This piece tries to show one of the possible answers to the question:
“how can we fill a space in 28 seconds, one pixel at a time?”
Each pixel appears and make a click sound. Progressively, as the screen becomes lighter than dark, 2 sinusoidal waves can be heard louder, exceeding the clicks until we cannot hear them. Through this very simple graphic-based question, the answer is a piece about the local processes vs global rules.
THIS WORK HAS BEEN SUBMITTED TO PRIX ARS ELECTRONICA 2014 ( INTERACTIVE ART CATEGORY)
A live performance & a sound installation by Julien Bayle, curated by François Larini
The performance takes place on Friday, 28th March 2014 at La Table des Matières (NMNM-Villa Paloma, Monaco)
The audio-visual installation is visible from Thursday, 27th March 2013 to 11th April 2014 at News of the World (The Enclave, London)
As part of its public programme, NMNM–Villa Paloma presents Disrupt!on, a performance installation by Julien Bayle, curated by François Larini (NMNM), which takes place simultaneously and live in Monaco and at news of the world space in London.
Julien Bayle is a minimalist sound and visual artist working at the juncture of sound, visual and digital data.
Through successive digitally generated and evolving sequences, Disrupt!on explores the phenomenon of disturbance. It reflects how a deterministic system can produce – through its existence within a wider system and through external interventions – an effect which becomes unpredictable.
The Disrupt!on performance at Villa Paloma is an electronic piece lasting about 30 minutes exploring and developing all the work’s concepts, producing its sounds and displaying the continuous flow of data. The performer interacts with sound, sometimes changing the low-level parameters of the oscillators, sometimes altering time parameters without ever using a proper tempo, but every time destabilising the very system he created.
The Disrupt!on installation at news of the world space is London is triggered by the start of the live sound/visual performance in Monaco which activates some of the installation’s processes through the internet, using basic communication protocols. The data fed into the algorithms by the artist creates an aural and visual output which, from Monaco, evolves, informed, corrupted and ruptured by audience interaction through social networks as the data travels the net to London. The higher the number of interaction, the greater the unpredictability of the system’s output.
After the end of the performance in Monaco, the London installation is fully launched, and the stimuli received from the present audience or tele-participant, through Twitter #blpmc, continue to disrupt the installation, creating glitches, reaction, random events and system degeneration. Each hashtag are sensed and contribute to increase the global installation’s entropy.
Experimenting with the concept of control vs. chaos both in his installations and live performances, Julien Bayle draws from Richard Artschwager’s “blp” idea, seen as a kind of sudden burst of information within various landscapes.
In our era of digital sound and cloud computing, the name itself (blp pronounced “blip”) refers to an electronic sound suddenly appearing in our soundscape as a noise, an alarm or a tune… (like Artschwager blp suddenly appears in a landscape). Within a computer and network based audio-visual system, they can be translated into a behavior that would be new, uncanny and disruptive.
The originals blps – an oblong shape developed by Richard Artschwager in 1967-1968 – were flat painted pieces of wood, but he soon made them from spray paints and stencils, adhesive decals and rubberized hair. In 1971, the exhibition Sonsbeek buiten de perken (Sonsbeek Between Lawn and Order) took place in the Netherlands. Artschwager’s contribution, Utrecht Projekt, consisted of blps installed around the city and a catalogue of photo-documentation showing the blps in urban and rural settings. The catalogue was accompanied by an album that played the sound of a ticking clock on one side and that of a dripping tap on the other. He considered these mundane noises an auditory counterpart to his blps: background sounds that often go unheeded, but which, once noticed, are almost impossible to ignore.
Nouveau Musée National de Monaco (NMNM) – Villa Paloma presents the most comprehensive retrospective to date of Richard Artschwager’s [1923-2013] work from February 20 until May 11.
The exhibition is organised by the Whitney Museum of American Art in association with the Yale University Art Gallery, and curated by Jennifer Gross, Chief Curator and Deputy Director for curatorial affairs at the deCordova Sculpture Park and Museum, in Lincoln, Massachusetts.
In Monaco: Friday 28 March 2014, 7.30pm, NMNM-Villa Paloma, 56 Boulevard du Jardin Exotique 98000 Monaco. www.nmnm.mc , [facebook link], firstname.lastname@example.org
In London: Friday 28 March 2014, 6.30pm (GMT) and until 13 April, news of the world, 50 Resolution Way, London SE8 4NT. www.thecentreofattention.org , [facebook link], email@example.com
Some pictures from installation
I’m really happy to have re-published one of my first ebook named:
The 6 rules to design the best user interfaces
You can download it for free
It contains 28 pages, 5277 words and its summary is:
Listen to the system
– What is the problem ?
– Here’s how it’s supposed to work
The user is the core
– Monotonous Monochromatic LEDs
– Incomprehensible Mis-Alignment
– Where Is That Track ?
Stupid box & smart computer
Cutiness is nice, you need more
Just for remind you
You can read more about the project itself here.
Here is the slideshow I showed while I was talking. It is very short but it can give you some tips about that:
This was a nice & interesting session with around 30 students. Nice questions & discussions.
Thanks a lot to Alina Daniela Nicu to have drawn me as a chibi !
This is really … me with my second brain on the floor in lotus posture !
22 September 2014 / 14:21
11 August 2014 / 12:19
26 July 2014 / 19:02
19 June 2014 / 15:55
10 June 2014 / 19:50