petak, 20. prosinca 2013.

Nicolas Bernier & Martin Messier - La chambre des machines




Zastrašujući uređaj koji zvukovima jede ruku kojom ga hraniš. 

www.nicolasbernier.com/


Electronic music performance by Nicolas Bernier + Martin Messier


• Mention, Prix Ars Electronica (2011)
Machines made of gears and cranks are manipulated to produce a sound construction at the crossroads of acoustics and electronics. Submerged in sound, the audience discovers the interaction between mechanical and synthetic sound. With specifically tailored programming, digital processing are enlarging the sound palette of the machines. La chambre des machines stems from a desire to return to the physical world in an environment of digital creation. The project also refers back to the intonarumoris, sound machines built by Italian futurists at the beginning of the 20th century. These machines contained mysterious mechanisms, just as computers do today.
credits • Audio : Nicolas Bernier + Martin Messier • Intonarumoris (Machines) : Alexandre Landry • Video : foumalade.org • Production : Perte de signal  

LA CHAMBRE DES MACHINES @ MUTEK




BANDES À PART @ RADIO-CANADA



La chambre des machines (The mechanical room) stems from a desire to return to the physical world in an environment of digital creation. Machines made of gears and cranks are manipulated to produce a sound construction at the crossroads of acoustics and electronics. Submerged in sound, the audience discovers the interaction between mechanical and synthetic sound. With specifically tailored programming, digital processing are enlarging the sound palette of the machines.


Nicolas Bernier:

→ Performances and installations 


frequencies (synthetic variations) 
Sound and light performance, 2013
• Audiovisual composition, concept, performance, programmation and technical design : Nicolas Bernier


This second installment of the frequencies series is an audiovisual composition purely based on digital synthetic sounds. The performance length vary from 15 to 40 minutes, being made of short sequences that the performer is organizing and processing in real time. Sound and light bursting within small acrylic structures have been tightly composed together, both sharing a sense of extreme precision where one can either hear the light or see the sound.
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CD published by Entr'acte
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• World Premiere: Mutek 2013 / CA

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Realized in 2012/2013. aknowledgements: daïmõn - entr'acte - mutek - perte de signal - university of huddersfield - fonds québécois de la recherche sur la société et la culture (fqrsc) - pierre alexandre tremblay.
frequencies (a) 
Sound and light performance, 2012
• Audiovisual composition, concept, performance, programmation, technical design and some electronics : Nicolas Bernier
• Techical design : Olivier Lefebvre
• Fabrication : Laurent Loison

frequencies (a) is a sound performance combining the sound of mechanically triggered tuning forks with pure digital soundwaves. The performer is triggering sequences from the computer, activating solenoides that hits the tuning forks with high precision. Streams of light burst in synchronicity with the forks, creating a not-quite-minimal sound and light composition.

• Golden Nica, Prix Ars Electronica 2013 / AT

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Realized between january 2011 and september 2012. aknowledgements: perte de signal - university of huddersfield - fonds québécois de la recherche sur la société et la culture (fqrsc) - françois laflamme - martin messier - samuel st-aubin - pierre alexandre tremblay. thanks to the canada council for the art for their support of the "projet diapason".
L'usure du clocher 
Sound sculpture, 2011
• Concept and sound composition : Nicolas Bernier
• Technical direction : Francis Laporte
• Curator : Érick d'Orion

L'usure du clocher (Wear of the Belfry) is a sound installation in which a 7 foot high aluminum structure holds three moving horn speakers. Their motion is a mechanical sway driven by motors. In this sound projection sculpture, the downward facing speakers evoke the church bells that produced the main sound material used for the audio composition. Nowadays — at least in north america, a belfry that wears out is a belfry that disappears, as an increasing number of them are replaced by electronic belfries.
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Realized between november 2010 and april 2011 in the composers personal studio. Warm thanks to FIMAV, Érick d'Orion, Alexandre Landry, Laurier Gardner, François Laflamme, Francis Laporte, Pierre Alexandre Tremblay and Perte de signal. Thanks to - fonds québécois de la recherche sur la société et la culture (fqrsc) .
La chambre des machines 
A/V Performance w/live electronics, intonarumoris and video, 2010 (30')
• Concept, composition and performance : Nicolas Bernier + Martin Messier
• Intonarumoris : Alexandre Landry
• Video footage : Foumalade.org
• Production : Perte de signal

La chambre des machines (The mechanical room) stems from a desire to return to the physical world in an environment of digital creation. Machines made of gears and cranks are manipulated to produce a sound construction at the crossroads of acoustics and electronics. Submerged in sound, the audience discovers the interaction between mechanical and synthetic sound. With specifically tailored programming, digital processing are enlarging the sound palette of the machines.

• Mention, Prix Ars Electronica 2011 / AT
 • Jury Selection, Japan Media Awards 2011 / JP

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New V2 realized for 2011 European Tour starting at Ars Electronica in September 2011. V1 was realized between December 2009 and January 2010 in residency at Perte de signal's Rustines|Lab. Thanks to Perte de signal, Alexandre Landry, Isabelle Gardner, Ekumen, SONAR, MUTEK, Prix Ars Electronica and Transmediale.

CD available at Ahornfelder
courant.air 
Music for folk acoustic guitar, surround sounds and live electronics, 2010 (35')
• Sound composition : Nicolas Bernier
• Guitar : Simon Trottier
• Light system : Alexandre Landry
• Visual : urban9
• Commission : Réseaux, Naisa
• Financial support : CALQ, CAC

courant.air is the continuation of a body of work intertwining instrumental and electronic music : a complex and demanding surround sound electronic composition is flowing alongside folk inspired guitar.

Conceptually, the piece is wind powered. Wind is used as a constructive/destructive agent. Wind as a propulsion engine of particles in constant movement in the air. Wind as noise. Wind is sound, invisible.

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Realized between August 22, 2008 and October 2010 in the composer’s personal studio as well as the Banff Centre. Thanks to Simon Trottier, Olivier Girouard, Pierre-Alexandre Tremblay and Alexander Schubert at Ahornfelder, Réseaux and NAISA.
boîte. 
Sound performance w/live electronics and intonarumori, 2008 (15')
• Concept, composition and performance : Nicolas Bernier
• Intonarumori : Alexandre Landry
• Curator : Érick d'Orion, Mois Multi

At the beginning of the 20th century, when Italian futurist Luigi Russolo began to include “noise” in musical composition, he made a box into a musical instrument. This box, the intonarumori, concealed mysterious mechanisms. A century later, “noise” is ever-present in music and my own instrument remains a box. Indeed, the computer is a closed container of enigmatic mechanisms. Contrary to the intonarumori, the box designed by my friend Alexandre Landry is open. The mechanisms are revealed and perhaps allow us to better understand the music created through the open box and the closed digital box. Thus, I will bring you into my “box” for a little while, to share with you the heart of its mechanisms.
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Realized between june 2008 and September 2008 in the personal studio of the composer.

CD available at Electrocd.com
Les arbres 
Music for live electronics and acoustic instruments instruments, 2008 (40')
• Sound composition and instruments : Nicolas Bernier
• Visual : urban9
• Financial support : CAC

Soundscapes and slow, woven textures accompany precise articulations, all entwined in a minimalist orchestration of guitars, brass instruments, vibraphones, accordions and strings. Since I began working in electroacoustic music, I have tried to bring together digitally processed sound textures and traditional instruments. They include the complex tones and sophisticated treatment of materials from acousmatic music merged with the simple melodies often encountered in pop music.

• Mention, Prix Ars Electronica, 2009 / AT
 • CD of the year, Prix Opus, 2010 / CA


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Realized between 2004 and 2009 in the composer’s personal studio. Thanks to urban9, No Type and Mutek.
sub•a•quat•ic 
Underwater installation w/ video, 2006
• Concept and sound composition : Nicolas Bernier + Delphine Measroch
• 3 channels video : Nicolas Bernier
• Comission : Réseaux
• Financial support : CALQ

sub•a•quat•ic is a sound installation proposing a unusual way of experiencing music: the underwater listening. Submerged in water, it’s the entire body which perceives the music, the sound seeming as if coming directly from inside the skull. The aquatic world also perturbs and blurs the music. What the listener perceives becomes a difformed reality which can seem strangely faint and distant, as would do memories.

The listener-swimmer choses its own journey, hovering at the surface where both spaces merge, or dives in one world to then re-emerge in the other.

• Selection, IMEB Bourges, 2007 / FR
Treelogy 
Music/Video Trilogy, 2004-2005
• Video and sound composition : Nicolas Bernier + Delphine Measroch
• Except Treelogy II This Is A Portrait by Nicolas Bernier

Treelogy is a serie of three eulogy-movies around discreet movements and growing things. The project, in the first place, was meant to be purely aestetic, witnessing our fascination for the open landscapes. It is a tribute to the "micro but not quite invisible" movements which appears when we stop to catch them.

• Nomination, Qwartz 2009, Treelogy III / FR
 • Prize, Visionaria 2005, Treelogy II / FR
 • 1st prize, Visionaria 2004, Treelogy I / IT
 • Best Video Art, Chicago Motion Graphic 2004, Trelogy I / US



frequencies (synthetic variations)
• Entr'acte (UK), September 2013, CD
Nicolas Bernier's first piece entirely made out of synthetic sounds, breaking with his musique concrète/field recording tradition. The result comprised 15 short movements of warped and crackling textures, of vividly articulated sine wave and of rythmic pattern bursts made to be listened to in random mode. Mastered by Giuseppe Ielasi.
→ Buy from Entr'acte
→ Buy from Boomkat
« It crackles, rumbles and grooves. [...] 24 minutes, 15 very short tracks to be listened to in random mode, a surprising record. »
- Monsieur délire, CA
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Music for a Piano / Music for a Book
• Home Normal (JP), July 2012, 2 CDs
Double album, the first part being ‘Music For A Piano’. The second part ‘Music For A Book’ was written as a soundtrack for Marc-André Moutquin's third novel ‘Entre l’aurore et la nuit’. Mastered by Thierry Gauthier.
→ Buy on iTunes
→ Buy on Norman Records (UK)
→ Buy at Home Normal (JP / SOLD OUT)
→ Buy on Electrocd (CA / SOLD OUT)
→ Buy on Boomkat (UK / SOLD OUT)
« an incredible place to be  »
- Norman Records, UK

Travaux mécaniques
• empreintes DIGITALes (CA), February 2012, DVD 5.1
Mostly known for his performances, installations, and atmospheric music, he signs here a first album of musique concrète / acousmatics. We will again find his clever amalgam of aesthetic influences to which he has accustomed us, but in his most daring bill. Mastered by Dominique Bassal.
→ Buy on Electrocd (CA)
« vibrant music, swiftly moving about with a great sense of drama.  » - Vital Weekly, NL
« a highly complex soundworld [...] not a single second of downtime.  » - Monsieur Delire, CA

usure.paysage
• Hrönir (DE), February 2011, LP
An expressive mix of lively field recordings, tiny and massive electronics and sparkling relocations. The docker barks out aloud, the little insect crawls through the 19th century woodworker's atelier, forgotten voices vanish and the rest is no silence. Mastered by Rashad Becker.
→ Buy on Electrocd (CA)
→ Buy on Metamkine (FR / SOLD OUT)
→ Buy on Rumpsti Pumsti (DE / SOLD OUT)
→ Buy on Boomkat (UK, SOLD OUT)
« utterly compelling  » - The Wire, UK
« crunched abrasions and eerie footsteps, ruptured by ghostly noises. Excellent, through and through!  » - Aquarius, US

strings.lines
• Crónica (PT), October 2010, CD
strings.lines came to life from an obsession for old and forgotten object-matter and the desire to produce music that exists in between the new and the old. The starting point to the composition of this work were acoustic tuning forks. Viola da gamba : Pierre-Yves Martel. Violin : Chris Bartos. Mastered by MC.
→ On Bandcamp
→ Buy in the Crónica store (PT)
→ Buy on Electrocd (CA)
→ Buy on iTunes
« Sublime.  » - Boomkat, UK
« a marvellous recording  » - Cyclic Defrost, AU

The Dancing Deer EP
• Home Normal (UK/JP), December 2010, CD
The Dancing Deer is a « pop concrète » collage, rhythm being the cornerstone of the work, built around a constant pulse. It brings together elements of drones, clicks, minimal, maximum, song writing, poetry, post-rock, electronic and instrumental music in a strange and uncommon atmospheric collage. The project is a musical translation of a couple months spent in the Canadian West
→ Buy on Bandcamp
→ Buy on Electrocd
→ Buy on iTunes
« dreamy and destabilizing  » - Monsieur Délire, CA
« totally unusual and exceedingly strange  » - Boomkat, UK

courant.air
• ahornfelder (DE), November 2010, CD
courant.air is a work intertwining folk acoustic guitar and electronic music. Conceptually, the piece is wind powered. Wind is used as a constructive/destructive agent. Wind as a propulsion engine of particles in constant movement in the air. Wind as noise. Wind as sound, invisible. Acoustic guitar : Simon Trottier.
→ On Bandcamp
→ Buy on Ahornfelder store (DE)
→ Buy on Electrocd (CA)
→ Buy on iTunes
« one of the more engaging electroacoustic pieces I've heard » - Emissions.com (US)

silence.musique
• leerraum[] (CH), February 2010, DVD
silence.musique is an essay on silence.
→ Buy on lerraum[] store (CH)
→ Buy on iTunes
ultra limited surround sound DVD edition, 60 copies.

Les arbres
• No Type (CA), June 2008, CD
Sonic landscapes and slow textures meet with precise articulations, resting on a minimal orchestration made of guitars, brass instruments, vibes, accordions and strings. A stimulating record, a remarkable attention to detail and excellent production quality, making for an unfailingly rewarding listening experience. Mastered by Paul Dolden.
→ On Bandcamp
→ Buy on Electrocd (CA)
Mention Prix Ars Electronica, 2009, AT
« an amazing CD, with great ideas, perfect execution » - Vitral Weekly, NL
Compilation

Nicolas Bernier creates sound performances, installations, musique concrète, live electronics, post-rock, noise improv, video art while also working with dance, theatre, moving images and interdisciplinary contexts.
In the midst of this eclecticism, his artistic concerns remain constant: the balance between the cerebral and the sensual, and between organic sound sources and digital processing.
The sound of Nicolas Bernier is somewhere between the old and the new. It is electronic music made from objects of the past: typewriter, old machines, tuning forks, soundscape memories and, yes, musical instruments. It is made with a modern apparatus but feels like completely handmade. It is gently articulated textures alongside enormous masses.
His works have been of interest for Prix Ars Electronica (Austria), SONAR (Spain), Mutek (Canada), DotMov Festival (Japan) and Transmediale (Germany) and have been published on lovely labels like Crónica (Portugal), Ahornfelder (Germany), leerraum (Switzerland) and Home Normal (UK).
He his currently undertaking a PhD in sonic arts at the University of Huddersfield (UK) under the direction of Dr. Pierre Alexandre Tremblay and Dr. Monty Adkins. He his a member of Perte de signal, a media arts research and development centre based in Montreal.
« Nicolas Bernier as a particularly inquisitive mind and creative sound artist » - The Milk Factory, UK
« Un savoir-composer hors-norme » - Goute mes disques , BE 




Martin Messier:



Soak
Messier + Laurin-Beaucage
Sewing Machine Orchestra
Audio Performance
Sewing Machine Orchestra
Sound Installation
Hit and Fall
Messier + Laurin-Beaucage

La chambre des machines
Messier + Bernier
DerriÈre le rideau, Il fait peut-Être nuit
Messier + ThÉriaulT
Autoportrait : Con amore
VidÉo HD
autoportrait : Con fuoco
VidÉo HD
Luminescence
Performance
PENCIL PROJECT
Performance
L'horloger
MESSIER
Spectres enlacÉs
Sound Installation
 
Martin Messier is a composer, performer and videomaker. If sound stands as the driving force of his work, Messier also quickly took an interest in the clash between electroacoustic music and other art forms as well as in artistic collaboration. That way, it is through the relationship between sound and material (objects or bodies) that Messier’s work take shape.
Messier constantly redefine the frontiers of concrete music by creating sounds with everyday life objects, such as alarm clocks, pens, self-conceived machines and sewing machines. At the very centre of this dialogue between sounds and objects is the desire to push the everyday imaginary a little further, to magnify these entities by giving them a voice and by reinventing their function.
Messier also produces collaborative work mixing dance and music, trying to give life to sound through objects as well as bodies in movement. Here, through an inversed hierarchical relationship, music becomes the choreography’s driving force instead of being its mere accompanist.
Martin Messier presented his work in various national festivals and events (Mutek, FTA and Mois Multi) as well as in international ones (Berlin’s Transmediale, Sonar in Barcelona, Nemo in Paris, Scopitone in Nantes and Today’s Art in The Hague). La chambre des machines also received a distinction at the prestigious Ars Electronica (Austria).
In 2010, Messier founded 14 lieux, a sound production company for performing arts. This collaboration was created in order to provide a platform for such kind of sound work in the art scene.

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