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| | Teacher: [[Sylvie Bouteiller]] | | Teacher: [[Sylvie Bouteiller]] |
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| − | ====Work areas====
| + | '''Experimental practices on the edge of sound''' |
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| − | Three areas of educational activities:
| + | This workshop invites students to deepen their practice of sound as an autonomous artistic medium. |
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| − | - revisit the history of the construction of experimental devices in science and art.
| + | Through experimentation, creation and critical reflection. Students will develop a personal and inventive |
| − | | + | approach to sound in their artistic projects. |
| − | - practice listening attentively to the superficial or surface and interface properties of the soil, the physical interactions in the environment.
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| − | - Question the methods of translating the experience of perception linked to microscopic and macroscopic representations of time.
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| − | Become aware of the life and sounds that coexist with humans outside the commonly accepted musical environment. It means listening to different points, “the gray point” for P.Klee.
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| − | Practicing listening, an art of activation, an art which, like that of chemists, needs an apprenticeship, a time of in situ research, exploration, observation of ways of proceeding that no general proposal does not has the power to anticipate.
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| − | Perspectives of sound and listening: a thought of the living, of heterogeneity, of immediacy, of the poetic action of sound as a radical language.
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| − | The art of radical immanence is the capacity for each person to confer on a situation in which the group is occupied, the strength to oblige it to think, that is to say the capacity not to submit in this situation to ready-made generalities, but to seize the power to feel and to think the metamorphoses. It is to participate in the emergence of a group that has become capable of identifying itself and expressing its interests in a mode that constitutes it.
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| − | A learner who seeks how a situation holds and how it can be transformed, creates a learning path nourished by the attempts at transformation that this situation arouses.
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| − | It is in the creation of a report that will be translated the production of tools specific to allow the group to articulate what it lives or undergoes.
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| − | ====course materials====
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| − | - historical contribution from Dadaism to current sound art, poetry, video, concerts, art films and documentaries for the understanding of a radical approach
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| − | - contribution of sound archives in ethnomusicology and paleo-acoustics
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| − | - theory on sound, physics, science in relation to the subject seen in class, a historical contribution from the sociology of science, press articles, reviews, literary and philosophical works...
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| − | Teaching materials :
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| − | - audio/electro equipment: condenser microphone, shotgun microphone, contact microphone, recorder, headphones, power amplifier, pre-amp, electronic components, etc.
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| − | - scientific laboratory equipment: beakers, petri dishes, cables, electrics, instruments for measuring audio/electrical signals and spectral analysis.
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| − | - manual for the transmission and use of the tools.
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| − | - an agenda of cultural events, concerts, exhibitions, etc.
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| − | - a shared sound library on the erg cloud.
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| − | - communication by email.
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