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Volume
Revenir et dire ça (46)
16.01.21
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Avec : Omar Adel, Mohamed Al-Bakeri, Rania Atef, Assem Attoun, Marwa Benhalim, Nada Elkalaawy, Sara Hamdy, Fatma Heiba, Soukaina Joual, Rawia Sadek, Motasem Siam

Cette émission présente 11 pièces vocales réalisées durant un workshop virtuel organisé par Live Praxes entre Le Caire, Jérusalem, Rabat, Londres, Berlin, Genève et Lausanne entre novembre 2020 et janvier 2021.

This radio show presents 11 artist’s vocal pieces created during a virtual workshop organized by Live Praxes between Cairo, Jerusalem, Rabat, London, Berlin, Geneva and Lausanne between Novembre 2020 and January 2021.

Live Praxes
Live Praxes est une rencontre de performances qui comprend des ateliers, des séminaires et des soirées de performances. Un des buts de ces rencontres est de créer un espace pour discuter des pratiques textuelles performatives dans les sphères artistiques, curatoriales et pédagogiques. Les événements organisés se concentrent sur la notion de performance textuelle en tant que médium mais aussi en tant qu’appareil de recherche et à partir de là, s’ouvre sur un large éventail de supports et de formats, y compris les images en mouvement, le théâtre, les conférences, les installations, les publications, le son et la chorégraphie.

Live Praxes is a performance encounter that includes workshops, seminars and performance nights. It creates a space to discuss textual performative practices in artistic,
curatorial and pedagogical spheres. Live praxes focuses on the notion of text-based performance as not only a medium but also a research apparatus. It is committed to the concepts of ‘performativity and textuality’, with an extensive scope of mediums and formats including moving images, theatre, lectures, installations, publications, sound and choreography.

Intervenants workshop Written to Be Spoken : Mohamed Abdelkarim, Madeleine Amsler, Gilles Furtwängler

La production des pièces vocales a été rendue possible grâce au soutien de ProHelvetia.
The production of the vocal pieces was made possible with the support of ProHelvetia.

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21.04.16
Acoustic Field Tests #1
Melissa Dubbin & Aaron S. Davidson
07'47"
Pièce (9)
Pièce (9)
21.04.16
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Eugene Binder reading articulation and intelligibility tests inside the artillery shed holding ‘100 untitled works in mill aluminum’ (1982-1986) by Donald Judd, Marfa, Texas.
By Melissa Dubbin & Aaron S. Davidson

The ultimate fate of sound energy is to be converted into heat. In traveling through the air, sound waves progress by an oscillation or quivering of the air that sets up a friction between neighboring air particles.
Acoustic Field Tests are articulation and intelligibility tests which give an estimation of the intelligibility of speech in a given space. It follows a protocol for an experimental procedure which documents the absorption and reflection of sound by materials.

A series of words, chosen because they contain vowels and consonants that are commonly used in the English language, is to be read in a space. Each word contains a sound chosen to be graded. The observer must recognize the test sound in order to understand the word. The sentences, each including three tests words, are questions that were never meant to be answered, only to be transmitted and witnessed by an observer. [1]
There are two general modes of sound recording: phonographic, preserving perceptual fidelity and telephonic, favoring intelligibility.
In July of 2015 we made recordings of these acoustic field tests for articulation and intelligibility in one of artist Donald Judd’s studios, one of the artillery sheds containing 52 of the 100 works in milled aluminum, and in 15 works in concrete situated on the Chinati land parcel in Marfa, Texas.
Just as Judd was creating specific objects avoiding any superfluous craftsmanship, we aimed to make a recording ‘faithful’ or specific to the sites. The microphone acted as a physically real observer; the recording maintains a representational coherence, albeit non-human. In cinematic terms, the sound is recorded in medium and wide shot, with no close up, maintaining a spacial signature.

This work is ongoing, and new recordings and live performances will be added in the future.
Audio recording and live performance, 2015.

1. Watson, F. R., Acoustics of Buildings. Third Edition, March, 1948.pgs. 100-107.

Une emission proposée par Melissa Dubbin et Aaron S. Davidson

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