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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
    • "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 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.

    • 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
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    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
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    • AIMove Master
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    • 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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Fri 20 May 2022,
6 p.m., and
Sat 21 May 2022,
3 p.m.
Beaux-Arts de Paris
Chapelle des Petits-Augustins
Prices

Free Entry

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Festival






Multi prises

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Supersonique Chair Festival
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Launched in 2020 through an initiative by the Beaux-Arts de Paris, in collaboration with IRCAM, the Supersonic Chair "Exposing, Editing, Inhabiting Sound" is presented as a workshop to share tools and practices for composing sonic, visual, and perceptual space. Composers from IRCAM's Cursus program and students from the Beaux-Arts de Paris worked together throughout the year to imagine and compose auditory, visual, and performative works. For this 2nd edition, the artists participating in the Supersonic Chair are invited to present their creations in a remarkable place steeped in history: the Petits-Augustins chapel of the Beaux-Arts de Paris.
In which way can we apprehend, transform, and inhabit this space? 

Luis Quintana, Isadora Soares Belletti Gloup Splash Blup
Valentin Bonnet, Yann Trividic ECPC 2022
Didem Coskunseven, Louis Le Pape, Engin Daglik The stuff of dreams (L’étoffe des rêves)
Tom Bierton, Céleste Ingrand, Armand Koestinger Parc des curiosités reconstruites
Carl Amiard, Loïs Saumande HIT!

Educational Advisors: Grégoire Lorieux, Sébastien Naves (Ircam), Angelica Mesiti, Julien Prévieux, Vincent Rioux, Julien Sirjacq (Beaux-Arts de Paris)

Program

Friday, May 20

Continuous from 6pm to 7pm _ Luis Quintana, Isadora Soares Belletti Gloup Splash Blup, immersive sound environment

7pm _ Valentin Bonnet, Yann Trividic ECPC 2022
Didem Coskunseven, Louis Le Pape, Engin Daglik The stuff of dreams (L’étoffe des rêves)

8:30pm _ Tom Bierton, Céleste Ingrand, Armand Koestinger Parc des curiosités reconstruites
Carl Amiard, Loïs Saumande HIT!

Saturday, May 21

Continuous from 3pm to 5pm _ Luis Quintana, Isadora Soares Belletti Gloup Splash Blup, immersive sound environment
Tom Bierton, Céleste Ingrand, Armand Koestinger Parc des curiosités reconstruites, sound installation version

6pm _ Valentin Bonnet, Yann Trividic ECPC 2022
Didem Coskunseven, Louis Le Pape, Engin Daglik The stuff of dreams (L’étoffe des rêves)
Tom Bierton, Céleste Ingrand, Armand Koestinger Parc des curiosités reconstruites

The Works

Luis Quintana, Isadora Soares Belletti Gloup Splash Blup, immersive sound environment

Gloup Splash Blup explores the rich marine soundscape and its living organisms. Fish, mammals, and crustaceans emit sounds that are mostly overlooked. These organisms all rely on listening to find their way around, to find food, to mate, or even to navigate, each exhibiting a unique sound signature. The project highlights this hidden soundscape by interacting with the depths of the chapel space.

To create this environment, the artists developed an acousmatic piece using samples collected from numerous researchers. It explores two different temporalities through a double listening: "outside", with sounds diffused in the Chapel, which unfolds like a shadow of the second part, "inside", with headphones, revealing a more dramatic imaginary universe. For the listening of the sound piece, they have imagined a device that refers to fishing. The public is invited to dive into a bluish universe by lying down in a mobile hammock made of fishing net and fixed on a rolling metal structure.

Valentin Bonnet, Yann Trividic ECPC 2022, lecture-performance-concert

Valentin Bonnet and Yann Trividic propose ECPC-2022, an innovative, didactic and educational system that aims to facilitate a dialogue between the two artists and the audience present at the event. In doing so, the tools they use on a daily basis will be questioned: error, approximation, doubt, the processes of learning and appropriation of tools, the naïve and the burlesque.

Together, they are musicians, editors, artists, performers, printers, programmers, singers, composers, performers, directors, linguists, librarians, lecturers, and students. All of these fields of expertise must be addressed and resonate within the framework of ECPC.

Didem Coskunseven, Louise Le Pape, Engin Daglik The stuff of dreams (L’étoffe des rêves)

Conception: Didem Coskunseven, Louise Le Pape
Music: Didem Coskunseven, with the collaboration of Engin Daglik
Field Recordings, voice, text: Louise Le Pape
With Didem Coskunseven (synthesizers, keyboards), Engin Daglik (drums)

The stuff of dreams (L’étoffe des rêves) is a collaborative composition and performance project involving Didem Coskunseven, Louise Le Pape, and Engin Daglik.

This project was carried out at a distance, each member living in a different place. The starting point of the project was to share field recordings, texts, drum and synthesizer improvisations, sound, music and text being the common denominator of their artistic practices.
These samples and sound recordings of nature, of the city, of humans... made in Ivory Coast, in California, and in Paris that the artists shared among themselves formed a kind of "sound correspondence" containing what could be called "The Fabric of our Dreams", in reference to the quotation in William Shakespeare’s play The Tempest.

Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.

Tom Bierton, Céleste Ingrand, Armand Koestinger Parc des curiosités reconstruites, performance for a composer, a singer, and a flute player, and sound installation

Welcome to the Park of Reconstructed Curiosities. Let yourself be lulled by the playful cliclicks.
Go and unearth the clicks and clacks of the timider modules, hidden in the corners.
Listen to the space that extends their resonance and recomposes them. Be sure to hear them ringing in chorus, led by a quintessence of organic mechanics: the human voice!

Carl Amiard, Loïs Saumande HIT!, performance

HIT! is the new DreamStar© algorithm. Tested for five years in our machine learning labs, HIT! has been fed with the most listened to songs of the last 80 decades. Directly linked to streaming platforms and social networks thanks to our experts, HIT! generates a tailor-made hit for each of its activations, adapted to its broadcast period. HIT! guarantees success, festivities and, above all, immediate exposure. DreamStar© invites you to the first public test of HIT! on May 20, 2022, at 9pm, in the Chapelle des Petits-Augustins at the Beaux-Arts in Paris.

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  • https://beauxartsparis.fr/en
An IRCAM-Centre Pompidou, Ḗcole nationale supérieure des Beaux-Arts de Paris coproduction. With the support of the Sacem. Visual created by Theo Pall, student at the Beaux-Arts de Paris.
  • Gloup Splash Blup - Collage  © Isadora Soares-Belletti
    Gloup Splash Blup - Collage © Isadora Soares-Belletti
  • Séance de travail à la chapelle des Petits-Augustins des Beaux-Arts de Paris,  avec Céleste Ingrand et Armand Koestinger  © Philippe Langlois
    Séance de travail à la chapelle des Petits-Augustins des Beaux-Arts de Paris, avec Céleste Ingrand et Armand Koestinger © Philippe Langlois
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