\nDoors 8pm, tickets free
\nAlison House, 12 Nicolson Square, Edinburgh, EH8 9DF
\nMap to venue: www.google.co.uk\/maps\/place\/Alison+House\/@55.9461,-3.186437,17z\/<\/a><\/p>\n
Some of you may remember his Late Lab performance at Edinburgh’s Science Festival in April 2014<\/a>. He’s back in Edinburgh running a workshop with Sound Design<\/a> and Digital Composition<\/a> students. He’ll perform the following set:<\/p>\n \u00c9lectro-prana is composed exclusively of wind recordings that were \u00c9lectro-Prana is constructed from many indoor recordings of the sound of the winter wind: whistling through doors and windowpanes, of which the control of their aperture This piece is dedicated to composer Marcelle Desch\u00eanes. It was first played along with a score for traditional instruments in Prana (which won first prize at the Boule qui roule… puts the listener at the heart of a continuous sonic evolutive process, designating him as witness to the becoming of the piece. This foreseeable This piece was composed solely using a shelving filter with the Cecilia software running on a Silicon Graphic computer. A single 10-minutes recording of a machine sound was Premiere: February 8th 1997, Kingston Electroacoustic Music Symposium (no notes)<\/p>\n \u201cRitualistic sound formula, given by the master to his apprentice in Hinduism and Buddhism, the recitation of which having the power of putting to action its corresponding spiritual influence. It allows to enter the realm of vibrations that constitute the universe, according to Hindu cosmology, and to participate in the direction of their energy. The symbol here has the force of a communion with the cosmos.\u201d Living in a post-industrial era, we are surrounded and submerged daily It\u2019s in that state of mind that Mantra was born, a unique 26 minutes sound recording of the cooling compressor for a skating rink. Every timbral transformation was done As a Canadian artist, Jean-Fran\u00e7ois Laporte has been an active member Since the year he began to be involved in arts, in 1993 (at 25 years For the past fifteen years, along with his activities as a composer, Increasingly, these inventions are drawing attention in the theatrical Since 2000, while dedicating a lot of energy to invented new musical The musical work\u2019s of Jean-Fran\u00e7ois Laporte are edited on Babel Scores Join us in the Atrium of Alison House for a short performance by Candian Sound Artist and Composer Jean-Fran\u00e7ois Laporte. 17th October 2014 Doors 8pm, tickets free Alison House, 12 Nicolson Square, Edinburgh, EH8 9DF Map to venue: www.google.co.uk\/maps\/place\/Alison+House\/@55.9461,-3.186437,17z\/ Some<\/p>\n","protected":false},"author":2,"featured_media":310,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,19,3],"tags":[],"acf":[],"jetpack_featured_media_url":"https:\/\/digital.eca.ed.ac.uk\/events\/files\/2014\/10\/Screen-Shot-2014-10-13-at-16.51.36.png","_links":{"self":[{"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/posts\/305"}],"collection":[{"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/comments?post=305"}],"version-history":[{"count":7,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/posts\/305\/revisions"}],"predecessor-version":[{"id":314,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/posts\/305\/revisions\/314"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/media\/310"}],"wp:attachment":[{"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/media?parent=305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/categories?post=305"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/tags?post=305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"jf-laporte\"](\"http:\/\/digital.eca.ed.ac.uk\/events\/files\/2014\/10\/jf-laporte-1024x575.jpg\")
<\/a><\/h3>\nProgramme notes:<\/h3>\n
1-Electro-Prana (5 min)<\/h3>\n
\ndone during the ice storm that hit Montreal in January 1998. The region was trapped under ice for weeks, and time stopped.
\nBut as still as the frozen cityscape was, a particularly organic movement still dwelled: the sound of wind, through the streets to the trees, beautifully undrowned by the urban noise.<\/p>\n
\nallowed a certain control over the intensity and timbre of the sound. Using this method, the sound transformations that animate the piece were all done live while recording: no processing or effects were used on the original recordings, only a montage and mixing of the sounds was done afterwards.<\/p>\n
\n23nd Luigi Russolo Contemporary Music Contest, Italy ) before being developed in this standalone format.<\/p>\n2-boule qui roule (8 min)<\/h3>\n
\ncharacter, born from the natural character of the transformations, is colored by the opposition of the ranges and directions of the sound movements which, stretched over very long sequences, constantly give a feeling of stability.<\/p>\n
\nfed through the filter a couple hundred times, following the subtle adjustments carefully made to the filter by the composer at each passage.<\/p>\n
\n(Ontario, Canada).
\nThe piece won a Prize at the 1997 Socan Contest (Canada).<\/p>\nScratch & feeds (20 min)<\/h3>\n
Mantra (1997 – 26 min)<\/h3>\n
\nDictionary of symbols, J.Chevalier & A.Gheerbrant<\/p>\n
\nby this soundscape filled with omnipresent sounds, the mantras. The mantra is a sound with a relatively long duration, either cyclic or periodic, and with an almost unperceivable
\nprogression \u2014 like, for example, all those machine sounds that are a big part of our daily environment (refrigerator, water cooler, air conditioner, ventilation system, car traffic, etc.). Even if we\u2019re not always consciously aware of its presence, the Mantra still bear an influence on our energy.<\/p>\n
\nlive during the recording, no processing whatsoever was done in the studio afterwards. In fact, the timbral shifts were done by manipulating the sound source directly. For example, PVC tubes were used for filtering the high frequencies, metal covers were used to amplify or color certain sounds, etc. Sound effects normally done in the studio were all done live during the recording using physical means.<\/p>\nJean-Fran\u00e7ois Laporte – biography<\/h3>\n
\nof the contemporary art’s scene since the mid-1990’s. He pursues a
\nhybrid approach integrating visual arts and sound exploration. Taking
\nan intuitive approach to create music, Laporte learns art through
\nconcrete experimentation on matter. His unique artistic vision relies
\non an active listening of each sound, object, material, etc. Thus his
\nart is the result of working in complicity with raw material ,
\nproposing constructions born of each material he explores. His work is
\ncharacterized by a large diversity of sound sources, aesthetic quality
\nconcerns, as well as an undeniable peculiarity.<\/p>\n
\nold), Jean-Fran\u00e7ois has written some 70 works that have been performed
\nin Montreal, across Canada, Europe and all around the world. A number
\nof his pieces have been commissioned by Montreal-based and
\ninternational ensembles and organizations, and he has won several
\nawards and grants from such institutions as the Canada Council and the
\nQu\u00e9bec Council for the Arts. The composer has also won several awards
\nincluding, in 2002, \u201cComposer Of The Year,\u201d\u00a0 \u201cCreation Of The Year,\u201d
\n(for his work Tribal, for orchestra of invented instruments) and
\n\u201cDiscovery Of The Year\u201d as part of the Opus awards (from the Conseil
\nqu\u00e9b\u00e9cois de la musique), in 2003, his work Prana received first prize
\nin the mixed music category of the 23rd International Luigi Russolo
\nelectroacoustic music competition (Italy) and, in 2004, the first
\nprize in electroacoustic music for the international competition
\nCitta\u2019 di Udine\u2019 with his work Dans le ventre du dragon. In 2006
\nLaporte won agains the award\u2019s \u201cCreation Of The Year\u201d, (for his work
\nPlenitude of emptinesse, for Quasar sax quartet and invented
\ninstruments). Recently, Productions Totem Contemporain (he his the
\nGeneral and Artistic director) receive the Music Award during the
\nGrand prix du Conseil des Arts de Montr\u00e9al (years 2006).<\/p>\n
\nJean-Fran\u00e7ois has been developing and making new musical instruments
\n(Tu-Yo, Bowl, FlyingCan, Sax-trunk, vibrating membranes and Siren
\nOrgan,) which he integrates in his works and, since 2002, to visual &
\nsound installations using computerized and robotized controls. These
\ninventions have brought the composer to create several commissioned
\nworks such as from the French CBC (L’\u00e9veil d’un Titan for the
\nSilophone project designed by The User,) from Code d’Acc\u00e8s (Tribal),
\nfrom IRCAM in Paris (Vortex) and from Quasar\/SMCQ (Plenitude of
\nemptinesse , opening concert for the festival Montr\u00e9al Nouvelle
\nMusique 2005), with invented instruments; from Fonderie Darling
\n(Kh\u00f4ra) and Escales Improbables (Tremblement de mer) with sound
\ninstallations. Last may 2007, Laporte exposed for 2 mounth his new
\nvisual & sound installation call Kyokkoufu (for Robotize FlyingCan) in
\nthe Contemporary Arts Museum of Santiago de Compostella (CGAC –
\nSpain). Laporte work actually on Psukh\u00f4, a new Visual & Sound
\ninstallation who will be create in october 2009.<\/p>\n
\nand visual arts circles. Not only have they been the centerpieces of
\nnumerous tours (Kh\u00f4ra was presented around 25 times in several
\ncountries including Canada, U.S.A., France, Belgium, Germany, Iseland,
\nLithuania, Sueden, Holland, Italy and Japan) they have opened up new
\nopportunities in the areas of contemporary music and dance. In 2002,
\nchoreographer Susan Buirge, supported by the Abbey of Royaumont,
\ncommissioned a 40-minute electroacoustic work featuring invented
\ninstruments, L’\u0153il de la for\u00eat, and the Japanese choreographer Heidi
\nS. Durning has called upon him to compose the music of several of her
\nprojects, including Sound Dance, Spiral Wind, Kimono Series and Ruby.)
\nAt present, he just finish creating Le T\u00e9ratome with the France
\nchoreographer Frederic Tavernini. He work now on a new project with
\nthe France choreographer Barbara Sarreau. Moreover, a great number of
\ncomposers have taken to integrate his inventions to their works,
\nnotably the Sweden Jesper Nordin for a commission from the Sveriges
\nRadios Symfoniorkester (Residues) and the Briton Johnathan Harvey for
\na commission from dance companyMa-To-Ma.<\/p>\n
\ninstruments, visual & sound installations, the composer is still very
\nactive in the creation of works for traditional instruments but very
\noften used in a non-traditional manner; for example, works such as \u00c0
\nl’Ombre d’un murmure, (Ensemble Contemporain de Montr\u00e9al), le Chant de
\nl’inaudible (QuasarSaxophone quartet) Moments (Buzzini string
\nQuartet), Prana, (Nouvel Ensemble Moderne), and
\nProcession(commissioned by the Royaumont Abbey in France, for its
\nRoman organ.) Tow years ago he finished composing a 25-minute piece
\ncall Psukh\u00f4, for the Radio-France Symphonic Orchestra mixed with the
\nnew installation call Psukh\u00f4 (created in Dijon the 7 november 2009).
\nHe also finish Soul screams, a new electric string quartet piece for
\nensemble Repertorio Zero who was\u00a0 performed at the Venise Bienal.
\nRecently he finish composed a 60-minute piece for Ensemble
\nTransmission, which was created in Montreal the 23 mai 2013. In 2009,
\nLaporte was named “Facteur d’Instrument de musique de l’ann\u00e9e” by the
\nCQM (Conseil Qu\u00e9b\u00e9cois de la Musique), thus receiving his fifth “prix
\nOpus”. This prize aims at the recognition of the quality of Laporte’s
\nwork and the importance of the invention of his own musical
\ninstruments. In 2010 Laporte was in Tokyo for an artistic residences
\nof 6 mounth (Studio du Qu\u00e9bec in Tokyo).<\/p>\n
\nEdition, (contemporary Music online).<\/p>\n","protected":false},"excerpt":{"rendered":"