2008/11/06 - 16:09 | Presentation

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Current Projects :

Networked Music and Sound Art Timeline
an overview of practices related to sound transmission and distance

(2008) (Locus Sonus / Jérôme Joy)
This timeline aims to provide an overview of the principal events and projects in the realm of networked music and networked sonic performances since the beginning of the XX° century. The overview covers various domains and types of events : technologies and softwares, forward thinking literature, musicology & ethnomusicology, sound anthropology and history of communication, contemporary music to soundart. Most of the entries, such as events, works and technologies, have a short description. The historical timeline is complemented with an alphabetical list of scientific papers and publications. In order to ensure that this timeline and list are continuously updated, the document is available as a contributive file and resource for researchers and artists. (This research is developed with the help of Locus Sonus and specially with the associated research by Alejo Duque) [continue ...]

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nocinema.org
Live networked cinema system (hyper-kinema & musical state of the Web - imaginary sonic landscapes)

(1999/2008)
Presented in an initial version by Steve Dietz at the Walker Art Centre in Minneapolis at the end of the 90's, nocinema.org is an ever-evolving streaming online application developed by Jerome Joy, French artist and composer. This project, between documentary and fiction and developed for the web, generates infinite sequences. Nocinema.org is a kind of improbable cinema and a film having no beginning and no end, no actors or scene and no scenario, except for the stories we can construct following the images and sounds : web interludes. "nocinema.org" is an automatized system, constructed by a process of selection of webcams live from around the world, capturing different "shots" of different places. This acts paradoxically such as a machine of slowness and slowdown on the Internet. The sound, remixed in real time and each time offering a different overlay and "automatically composed" mix, comes from a shared database of fixed soundfiles, nourished continually by a team of artists: Magali Babin, DinahBird, Christophe Charles, Yannick Dauby, Chantal Dumas, Jerome Joy, Luc Kerléo, Alain Michon and Jocelyn Robert. First developed and hosted on The Thing server, nocinema.org is now on nujus.net.
Interludes is a nocinema product, developed such as an episode (20 Sept - 23 Nov 2008, Manières de Fluer, Biennale Art Grandeur Nature, Synesthésie Paris. Opening: 23 sept - 6pm - w/ Flux Binary Waves by Lab(au) and Plaine Sans Tete by Marie Preston). Other interludes episodes issued from nocinema.org will be next realized by the artists of the nocinema team. nocinema RadioMix is a playable audio-only interface with a live 4-tracks mixer to play with the on-line soundfiles database. It's specially developed for "audiocasts" such as radio programme, and so on. [continue ...]
→ Presentations : Walker Art Center Minneapolis (1999), Urban Screens Manchester 07 (oct 07), Travelling without Moving Oboro Center Montréal (Nov-Dec 07), Wj-s Festival RIAM Marseilles (Feb 08), Centre IMAL Brussels (Feb 08), Wj-s Festival Plektrum Tallinn (Sept 08).

→ In-progress : new PHP nocinema server system, series of Interludes episodes by nocinema artists, joint multiscreens live landscapes with multi-webcams system, live soundtrack with sound streaming parts, ...

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Networked Sonic Spaces
(Locus Sonus, Locustream)

Since it was launched in 2004, the research group Locus Sonus has been working on artistic possibilities arising from the intersection of networked and acoustic or local audio spaces. The first projects, Locustream & Wimicam, were developed from experimentation using audio streaming techniques, and engage with problematic related to the use of flux for artistic purposes (flux understood here as a continually updating medium) in local and networked environments. Today our research is grouped under two main headings Field Spatialization and Networked sonic spaces. Our research is fundamentally practice based aiming to create a corpus of artistic experimentation around a common problematic. Locustream is an evolving network of permanently open microphones producing multiple audio streams, relayed by the internet and by a specifically programmed server. These open microphones are spread around the globe and maintained by a large number of collaborators providing live sound material for subsidiary projects : live audio streams, basically open microphones (Open Mikes or Webmikes) which upload a given soundscape or sound environment continuously to a server and from there available from anywhere via the WWW. Our intention being to provide a permanent (and somewhat emblematic) resource to tap into as raw material for our artistic experimentation. So we made a animated map which shows the location of all the streams and indicates those which are currently active with a blinking light (Locustream SoundMap, Locustream Tardis): by clicking on a chosen location one can directly listen to the OGG Vorbis stream in a browser. Much of our research concerns the emergence of listening practices which are based on the permanence, the non spectacular or non event based quality of the streams. We have found ourselves creating a sort of variation on Cageian (as in John Cage) listening, importing a remote acoustic environment in a way which can be chosen by the user, creates a renewed concentration on the local environment itself. This has led us to reflect on a form which adopts a permanent or semi permanent situation to present the streams publicly, and which involves a relationship between the local and the remote environment (Locustream Tuner, Locustream Promenade). Locus Sonus is a research group specialized in audio art. It is organized as a post graduate lab by the Art Schools of Aix en Provence (ESAA), Nice (ENSA Villa Arson) and Marseille (ESBAM) in the south of France. Locus Sonus Lab 2007/2008 : Julien Clauss, Alejandro Duque, Scott Fitzgerald, Jérôme Joy, Anne Roquigny, Peter Sinclair. [continue ...]
→ Lecture and paper, Networked Sonic Spaces, Locus Sonus, ICMC'08, Belfast (UK) - (24-29 August) - (Panel Networking Performance with Andrew Gerszo, Georg Hadju, Pauline Oliveros, Robert Rowe, Jonas Braasch, Chris Chafe, Pedro Rebelo, Alain Renaud, Gualterio Volpe, Winfried Ritsch, Andrea Cera, Miller Puckette, Peter Sinclair, Jerome Joy - 28 Aug 2008) - http://www.icmc2008.net/
→ In-Progress & next Locustream explorations : multiphonic (-microphonic) streamed soundscapes from one location / multi-spatialised (-faceted) soundscape, tuned soundscapes, ...
download pdf file → http://nujus.net/~locusonus/site/publication/Networked_Sonic_Spaces_eng.pdf
download pdf file → http://nujus.net/~locusonus/site/publication/Networked_Sonic_Spaces_fr.pdf

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Networked live composition (performers like mike-heads at a distance, remote sound recording and shared audiences)
Sobralasolas !

(2007/...)
SOBRALASOLAS! - is a radiopera for live, streamed and recorded sounds (proposed by Jérôme Joy with Dinahbird (Bird), Caroline Bouissou (Caroline), Björn Eriksson (Miulew), Kaffe Matthews (Mademoiselle Jaune) and Gregory Whitehead (Têteblanche).). This project, which begun in 2007, gathers a group of sound artists who, through develop a series of episodes. Sobralasolas! does not have preestablished scenario, nor is there a story to be told. It is neither a documentary nor a radio testimony. It is a place for glossolalies and echolalias, field recordings and collected audio data, to be experimented with, to be recontextualised and perhaps heard in new ways. Built on a system that combines traditional studio practices (montage/mixing), live and remote performances (improvised parts) and networks (the streaming techniques used for the remote sound recordings and performances), Sobralasolas ! aims to condense and slow down the process of listening. Conceived as a series or a collection of episodes, this radiopera combines improvised, composed, streamed, and mixed sounds in an open and continuous structure, and in a persistent and split up environment one follows the diffuse narration. Each episode is the occasion to create a live mix of remote protocols performed by the six participants who, whether physically present or not, feed off one another’s audio environment and sonic reactions. Sobralasolas ! : a musical concert, radiophonic work and comprovised networked system, and a work in-progress on-line podcast and fictive and "told" recordings.
Remote sound recording. The development of the live and continuous streaming open-mikes offers in parallel or in the following of the focusing on remote listening aspects and practices, an approach of remote sound recording. As live available sound material, continuously updated, the streams become permanent sources. In regular sound recording, we know how to manage focus, selection, preparation and previews of sound events and occurrences, because we're part of the sound context (proprioperception). What happens when we're separated from the context (like we should be blind) and how are we fixing up protocols of recording and of sound selections, and at the same time, how do we make decisions in a situation of selection into the recorded sound sequences ? The intention and the act of intentionality are delayed after recording and composing (after to improvise or to systemize with the sound streaming system) could become an amplification or a moving effect of fictioning with unpredictable sound sequences. This could be a renewal of field recording and of acousmatic genre. [continue ...]
→ Presentations : SonoR Festival, Lieu Unique, Nantes (F), March 07 - Das Kleines Field Recording Festival, Berlin, Aug 07 - Festival Radiophonic Brussels, Oct 07 - AV Festival Abroad Cast, Newcastle, Feb 08 - Festival Indisciplines Sonores, Nice (F), May 08 - Festival EXPO, Brighton (UK), June 08 -
→ In-progress : episode 2 (2009) / totally streaming radiopera with remote players at various locations / broadcast to different public locations with spatialised loudspeakers (ghost episode), ...

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Co-op Systems / Networked Organology
(Habitation, Collective JukeBox, Forum Hub, RadioMatic, LOGS, A Brief History of The Thing NYC)

The solutions and inventions in audio and music today explore the development of tools and new organologies whose singularities are found in their polymorphic, mobile, and modular features around methods of production and distribution related to networked environments. Our main topic and interest here are projects involved in "audio art" and experimental music, which are gathering performers and composers into collectives (playing environments and projects),and using/developing shared and networked systems (Internet, ISDN) or remote-controlled systems (MIDI, live improvised interactive or programmed playgrounds) as evolutive processes. The stakes of these experimentations are opening identified investigations around free culture (direct economy, free exchanges and environments), the involvements into contextual aspects (sociality, implementation) and the intermedia nature of the developed systems. There is no more separation between production and distribution: everything is public at all times, and everyone is becoming an antenna -- transmitting, receiving, streaming --. We can propose today an hypothesis which could be:" When networks are a critical and an emancipation's space, co-operation is becoming a necessity or a real possibility.". The way today is to favour the constructions of collective situations of invention, pollens more than viruses... After the "musicianer" (described by Josephine Bosma), this is the time for the "musihacker", who mobilizes, activates, participates to communities of practices, and to "invisible" ("sympathique" in french) micro-edifices of accretion (improvised and self-organized picnics -- serenpidity --, bottom-up workspaces and linked phalansteries).
Habitation (1995-1997): The main idea behind Habitation were a essential shift in the musical context : the birth of networked and non-institutional workplaces (“on-line” and physical homestudios vs studios developed within the Musical Research Centers), that were followed time after time by new ways of the musical diffusion, with networked and streamed concerts and in another hand with home concerts and local performances (concerts @ home and “concerts d’appartement”). Habitation, such as an extended workplace on Internet, gathered : Ned Bouhalassa, Steve Bradley, Warren Burt, Paul Demarinis, Kristie Drew, Karlheinz Essl, Ken Field, Mike Frengel, Gilles Grand, Christophe Havel, Jérôme Joy, Daniel Leduc, Philippe LeGoff, Richard Lerman, George E. Lewis, Alvin Lucier, Yuko Nexus6 Kitamura, John Oswald, Emanuel dm Pimenta, Don Ritter, Jocelyn Robert, Andreas Rodler, Claude Schryer, Paul ba Steenhuisen, Gregory Whitehead, Richard Windeyer. Collective JukeBox (1996-2004) : Networked and co-op database with more than 1500 audioworks by around 500 artists, the project is continuously evolutive with different public and ‘work’ interfaces, and its system of development is really close to a system of ‘groupware.’ The initiative of Jerome Joy (which follows the ‘bazaar’ or ‘autonomous zone’ models) tends to favour the achievement of a cultural autonomy and of an adaptive/cooperative organisation, since he is firmly convinced that they can be mutually supportive (Dante Tanzi). Forum Hub (1997-1999) was a mailing-list on issues of today new sound and musical investigations and of the emergent mutations of these practices. This mailing-list gathered two years long a lot of composers and sound artists, and theorists too, around crucial questions related to music, sound, technologies and networks. RadioMatic - Streaps (2001-2003) : Experimental sound collective radio workspace, RadioMatic is a non-stop audio streaming platform as an open space for modular and generative audio practices and as a no-wall studio. It's an open channel 24h/24h without archives. The project consists of the construction of an automatic permanent on-line streaming configuration, playable with the specific multiplex interface to mix listenings : Streaps. Lib_ (2002-2005) was a lab on collective aspects of net-based art projects, it led a survey of three-years long and released a book in 2005 : LOGS, micro-fondements pour une émancipation sociale et artistique.
→ In-progress : 2009 - The Thing redux, Ludwig Boltzmann Institute Linz (History of The Thing) - Collective JukeBox : online reactivation by PAM NYC, cd archive 1996-2004 in Sound Art Museum Roma Italy, mp3 archive 1996-2004 on ubu.com -

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Concerts and Performances : Networked and Improvised Music
(pim series, pizMO, PacJap, picNIC, Disklavier)

pim is a series of group projects (pizMO, PacJap, etc.) and of improvised duos (w/ Dinahbird, Kaffe Matthews, Emmanuelle Gibello and next performances w/ Julien Ottavi, Jérôme Poret, Yuko Nexus6, etc. Pim is defined : factual & event musical moments, quasi-improvized and programmed-like, starting from digital audio, electronic and data-processing devices and systems. The concert is for them a kind of temporary "camping" (free laptop party or open audio streaming) - acapamentos -, a temporary interface of non-stop activities on the networks and the medias which we explore : radio, edition, p2p, streamings, etc.” PizMO (2001-2003) was an improvisation trio w/ Julien Ottavi and Yannick Dauby, based on total improvisation (no rehearsals) and complete immersive listening. PacJap (2000-2003) is a french-japanese band involved in relationships between music and new communication tools (Kenji Ito, Jérôme Joy, Kyoko, Yuko Nexus6, Peter Sinclair, Kojima Takashi, Colette Tron, Renaud Vercey, Suguru Yamaguchi, Tadahiko Yokogawa). PacJap was an improbable music band. In creating the D-System, the band aimed to play network music based on local and on-stage inter-connected configurations (MIDI, OSC). picNIC (2002/...) is an instrument for a quartet (commissioned by the improvisation electronic quartet Formanex in Nantes), acting on the sound selections and diffusion through a programmed system with a lot of features such as behaviors and inputs analysis and following, an internal memory, the surimposition of different layers and speeds, the controls of the sound spatialization, in order to obtain a composition of listening. PicNIC is a networked blackbox like a fifth member of the band, with some “cybernetics” behaviors. PicNIC must be considered as an attempt of cybernetic programming in music : a program plays and composes with inputs feed by musicians, based on continuous analysis of the sound inputs according to programmed behaviors. Disklavier - Compatible-Téléchargeable (2004/...) is a series of concerts for disklavier. The first edition took place at Cité de la Musique in Paris during the Festival d'Automne on Dec. 2004. This concert was associated with a call to composers (who have already wrote for Disklavier since the eighties) and with the construction of a database: this index is a evolutive list of works for disklavier - solo or accompanied, historical and contemporary works.
→ Pim Series : pim qc (Avatar, Feb 07), pim mc (w/Kaffe Matthews, Monaco, May 08), pim pr (w/Emmanuelle Gibello, Paris, Nov 08), pim ms (Mediatheque Mouans-Sartoux, Jan 09), etc. Previewed: pim ld (w/Julien Ottavi, Area10, London), pim chg (Chicago, Dec 08), pim prs (w/DinahBird), pim ? (w/Jérôme Poret), pim ? (w/Kaffe Matthews), etc.
→ picNIC : new version 2009/2010
→ Projects : Rainforest (David Tudor) w/Julien Ottavi, Kasper T.Toeplitz, Keith Rowe, Jérôme Joy (2009)

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Instrumental, electroacoustic and electronic Music

(1982/...)
Jérôme Joy is a composer who develops relationships between writings and listenings and in this sense refuses to limit himself to the concert hall as the sole space of musical representation. He begins with the articulation of concepts of "apparatus" (dispositif in french) as the socio-technical one, of "device" (appareil) and of "instrument". These articulations would constituted a renewed thinking about the conditions and the operabilities of a today organology - digitals, electronics, programmings and telematics - related to the developments of memory, temporalities and situations, around many activities and works that could take the heading of process or workspace. He's working on sonic remanences by using specific sound materials and processes with performers : silences, drones, feedbacks (mikes and devices), noises, samples & field recordings, resonances between instruments, forgotten sounds, misused instruments, site-specific acoustics, and so on). His work is based on the practice and conception of live composition as a sonic exploration of time-specific and site-specific public situations. This investigates the interrogation of renewals of musical forms and practices across the extended using of time scales and playing with memory (persistence and resistance) and of the permeability of sound materials between silence, materiality, contextual references and flux (permanently updated). This is an ongoing theme and the subject of his current research on extended music and listening constructions , which involves live and on-line systems of networked music and audio/radio works, and live comprovised concerts and performances. He is currently working on a critical social and musical space centred on the experience of the act of listening. His work stimulates reflection on the creative processes leading from artwork to device, and from device to situation. He's co-founder of the electroacoustic & instrumental chamber music ensemble Proxima Centauri (Bordeaux, 1992).
→ Related works : SoLo (for recorded feedback electronic sounds, 2006), Ready-Mixed Feature (field recording, 2005), MoNo (for recorded feedback electronic sounds, 2004), plus/moins (for a chamber ensemble and electronics, 2001), Holo (for a saxophones player and electronics, 2000), Megaphonies (for tape, 1997), Motifs & Gestes (for vibraphone, KAT and recorded music, 1997), Pièce Stéréophonique (for recorded clarinets, 1995), Solo Doble (for saxophone and electronic treatments, 1994), Overwritten Solos (for saxophones player and recorded audio & video parts, 1994), Etudes Play/Replay (for tape, 1990-92), Phonography (for tape, 1989), Quat (for string quartet, 1988), Instrumentalvarie (for a chamber ensemble, 1987), Rien n'est jamais tout-à-fait achevé (for bass, 1984), Un essai d'occupation (performance with mikes, pedal effects and recording machines, 1982).
→ Last concerts : Festival di Nuova Musica - Suona Francese (Napoli IT, Jun 08), Mostra Sonora - Festival Internacional de Mùsica contemporànea (Sueca SP, Jun 08), TNT (Bordeaux, Feb 08), Festival SMASH de Mùsica contemporànea (Salamanca SP, Nov 07), etc.
→ In-progress : new instrumental and electronic (& streaming) musicwork for the Proxima Centauri chamber ensemble (2009)

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Production of listenings

(Musing & Drift) Radio
(Collective Radio, Octopus, Caroline)
(1997/...)
Radio is a media which today is neglected and practically evacuated by the musical and artistic experimentation. In the second part of this XXth century, artists have always search to explore and activate territories, as computer and telematic (the Internet). So we could build on these investigations a new story of the radio broadcasting related to subversion and oscillations between grabbing facts & existant sound events (or no-events) and emanating fictions & gaps, by staking the nature, the content, the form and the radio medium in regard to the contemporary artistic and musical fields. These radio works are also audio documentaries about life and social facts, but at first they are about subjectivity and humans as emitters. To speak about memory and future. If "radio is more wild than the internet," what of internet radio? Radio's "randomness and ubiquity" on the internet is exponentially amplified due to the fact that it is not longer local (or to be more precise, it is no longer only local). (Christof Migone - Octopus project 2000). I am most definitely a drifter, on the reception end as well as transmission. (Gregory Whitehead - Octopus project 2000).
→ Current collaborations : SilenceRadio Brussels (2005/...), JetFM Nantes (F) (2006/2007).

From Architecture to Sound
(Un Passage Parisien)
(1992-94)
(Lecture at Architectones Seminar - 11 July) w/ Bernhard Leitner, Heinz Tesar, Rahma Khazam)
In the last few years one of my main interests has been the sound-architecture interface : his projects have ranged from collaborations with architects (HAMT Un Passage Parisien, 1992/94) to the development of network systems and shared and spatialized virtual architectures (recent projects include : Nocinema.org, Sobralasolas !, live duo with Kaffe Matthews; and Locustream, LS in Second Life with Locus Sonus). I'm beginning a new exploration of the spatial aspects in musical and sound art practices as expressed through the use of network technologies. Following a brief survey of my work and of studies conducted at the research laboratory Locus Sonus, a seminal albeit unrealized work dating back to 1992 in downtown Paris, Un Passage Parisien, established a dialogue between physical architecture and musical and sonic architecture, with the use of transports of sound from remote locations (with microphones and satellite communications). This first work previewed to use live sound streaming by transfering microphonic sound recordings from various locations chosen by the inhabitants of the building, to spatialised loudspeakers into the architecture. The sound spatialisation was controlled by computer and was previewed to continuously vary depending on variations of local controllers. One important aspect of this work was its social dimension with the involvement of inhabitants' choices related to approaches of their own listenings. This collaborative project (with Jean de Giacinto, architect, and Duncan Lewis) was publicly presented at La Maison de l'Architecture in Paris in 1994, and was oftenly quoted as a unique music architecture project, even if it was never realized.

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(main) Projects :

Locus Sonus (2004/...) → http://locusonus.org/
nocinema.org (1999/...) → http://nocinema.org/
Sobralasolas ! (2007/...) → SOBRALASOLAS
PicNIC (2002/...) → http://joy.nujus.net/files/proj/picnic/
Collective JukeBox (1996-2004) → http://joy.nujus.net/files/proj/jukebox/
pizMO (2001-2003) → http://pizmo.free.fr/
RadioMatic (2001-2003) → http://joy.nujus.net/files/proj/radiomatic/
PacJap (2000-2003) → http://ami.lafriche.org/pacjap/index1.html → http://joy.nujus.net/files/proj/pacjap/
AudioLab (1995/2002) → http://joy.nujus.net/files/proj/revue/
Forum Hub (1999/2002) → http://joy.nujus.net/files/proj/forumhub/
Habitation (1995/1997) → http://joy.nujus.net/files/webs/1996_habitation/default.html

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associated Projects :

Lascaux2 (1999) → http://lascaux2.org/ lascaux2.org

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2008/11/19 - 12:43 | 38.103.63.61