Artistic Research Residency
This program offers artists from all disciplines the opportunity to collaborate with one or more IRCAM research teams, within the framework of a residency of 2 to 6 months, which may be extended in a partner center. These residencies aim to expand the field of music through the contribution of science and technology.
The benefits of the residency for the artists are multiple:
- Take time to reflect on your artistic practice
- Work with researchers to explore a new artistic research approach
- Develop or perfect an innovative creative tool
- Conduct experimental artistic research
- Produce a prototype of an artifact
- Compose a sketch for a work or performance
- Test a configuration, an immersive audio/video device
Winners are selected by the members of our international jury.
Composers, researchers, sound artists, etc. can apply.
Information and contact 01 44 78 47 60 | residency (at) ircam.fr
Call for Applications 2023
The call for applications for the 2023.24 Artistic Research Residencies is open until April 1, 2023.
Artistic Residency Themes
In 2023, our research teams propose that future residents work on one of the following three themes:
Composing with audio-tactile vibrations, with the Perception and Sound Design Team and the Sound Music Movement Interaction Team
The two teams are interested in project proposals that could explore and implement issues addressed by audio-tactile approaches and devices for listening to sound and music. In fact, the combination of audio – either by air or bone conduction – and tactile stimulations can propose an altenative to create and diffuse sound and music either by multimodal integration or crossmodal enhancement perceptual and cognitve mechanisms. In this respect, wearable devices offer possible (but not exclusive) way to implement these new and more holistic experiences of vibrations. Moreover, these immplementtions could easily and interestingly be coupled with interactive, distributed and participatory paradigms to create and listen to music in challenging and innovative ways.Performing ludomusicality, with the Analysis of Musical Practices Team
The team is interested in projects that bring game elements (rules, goals, winning conditions, etc.) to musical practices. The aim is to jointly reflect on the conceptual and compositional challenges there are in creating these kind of hybrid performances/works, to chart the various modes of interaction between players that can be afforded in such settings, and to analyze the specificities of the ludic experiences that arise in sonic contexts.Singing voice synthesis and processing, with the Sound Analysis-Synthesis Team
The A/S team is currently working on algorithms for singing voice synthesis and/or transformation. The team is interested in projects around the CIRCE software, that provides models for the transformation (pitch and intensity) and hybridization of singing voice, as well as the ISIS software for the creation of new synthetic voices in French and other languages. Both synthesis engines use models based on deep learning.Sonic environments for the well-being, with the Acoustic and Cognitive Spaces Team
Despite the growing interest in the psychosocial effects of music and sound, their systematic evaluation remains difficult. Measurements at the behavioural level are not very precise, and the description of the musical and/or sound material often lacks clarity, thus preventing theoretical work based on meta-analyse. We propose to composers and sound artists to work in close collaboration with our research teams on the following two topics: one focuses on improving the sound environment for well-being and care, the other one focuses on music and sound for social cohesion and the stimulation of motor skills. Both topics require distinct compositional approaches, as the first is based on passive listening while the second is based on active listening.
How can artists apply? Interview with Markus Noisternig, program coordinator
Are you an artist working on a research project related to sound? Would like to further develop your ideas with IRCAM's scientific teams? If so, we invite you to apply for our artistic research residency program. Markus Noisternig, program coordinator, tells you more about the selection procedure and criteria, as well as the benefits of the residencies.
How can artists apply?
The calls for projects are published on the Ircam and Ulysses network websites. The themes that we have determined are obviously indicated, in connection with the major research issues at Ircam. The artists are asked to send us their project, accompanied by a CV, some administrative information and extracts from works already written - all in electronic format. A selection committee evaluates the projects and makes a shortlist. This short list is then discussed with the teams concerned. Depending on the year, between 2 and 6 residencies can be launched/
What do you look for in the applicants' projects?
Firstly, their artistic quality and the quality of the ideas proposed. Secondly, the potential of a project to help our scientific teams to progress within the context of their own research. For example, the director Judith Deschamps proposed a project on the synthesis and transformation of the sung voice, which allows us to work on deep learning, to extend a project on the synthesis of Farinelli's voice, initiated for the film of the same name, and to continue the research initiated by the composer Marta Gentilucci within the framework of her own artistic residency on the synthesis and treatment of the voice over the last few years. In this way, a form of continuity is sought within the framework of the artistic residencies in order to take advantage of the knowledge already acquired and extend it.
Once selected, what do the residents receive?
To start with, they are paid for the duration of the project. Then, they have access to Ircam's infrastructure as well as to its network and relations. A meeting at the beginning of the project allows us to assess the needs in terms of studio time, musicians, interaction with the research teams and other service providers or partners (luthier, etc.), and to plan an initial schedule (the studio sessions are often spaced out over time, in order to give each person time to assimilate the information, or for the machines to do their work) which can evolve over time.
The reputation of Ircam and the visibility offered by the institute also make these research residencies a real springboard for artists.
Finally, we encourage artists to make a public presentation at the end of their residency, in the form of a demonstration, a conference, or a piece of work. Everything is possible.
Artistic Research Residencies 2022
SPA[S]M, the body as an instrument, project by Basile Chassaing
Gesture capture and bidirectional sound ecosystems.
In collaboration with IRCAM-STMS Sound Music Movement Interaction team.
DRAMA, A Model for Prototyping Musical Dramaturgy, project by Sasha Blondeau
Prototype musical dramaturgy through the notions of compositional space, alphabet, and scenario.
In collaboration with IRCAM-STMS Musical Representation team
EVINCE, Electromagnet active piano for network music performance, project by Per Bloland & Richard Causton
In collaboration with IRCAM-STMS Sound Systems and Signals: Audio/Acoustics, InstruMents team.
2022 Winners
Basile Chassaing
Sasha J. Blondeau
