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Concert
29.07.21
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Ce soir en direct du parvis du studio *Duuu à la Villette, un concert du groupe TNHCH.

TNHCH est un groupe d’artistes plasticiens formé par Corentin Canesson, Arthur Beuvier, Damien Le Dévédec, Tim Karbon et Maëla Bescond. Ils sortent en novembre 2020 ULTRA, à l’issue d’une résidence au centre d’art Lizières fondé par l’artiste pluri-disciplinaire Ramuntcho Matta, autour des textes du poète et critique d’art Rene Ricard. Un vinyle dont les pochettes ont été réalisées par 30 plasticien.ne.s dont : Clémentin Adou, Hélène Baril, Eva Barto, Jean Bourdet, Hugo Capron, Antoine Carbonne, Jean-Damien Charmoille, Mathis Collins, Joël Degbo, Hilary Galbreaith, Muriel Giroux, Charlotte Houette, Hélène Janicot, Ana Jotta,Petr Kirusha, François Lancien Guilberteau, Bérénice Lefebvre, Renée Lévi, Ramuntcho Matta, Jean-François Maurige, Julien Monnerie, Ryu Nishiyama, Marianne Pradier, Juliette Roche, K. Sato, Lise Stoufflet, Benjamin Swaim, David Tramut, Virginie Vallée, Xiao Wang.

Un concert proposé par le groupe TNHCH.

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22.04.16
Acoustic Field Tests #2
Melissa Dubbin & Aaron S. Davidson
09'02"
Pièce (10)
Pièce (10)
22.04.16
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Eugene Binder reading articulation and intelligibility tests inside Donald Judd’s studio at 124 West Oak Street, 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 émission proposée par Melissa Dubbin et Aaron S. Davidson.

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