On extended, boundless, vibratory and in-the-now sympathy music

http://jeromejoy.org/


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Bio Résumée(Edit)

Jérôme Joy. artiste compositeur, improvisateur, interprète. Artiste-professeur ENSA en France (Bourges depuis 2010, Nice Villa Arson (1992-2010)). Son travail se voue radicalement à toutes les formes de la musique (performances, concerts, récits, partitions, vidéos, etc. ; instrumentale, électronique et expérimentale) par les crises qui leur sont propres, en explorant les 90% des registres de fabrication, de sensation, d'émotion et de perception du son et de la musique qui ne nous sont pas encore habituels. Il co-élabore sans cesse. Création-recherche (cursus Ph.D. Univ. Laval Québec, Locus Sonus, auditoriums Internet, auditorium Terre/Mars Mars/Terre). Membre de The Thing (NYC), Avatar (Qc), Projet Neuf (F). Membre du quatuor de musique expérimentale QWAT ? (avec Bruno Lemaitre, Matéo Guyon, Jean-Christophe Feldhandler) et de l'ensemble Noïï. Depuis 1982, performances, concerts, expositions, résidences, cds : France, USA, Japon, Égypte, Canada, Hong-Kong, Autriche, Allemagne, Estonie, Irlande, etc. Collections FRAC et privées. Éditions ère (Paris), Le Mot et le Reste. http://jeromejoy.org/






Short Bio (eng)(Edit)

Jérôme Joy is a French composer and performer, living and working in Nantes (F). He studied at the Conservatory of Bordeaux (F) (instrumental and electroacoustic composition classes and master-classes with Luis de Pablo, François Rossé, Etienne Rolin, François Bayle and Ivo Malec). Since the beginning of the eighties, his work is based on sound intensity, duration and loudness as structure and de-structuring of music. He started as a performer, electronic / electroacoustic improviser and "microphonist" in 1982, and had developed a series of net projects along the 1990s. He's currently member of Qwat ? (percussion quartet), pizMO, MXPRMNTL, NoEnsemble, and ONSemble. After having teaching at Villa Arson in Nice France from 1992 to 2010, he is presently tenured professor at the National School of the Arts at Bourges and he was research co-director (2004-2016) -with Peter Sinclair- of Locus Sonus, audio in art, research lab, http://locusonus.org/ . From 2011 to 2016, he has been engaged in a ad-hoc Ph.D. in audio art & experimental music at Laval University Québec (title: ‘Internet Auditoria — Expanded Music / Music for Sonic Expanses : Music and Environmental Aesthetics — Earth-Mars Auditorium’).


Biography (Wikipedia article) (French version)






Zusammenfassende Biografie (de)(Edit)

(nicht aktualisiert) — Jérôme Joy ist Komponist und Netz-Künstler, der seit 2010 an der Kunsthochschule in Bourges lehrt (und an der Villa Arson Kunsthochschule in Nizza 1992-2010) und an der er das Forschungslabor (Audio-Studiengang) Locus Sonus koordiniert (mit Peter Sinclair und Anne Roquigny) (2004-2016). Momentan bereitet er eine Dissertation zu Internet Auditoriums (Laval Universität, Quebec) (2011-2016).

Jérôme Joy wurde 1961 in Nantes gebohren und ist seit Anfang der 80er Jahre aktiv in der experimentellen Musikszene tätig. Sein Schaffen umfasst dabei electroakustische Musik, improvisierte Musik (solo Projekte und Ensemble : pizMO, PacJap, JOKTTJJEG mit Julien Ottavi, Kasper T. Toeplitz und Emmanuelle Gibello, ONsemble, MXPRMNTL, Qwat?, etc.) und Netzmusik (Telemusik), sowie instrumentale Kompositionen. Dabei liegt sein Interesse im weiten Bereich der Klangkompositionen, wobei et sich durch elektronische Kompositionen, Programmiertechniken, Netzwerke, Datenbanksysteme und das Zusammenspiel des Organischen (menschlich, fehlbar, bewusst) und des Künstlichen (modular, systematisch, unbegrenzt) inspirieren lässt. Außerdem arbeitet er mit visuellen Komponenten, bei denen er versucht, die Augen-Ohren Hierarchie aufzulösen.

Nach einem Werdegang im Bereich der Performance und der Instrumental - und elektroakustischer Konzerte seit 1982, hat er seit 1995 zahlreiche Internetprojekte auf nationaler Ebene entwickelt sowie Musikperformances, die dieselben Technologien aufs Spiel setzen. Der französische Komponist Jérôme Joy ist Initiator verschiedener audioer Kollektive (pizMO, Collective JukeBox, Tiramizu, Pacjap, picNIC, Forum Hub, RadioMatic, Sobralasolas !, u.a.), die sich technisch, gestalterisch und theoretisch mit intermedialer Kunst auseinandersetzen. Seine individuellen und kollektiven Projekte und Konzerte wurden auf zahlreichen Festivals, Konferenzen und internationalen Veranstaltungen gezeigt, wie den 99Generators in Vancouver, der Invençao in Sao Paulo, der Gallery 9 Walker Kunstzentrum, den Murs du Son Villa Arson, dem Festival Manca in Nizza, dem Festival Lust in London, dem Brussels2000, dem Festival GMEM in Marseille, dem SoundBox in Helsinki, der Kunst in der Stadt Bregenz, den NTTICC in Tokyo, der Musiques en Scène in Lyon, dem Bauhaus an der Universität Weimar, der School of the Art Institute in Chicago, der ISEA in Nagoya, den 33RPM SFMOMA in San Francisco, dem Open Radio CCCB in Barcelona, dem Sonor Festival in Nantes, Gastaufenhalten am School of the Art Institute of Chicago, etc... Er hat sowohl in Frankreich als auch im Ausland mehrere Artikel und Werke veröffentlicht - "Logs" im è®e Verlag (2005) und "NetzMusik/NetMusic" im Wergo Verlag Berlin (2004).


Biography (Wikipedia article) (French version)






Biografía (sp)(Edit)

(no actualizado) — Jérôme Joy es compositor, net-artista y profesor en la Escuela Nacional Superior de Arte de Bourges desde 2010 (y en la Escuela Nacional Superior de Arte de Nice Villa Arson 1992-2010) donde coordina con Peter Sinclair el laboratorio de investigación : Locus Sonus Audio in Art (2004-2016). Luego de un recorrido de performances y de conciertos instrumentales, electronicos y electroacústicos a partir de 1982, desarrolla desde 1995 varios proyectos en red de envergadura internacional (Collective JukeBox, RadioMatic, Forum Hub, Sobralasolas!, etc.), y performances musicales que ponen en juego estas mismas tecnologías (con musica proyectos : pizMO, PacJap, JOKTTJJEG, con Julien Ottavi, Kasper T. Toeplitz y Emmanuelle Gibello, ONsemble, MXPRMNTL, Qwat?, etc.). Sus proyectos y conciertos, personales o colectivos, se presentaron en numerosos festivales, coloquios y eventos internacionales: 99Generators Vancouver, Invención San Pablo, Galería 9 Centro de Arte Walker, Muros de Sonido Villa Arson, Festival Manca Nice, Festival Lust Londres, Brussels2000, Festival GMEM Marsella, SoundBox Helsinki, Arte en el Estado Bregenz, NTT CC Tokio, Músicas en Escena Lyon, Universidad Bauhaus Weimar, Escuela de Arte del Instituto de Chicago, ISEA Osaka, 33RPM SFMOMA San Francisco, Open Radio CCCB Barcelona, Festival Sonor Nantes, Palais de Tokyo Paris, entre otros. Publicó varios artículos y obras: "Logs" en las éditions è®e en 2005, "NetzMusik/NetMusic" en las ediciones Wergo Berlín en 2004, Locus Sonus en las éditions Le Mot et Le Reste en 2015, etc.


Biografía (Wikipedia article) (French version)






传记 (cn)(Edit)

(not updated) — Jérôme Joy 為作曲家,自1992年於法國尼斯的國立藝術學院任教,自2004年與
Peter Sinclair 共同擔任聲音藝術研究組職Locus Sonus 的研究總監。


(Wikipedia article) (French version)






バイオグラフィー (jp)(Edit)

(not updated) — ジェローム・ジョワ(Jérôme Joy)

1961年ナント (フランス)生まれ
フランス/ニース在住
http://jeromejoy.org/

1961 年フランス/ナント生まれ。ニース在住。国立高等現代美術学校ヴィラアルソン教授(ニース)。 Locus Sonus 大学院教授及び創立者 (アクサンプロバンス / ニース)。1982年、電子機器を使ったサウンド・パフォーマンスの開催を機に、アーティスト活動を本格的に開始。ネットワークとデータベースを使った参加型のコンサートや、最新のテクノロジーによるプログラミングのネットワーク・システムも手がけている。


国立高等現代美術学校ヴィラアルソン教授, ニース//フランス (Ecole Nationale Supérieure des Beaux-Arts de Nice) Locus Sonus 大学院教授及び創立者 (アクサンプロバンスーニース//フランス-Aix en Provence - Nice//France)
1982年からの電子聴覚などの器械によってパフォーマンスコンサートを皮切りに彼は1995年から国際的なスパンによって多くのプロジェクト行ってきました。ネットワークとデータベースを使った参加的音楽のコンサートや最新のテクノロジーを使ったプログラミングのネットワークのシステムなどその他、作曲のプロジェクトをも手がけてきました。彼の作品などは常に質問を投げかけ同時にそして批判を受けてきました。プロセスそしてアドリブ(プログラミング、録音、ストーリーミング)装置を構築し、彼の作るプログラムに装置された機械はオートマチックに演奏されます。そして、最新のテクノロジーを使った演奏の中には時間の長さと記憶(断続と耐久)、透明性を持った装置と静けさの間に具体性と流動性があります。彼は、それぞれの装置で私たちの日常生活や社会環境のなかでの印象高めることが出来るかという実践や実験を試みています。1998年頃からかれは数多くのワークショップや講義を大学や研究室で行ってきています。


(Wikipedia article) (French version)




Statement(Edit)

Jérôme Joy is a French composer and performer, living and working in Nantes (F). He studied at the Conservatory of Bordeaux (F) (instrumental and electroacoustic composition classes, with Fusté-Lambézat (Darius Milhaud's student) and Éloy (GRM), and master-classes with Luis de Pablo, François Rossé, Etienne Rolin, François Bayle and Ivo Malec) and started as a performer, electronic / electroacoustic improviser and 'microphonist' in 1982. His meetings with La Monte Young, Rhys Chatham, Paul DeMarinis and Eliane Radigue along the 80s and 90s were decisive, as well as his conversations with Hamish Fulton, Malcolm Goldstein and Robert Barry. Since the beginning of the eighties, his work is based on sound intensity, duration and loudness as structure and de-structuring of music. He's currently member of pizMO, MXPRMNTL, NoEnsemble, ONsemble and Subtecture. From 1992 to 2010 he has been teaching at the National School of the Arts, Villa Arson in Nice France, and taught the sound practices at the sound department (AudioLab) after the Danish artist Lars Fredrikson. He is presently tenured professor at the National School of the Arts at Bourges (F) and, from 2004 to 2016, he was research co-director -with Peter Sinclair- of Locus Sonus, audio in art, research lab, http://locusonus.org/ . Occasionally he's teaching and has been teaching in Canada (UQÀM) and in USA (SAIC Chicago, visiting artist 2001-2005). He has been engaged in a specialized /ad-hoc Ph.D. in audio art & experimental music at Laval University Quebec, from 2011 to 2016 (title: ‘Internet Auditoria — Expanded Music / Music for Sonic Expanses : Music and Environmental Aesthetics — Earth-Mars Auditorium’).

Since the beginning of 80’s, his work explores the 'manufacturing' of listenings such as in-tempo and in-situ experiences and musical situations. This intention is an attempt to exceed the standardization of music & sound reception, by proposing long and physical sound immersive music works with unusual sound sources and processes : electronic and acoustic feedback, accidental and residual sounds, amplification and distortion, aleatoric processes of sound combination and surimposition, etc. His work is based on sonic matters of facts and on sound intensity, duration and loudness as structure of music. That allows the audience to be immersed into the vibrational structure of the environment through sound and music experiences. This way to develop a music 'by' and 'with' the environment reveal strong relationships between sound and space : to put them into vibration and into interaction. This is involving an active listening that is not dissociated of the sonic & spatial experience : a constant care has to be taken to discover and live various accidental and inferential variations as they occur and to engage modulations into listening (by moving, interfering, etc.). The oscillations between continuity and discontinuity, between masses and densities, and between transparencies and opacities, are the background of his music consisted of continuous sound, long & sustained tones and most of time at very extreme high volume. This intense and very loud music is a music of control (into and of what is uncontrolled and uncontrollable). The difficulty to maintain sound sustain and to engage thresholds of hearing and of audibility corresponds to transitory aspects of sound and to its nature of propagating and expanding in space. By working with noises and (altered) sound & tones, and consequently with their own organicity and materiality, he doesn't use formal (external-to-sound or not generated by the sound itself) methods and principles of composing and he emphasizes experiential and experimental approaches. His music works are inexpressive and don't 'say' anything than what they are and how they sound and resound. He's using recent technologies, computers (as instruments), and classical music instruments and notation as well, and he's playing in music venues, as well as outdoors (out in the open) and on Internet (with the use of telematic effects as 'acoustic' properties of the electronic space in networked music performances). The making of music (as well as the listening to music) is a critical, transgressive, and political activity, experience and social situation & conditions (in which we live and act). This has an impact on (his own) production and economics system of making art and music. His music is not 'spectatorial' and spectacular, and often it's engaging the intertwining of the roles of the composer(s), the performers and the listeners : composer as performer as listener as composer as performer as composer as listener ...

The contribution and importance of such a freed listening towards a social and generalised 'musicalisation' are, on one hand, related to the need of non-disconnection and continuity of our experiences into daily life and in the now (even if the music refers to a singular time and space) and, on the other hand, are correlated with a concept of what is unlimited in music. Thus composing and improvising (comprovising) join the same activity of making music and of 'manufacturing' of listenings, within sound & music processes he’s developing, each time different (what he is calling: 'music for sonic expanses', 'listening circuits', 'extended organology of sound', etc.). The processual construction of sound intensity and loudness organises itself into the duration and the course of the music and of the listening : composing the now by and into listening.

He’s currently member of the WLP World Listening Project board in Chicago, committee member of Avatar Québec, member of the research lab GRMS UQÀM Montreal, of the artist-run space Apo33 (Nantes), and member of the art-ivist community The Thing (since 1997). He was a co-founder of the instrumental ensembles Proxima Centauri (Bordeaux, F), NoEnsemble/ONsemble (Nantes, F) and Qwat? a percussion quartet (Nantes, F), and a founding member of improvisation & electronic music bands (pizMO, PacJap, Joystinckler, JOKTTJJEG, JJEL, MXPRMNTL) in France, in Canada and in Japan. He's also founder of several collaborative projects on Internet since 1995 (Collective JukeBox, nocinema.org, Sobralasolas !, RadioMatic, ForumHub, etc.). He has played, performed and lectured widely in Europe and internationally, and he has collaborated and performed with many musicians. His music is performed by soloists and several music ensembles in Europe : Proxima Centauri, Formanex, Oh Ton Ensemble, etc. In recent years Joy has written many articles and papers for international journals and soundart and music reviews. He is the recipient of several commissioned music and radio works, and of residency grants from music and art centers in North America, Europe, North Africa and Asia. His cds are available on www.metamkine.com, tiramizu.net, fibrr records, and lenomdelachose.org/ohm/.

Recent projects include : networked music performance and telemusic collective projects (‘Sobralasolas !’, nocinema.org, synema), noise instrumental & live electronic music and electro-acoustic music (‘Set of Re-Composed Folk Tunes’, 'Klar' a series of pieces for clarinets, ‘JOKTTJJEG’ noise quartet with Julien Ottavi, Kasper T. Toeplitz and Emmanuelle Gibello, ‘JJEL’ a duo in Montreal with Eric Letourneau, ‘pizMO’ electronic noise trio with Julien Ottavi and Christophe Havard, ‘MXPRMNTL’ a drone music project with Anthony Taillard and Christophe Havard, 'Noisense' a series for percussion players).

Recent research includes: ‘NMSAT Networked Music & SoundArt Timeline’, a huge online database of more than 3,000 historical references ; ‘Locustream’, a network of worlwide open streaming microphones, developed by Locus Sonus ; ‘Introduction to a History of Telemusic’, ‘Internet Auditoriums’, ‘Earth-Mars Auditorium’, research studies on noise music.

More recent projects include : 'Nothing at All', an exhibition with David Ryan, Palais de Tokyo, Paris (June-Sept 2016) including 'Alap' (a 9h-music with electronic feedback drones), 'Récit de Michael' (a philosophical and musical novel), etc. ; the release of a cd box of Christian Wolff's works performed by the ONsemble ; the preparation of a Earth-Mars music based on extreme delays (with the collaboration of Pauline Oliveros) ; etc.

URL: http://jeromejoy.org/





Reviews(Edit)

  • A study by Mario Gauthier (French version) :
    The compositional approach of Jérôme Joy is “pluri-multiform” in that it combines in an undifferentiated whole musical acoustic or electronic instruments, computer applications and a diversity of plurial sound practices such as electroacoustic music (aka concrete music), improvisation, performance, computer modelings, networkings, etc... This particular interbreeding generates perceptive unforeseeable objects in constant mobility.
    [... Continue reading ...]








   
   
   
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