NOIZ MUTATION

Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!

SONICoprse serie – SONIC001

RYAN JORDAN SONICorpse

Ipswich. Buffer dropout. X said to me one night, “I’ll show you everything there is to know about street-life”.
I looked up to him when I was younger. He was with Y.
They had three kids called a, b, and c.
M disappeared for a few months. Then he came back.
He looked healthy. I cut my ties with of them not long after. Next time I saw M was on the front page of the paper. Three photos showed his disintegration. Heroin overdose.
R and his followers drag me into a car at knife point. I was scared. M2 stole my Dad’s cards and ran away.
Columbian drug trafficker now repenting his sins on YouTube.
Illegal immigrant sending death threats. NSPCC were involved. Had to see CID. They knew everything that was happening.
It was a drug’s den.
Didn’t and couldn’t hang around there or with them. W was good. He tried to make me see, but I was too arrogant to listen, or more correctly, I just simply didn’t understand.
Conversation repeats.
Saw Y standing outside their place with short skirt waiting. I just drove by. Saw here in town with her mum.
She smiled at me and I just stared back at her.
BBC news. Y is murdered.

All tracks recorded live at The Surgery, South London.
By Ryan Jordan
2010.
no edits
no mastering.
PureData
voice and dodgey cabels.
Http://ryanjordan.org

also available as:

WAV:

Y’s Requiem

Down the river

USB KEY – 15€ (included 3 released : JULIEN OTTAVI / RYAN JORDAN / PHILIPPE ROUX)

HOMESoundscape serie – HOME001

PHILIPPE ROUX

INVISIBLE ROOMS / INOUTSIDE – HOME001

HomeSoundScapes

Infinite limited space : wall, door, windows-screens from which to observe on your own. Protection. Infinite of mental sapce, resting of the body, shaking of the spirit. Domestic fantasies, free of real, of others.

Sound acoustic limit of privacy, TV, radio, Deleuze ritornello.

The house-museum, put the pads before entering.

My Library, the image of my knowledge from which the visitor approches me, scans me, realizes a mediated image. Being filmed in front of his books.

Screen, oblivion from receiver, to station, stay.

Seen from the street, yellow light, heat, rest homes.

Many enters, few leaves. (Seen on the day of removal).

more text :

text english (53) (english)

texte français (58) (français)

also available as:

WAV:

INVISIBLE ROOMS / INOUTSIDE

USB KEY – 15€ (included 3 released : JULIEN OTTAVI / RYAN JORDAN / PHILIPPE ROUX)

CDR – 10€ (limited edition)

JULIEN OTTAVI (THENOISER)

solo album – noise serie 2009

IRNORKAMAN

also available as :

WAV:

Deaf #1

Failed to persuade

Arrogance du signe

Coupure de cristal

USB KEY – 15€ (included 3 released : JULIEN OTTAVI / RYAN JORDAN / PHILIPPE ROUX)

CDR – 10€ (limited edition)

NOIZ MUTATION releases January 2009:

THENOISER “Silence as internal noise” (Noise Serie) NOIZ001

JEAN-PHILIPPE ROUX “Invisible rooms, inoutside” HOME001

RYAN JORDAN “ntc” CORPSE001

blossom and fragrance

of all human knowledge,

human thoughts,

human passions,

emotions, language,

the billowing of imagination,

an expression for the unspeakable?

Poetry as source for language, the creation of words, a communication origins, the tools of human relations, rests in the no man’s land of our own speeches, lost in translation or within an impossible treatment of massive brain transmissions, streaming information and confusing reciprocal sensations, perceptions and feelings.

In few words this series aim to play with the format of reception and production of poetry (as languistic manipulations) , as an audio diffusion giving vibrato to the paper potential. This means cross-polinating our thinking about the medium of poetry itself in relation to sound, yet not directly, as is the with sound poetry, but as matter of telling it more than writing it, even if the word or signs are primarily written down.

This series proposes to change veiwpoints from the perspective of the writer to the perspective of the audio poetizer – which is how we propose to the possible problematic of an audio experience of poetry (as the production of language or signs),

how poetry becomes a production, a poîetic of audio signs and languages?

What does poetry means?

How writing can become audio?

Is the voice the only way to express poetry?

How could the voice be translated beyond the usual inner nature of just reading a text?

Will audio change the reception of this poetry?

Will audio change poetry in a way the writer did not previously concieve?

Can poetry disappear behind sound in those conditions or vice versa?

Jail, house of pleasure, complex machine interaction, micro-organic farm, receptacle of the spirits, embodiment of mysterious beings, the body, the corpse (as a corps) is our first point of reference in relation & mediation towards this world. In these relations we find all those beings, we are every part of ourselves, we are joy and suffering, we are the micro-life that “grouille/fourmille” in us, we are the shouting, singing, corporeal complaining, breathing, movement and rhythms of the heart. We are the input and output of innumerable sensations and relationships to our surrounding micro-activities. Welcoming and ingesting food, liquids, drugs, smells, sounds, vibrations, gases, electromagnetic emissions, speech and moreover languages in general. We emit our dejections, ideas and thoughts, smells, sounds, heat and our embelished beings. All of this an incarnate beautiful, strong, delicate and violent explosionsof inter-relational politics between the body and our world.

With SONICorpse is an exploration of the body through sound, we ask artist to address, extend and interrogate the questions of:

How we see the body?

How we live it?

How sound translates the intimate and under perceived sensations of the self?

Can new insights and understandings appear from a sonic investigation of the body?

Sound and architecture have an ambiguous interaction in their relationship to an one another. Sound used to be one of the main criteria for constructions of buildings, such as churches and cathedrals. Complex construction where sound was a key element in the consideration of the structures design and indeed the sonic organization of a space would inspired the composition of that space. Today sound is the poor parent of the architectures dominated by visually based dictate of contemporary construction, as an added extra sound is often overlooked and thus a virtually non-existent feature of modern architecture.

Artists, architects and theoreticians are increasingly beginning to address this deficit and have started to think about the relationship between Sound and Architecture as warranting a possible field of exploration in itself – as a medium such as sound perception or production – architectural deconstruction or understanding driven by its sonic and social interactions within a space. As an extension of the human habitat we see architecture from a personal space to a massive collective habitat or the human activity of building and by correlation as the urban construction or as public open architectures/public space. Thus, architecture is a place where the physical relation to walls and doors, roofs and windows are paramount, a place for the purpose of protection as control and punishment, a place for circulation and exchange, for streams of people imprinting their daily lives on an embodied enclosure.

With ArchiSONIC we ask artist to address, extend and interrogate the question of sound and space.

For example

What is our experience of sound in the environment?

How does this affect our perception of a space or sound?

Can the mechanical processes of sound production reveal hidden structures within architectural space otherwise unobtainable to the perception of those that inhabit or traverse these buildings/spaces?

Can we explain sound as a simple air and reflection phenomena extracted from the real by artistic gesture?
How we create those process, how we revealed those phenomena?

A kitchen could be perceived as sub sonic phenomena of meta-cooking; the fridge, a micro-orchestra or the oven as a desert-powered sun playing micro-tonal explosions. Social activities producing sound and linguistic interactions, the audio paintings of our family relationships or the mimic of the mundane everyday becoming colourful speeches.

Since the dawn of time, humans have been influenced by their own everyday-lives and environment. HOMESoundscapes is a series that aims to interrogate the boundaries of this personal habitat. Artists are asked to develop a sound pieces based on the notion of their personal habitat/habitus and open up the discussion on how the home and the everyday is percieved from this sonic viewpoint. HOMESoundscapes is interested in questions surrounding personal sonic constructs of the home environment.

For example:

• How does you personal environment influences you?
  

• How does sound occurs in it?
• Is it sound you hear or a conceptual perception of possible sound?
  

• How do you understand the soundscape and sonic activity produced in your environment?
  

• Does the soundscape of your personal space influence your creative output or your vision/perception of life? 
  

A mediactivist, artist-researcher, composer / musician, poet and tongues destroyer, experimental film maker and anarchitect, founder and member of apo33, Julien Ottavi is involved in research and creative work, combining sound art, real-time video, new technologies and construction of electronic devices. An activist in the free software movement, he develops Apodio, a Gnu/Linux multimedia distribution. He is actually co-director of the Area10Medialab in London and participates in, and produces, numerous events such as conventions of researchers, artists and activists, sound art or multimedia festivals, workshops on free software and DIY electronics, etc.

Julien Ottavi is part of a generation of audio artists to emerge in the 90\`s that indicated some of the directions that music and soundart is taking. While at art school, he organized a series of concerts, bringing international artists from the experimental scene to Nantes, drawing touring musicians to movements happening outside of Paris. This became not just a destination but a nexus for collaborations. This resulted for example in the group Formanex to perform graphical scores of electro-acoustic music, and in Apo33, an artists collective to facilitate, nurture, and disseminate creative audio practice. In this way, Julien represents the energy and initiative of a present day artist – activist through practice, organizing as performance, publishing as networking, open source and open aesthetic. This fluidity of working across boundaries of style and role are seen in his music, physical with computer, performative and reflective.

(introduction by Atau Tanaka)

http://www.noiser.org

labels & projects:

http://fibrr.apo33.org

http://www.crealab.info/mutation

collaborations projects website :

http://www.apo33.org

http://www.a10lab.info

http://www.crealab.info/scieprotocol