2018
    Richard Dubelski © Quentin Chevrier, 2018
  • Georges Aperghis  © Quentin Chevrier, 2018
    Georges Aperghis © Quentin Chevrier, 2018
  • Richard Dubelski  © Quentin Chevrier, 2018
    Richard Dubelski © Quentin Chevrier, 2018
  • © Quentin Chevrier, 2018
    © Quentin Chevrier, 2018
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