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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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  • Le son de l'anthropocène : matérialités








September 12 through Thu 13 September 2018,
9:30 a.m.- 6 p.m.
Ircam
salle Stravinsky
Downloads

prg_anthropocene.pdf

Free entry, limited seats available.

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Research
Seminar






Le son de l'anthropocène : matérialités

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A part of the project ASMA (Arts de la Scène et Musique dans l'Anthropocène)
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The international seminar "The Sound of the Anthropocene" focuses on the ways in which musical worlds and the performing arts face ecological challenges. The second edition of this seminar looks at the materiality of music: how do we describe all the movements, the things, the beings involved in a musical instrument or software?
Are musical technologies and innovations compatible with ecological imperatives be they ethical or democratic-material?   Two days of lectures and public debates with musicians and musicologists, sociologists philosophers, historians, geographers and several international guests.

Organization: Nicolas Donin (head of the Analysis of Musical Practices team IRCAM-STMS), Isabelle Moindrot (EA  1573, Université Paris-8) et François Ribac (Laboratoire Cimeos, université de Bourgogne).

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Program

Wednesday, September 12: Archeology and History of Sound Reproduction

9:45am | Welcome

10:00 – 10:15am | Présentation of the seminar by the organizers

10:15– 11:15am | "Eco Sonic Media" by Jacob Smith (Northwestern School of Communication, Evanston)

11:15 – 11:35am | Break

11:35 – Noon | Discussion with Jacob Smith

Noon – 1:00pm | "Are phonographs prehistoric objects?" by George Brock-Nannestad (Patent Tactics, Danemark)

1:00  – 2:30pm | Lunch

2:30 – 3:00pm | Discussion with George Brock-Nannestad

3:30 – 4:15pm | "Is the sampler a revolution?" by Paul Harkins (Edinburg Napier University, ASMA project)

4:15– 4:35pm | Break

4:35 – 6:00pm  | Discussion:  "Making an a modern history of modern devices?" with Judith Dehail (université de Marseille-Aix), Loïc Riom (CSI-Mines ParisTech, université Paris-Sciences-et-Lettres), Sophie Maisonneuve (université Paris-Descartes),  Paul Harkins, George Brock-Nannestad, and Jacob Smith.

Thursday, September 13: A Geology of Musical Instruments

9:15am  | Welcome

9:30 – 10:15am | "Économie du quatuor à cordes et naturalité" by Christine Sinapi (Burgundy School of Business de Dijon, ASMA project)

10:15  – 11:00am  | "La firme de basses électriques Warwick, une approche communicationnelle" by Fabrice Pirolli (université du Maine,  ASMA project)

11:00  – 11:20am |  Break

11:20  – 12:05am | "The Political Ecology of the Contemporary Musical Instrument Industry" by Matt Brennan (Glasgow University)

12:05– 12:45am | Discussion

12:45 – 2:30pm | Lunch

2:30 – 3:30pm | "Musiques expérimentales et contemporaines : poubelles et obsolescence" by Clément Canonne et Nicolas Donin (Analysis of Musical Practices Team, IRCAM)

3:30 – 3:50pm | Break

3:50 – 5:45pm | « How to trace materiality? »
a) "Que nous  disent les géographes ?" by Nicolas Canova (École nationale supérieure d'architecture et de paysage de Lille, ASMA project)
b) Discussion with Valérie Ballereau (Burgundy School of Business de Dijon, projet ASMA), Jens Gerrit Papenburg (université Heinrich-Heine de Düsseldorf, université  Humboldt de Berlin, ASMA project) et Basile Zimmermann (université de Genève).

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