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…
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.
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.
Engaged with societal and economic issues at the intersection of culture and IT, research at Ircam has forged a reputation for itself in the world of international research as an interdisciplinary benchmark in the science and technology of sound and music, constantly attentive to the new needs and uses in society.
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…
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.
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.
Engaged with societal and economic issues at the intersection of culture and IT, research at Ircam has forged a reputation for itself in the world of international research as an interdisciplinary benchmark in the science and technology of sound and music, constantly attentive to the new needs and uses in society.
One of today's biggest trends is augmented instruments. And, among augmented instruments, the string quartet is doubtless the one that wins over the most composers. The principle is simple: with the help of transducers (small loudspeakers that transmit the vibration of their membranes to the surface on which they have been places) we transform a familiar instrument into a tool for sound diffusion. For composers, the main interest of this system is to blend the acoustic sound sources and the electronic sounds (and to play with the theatrical aspect of an instrument that makes sound without the musician playing it), but also to take advantage, for the electronic sound, of the timbral qualities of the instrument's sounding board.
In Anima, Ashley Fure takes one more step-pushing logic even further, while giving the musician a sort of control on the augmentation. How? Simply by making the transducers, habitually attached to the sounding board, mobile. Like a stethoscope that hears the body’s secrets, the musicians move the transducers from one point to another, from the surface of their instruments, from hearing to touch, from the back of the bow, injecting animated sounds into the heart of inanimate objects. As the work develops, a volatile chain of sonorous feedback (due to the sound capture by microphone and the acoustic response of the instruments to the transducers) is added to these stethoscopes, threatening to take over the virtuosos performing.
What are these new instruments then? Are they golems, simple pieces of clay that a magic formula can wake up? Or monsters like Frankenstein’s: intended to take the power of their creator?
"Anima," concludes Ashley Fure, "is a quest for electric blood, for digital respiration, for a bestial future in the very heart of the string quartet tradition…"
Ply(2014) for electronics, ballet music created in collaboration with the choreographer Yuval Pick
Tripwire (2011), kinetic installation, created in collaboration with the visual artist Jean-Michel Albert
Wire & Wool (2009) for cello and electronics
Composer (born in 1982)
American Ashley Fure is a composer of acoustic and electroacoustic music intended to be heard in concert halls and the creator of multimedia installations. Considered "raw, primal" and "highly likable" by the New York Times, her wo…