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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.

    • The IRCAM Forum
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  • Shamash








August 14 through Sun 7 October 2018,
11 a.m.- 7 p.m.
Suomenlinna
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Creation
Installation






Shamash

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The project conceived by Zad Moultaka merges the musical and visual research in a synergy of forms, materials, and sounds. Zad Moultaka has chosen to reflect upon the Orient of today, by humming a prayer ripped and controlled by the sovereign, motor of all things, presiding over the adoration of Earth as well as its destruction.

Shamash is the continuation of Zad Moultaka’s work on sound synthesis begun in 2016 at IRCAM with UM. The electronic composition of Shamash, written in the IRCAM studios, invades the space and plunges visitors in a powerful sensory experience combining the resonance of multiple voices and the sound of a fighter jet extraordinarily slowed down. The immersive sound diffusion system was designed specifically for this venue at IRCAM.

SHAMASH
Commisioned by the Lebanese Ministry of Cultural Affairs
Zad Moultaka composition and conception
Gilbert NounoIRCAM Computer Music Design
Luca BagnoliIRCAM Sound Engineer

Edit
In collaboration with the Janine Rubeiz gallery, IRCAM-Centre Pompidou, the chorus at the Antonine Liban Univserity, the Venice Academy of Fine Arts, the Lebanese American University (LAU). Coordination Sacrum Venise Liban. Executive Producer Eva Albarran Co.
  • ŠamaŠ de Zad Moultaka, Pavillon du Liban à la Biennale de Venise 2017 © Zad Moultaka Studio, Association Sacrum
    ŠamaŠ de Zad Moultaka, Pavillon du Liban à la Biennale de Venise 2017 © Zad Moultaka Studio, Association Sacrum
  • Emmanuel Daydé, commissaire du Pavillon du Liban à la Biennale de Venise 2017, et Zad Moultaka © Association Sacrum, photo Lenavilla
    Emmanuel Daydé, commissaire du Pavillon du Liban à la Biennale de Venise 2017, et Zad Moultaka © Association Sacrum, photo Lenavilla
  • ŠamaŠ de Zad Moultaka, Tese n°100, Pavillon du Liban à la Biennale de Venise 2017 © Zad Moultaka Studio, Association Sacrum
    ŠamaŠ de Zad Moultaka, Tese n°100, Pavillon du Liban à la Biennale de Venise 2017 © Zad Moultaka Studio, Association Sacrum
  • ŠamaŠ de Zad Moultaka, Lamentation sur la ruine de la Cité d'Ur © Zad Moultaka Studio, Association Sacrum
    ŠamaŠ de Zad Moultaka, Lamentation sur la ruine de la Cité d'Ur © Zad Moultaka Studio, Association Sacrum
  • ŠamaŠ de Zad Moultaka, Tese n°100, entrée du Pavillon du Liban à la Biennale de Venise 2017 © Zad Moultaka Studio, Association Sacrum
    ŠamaŠ de Zad Moultaka, Tese n°100, entrée du Pavillon du Liban à la Biennale de Venise 2017 © Zad Moultaka Studio, Association Sacrum
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