Protofuse live in Aix

It was to inaugurate one of the great masterpiece of Electronic Shadow collective.

It was a nice event and I want to thanks a lot:
- Raphael, Marc, Greg, Renaud & all the Seconde Nature Staff
- Naziha & Yacine from Electronic Shadow
- Laure, Vincent, Philippe
- my close friends & family who supported me

You can see the video & listen my sounds.

You can listen best quality sound here:

Vincent Telandro took several pictures.

I discovered Audiomulch framework 3 weeks ago only but I decided on previous week to use it for this performance.
Indeed, I loved its particular sounds & effects.
I found them very raw, I mean very particular & with a great “personality”.
I love the Metasurface tool too.

Here is the principle I used to control it.

I hope we could collaborate again with Seconde Nature.
This is a very nice place and staff is very nice too !

Max for Live training with Chapelier Fou

Design the Media / Julien have been contacted in 2010 by Louis Warynski aka Chapelier Fou.

Louis wanted to dive into Max for Live in order to be more autonomous about this piece of technology.
So we met & had a 2 days session.

Here are some g33ky photos we made.

This meeting was a very nice one.
Louis is a smart genius inside electronic music world.
I hope we’ll collaborate again in the future!!!

Derek Piotr’s interview

Second part of the dual interviews collaboration, after he interviewed me, I did it too.
Thanks a lot to him for this intimate interview where we can learn a bit more about this growing artist.

When did all begin ?
In 2006. My friend encouraged me to install audacity on my computer and I began recording and editing sound in this basic way. Still on that program today! I do not believe you need to hide behind fancy programs or filters, you can do the sound work yourself if you know the concept and limits (if any exist!).

What was and is the most inspiring source for you ?
Anything in the background – much like Cage, I detect at all times what sounds are in an environment, the hum of a radiator or crickets or a car or people in the next room or these things, and I can go off of that. When I compose, sometimes it’s whatever I am listening to and that varies literally from minute to minute, Recently Benge’s album 20 Systems and some Tibetan Ritual music, field recordings from temples and such. And Morton Feldman.

Do you use machines or machines & computers ? or does technical things not matter ?
I use just audacity and a microphone to do most of my work. Lot of clicking the mouse! Like I say before if you know how to work with sound you don’t need extras. I’d like to be able to record some more acoustic spaces, like a chapel or cathedral organ, more acoustic instruments.

Which process is the most often used by you for making music ? or maybe, it is each time different.
I think just determining the flow. Choppy edits or smooth? Loud or quiet? Long pauses or a barrage? Drone or beat? All these things maybe, in combination with regard to the source material.

Can you define you music ?
I always call myself a sound composer, I think of my work as sound art more than music. Very rare do I make melody 
But if I was held at gunpoint I’d say something like “minimal electroacoustic”

I read you’re writing an opera. Would you discuss a bit more about that?
All I can say is it is called THERE SHALL BE A NEW EARTH and it will take a few winters to complete. It is my winter project. Bagpipe drones and live electronics, though that’s only a hint.

Can you imagine your music without voice ?
I do some instrumental pieces sometimes. I think this falls under the feel of the material. Sometimes I feel the need to let the tones of the piece be the voice, and sometimes I think there is no room in the piece for a voice. It all depends. I think very heavily I focus on vocals though, I listen to much vocal music.

What do you think about the use of the voice in modern electronic music ?
I appreciate the new ANBB record! and of course there is AGF aka Antye Greie. On the other side now we are getting the Indie acts using more voices, like Dirty Projectors or Grizzly Bear, I do not care so much for these forms of work. A lot of early speech music like Paul Lansky or Gregory Whitehead sticks out big to me. And the experimentalists like Phil Minton or Maja Ratkje, I love.

You seem very sensitive to any forms of art. Do you express yourself with other art than music ?
I am. I write poetry occasionally, and I help run a poetry night one time a week in my state. Words are very important to me, though in my music I focus a lot on wordlessness. Sometimes words are too specific…
And I take hobby in photos. But I need a new camera, so no photo for a while 
But I think visuals are also important, mainly that is an intuitive thing for me, what looks “right”, but I definitely “see” sound in my head. I think they call this synesthesia?

What could be the 3 next projects you’d like to begin & achieve ?
I have some acoustic performances in mind, one with an experimental vocalist and one with a cellist. And I just got the offer from a boy in Beijing to do an EP of Pipa, Voice, and electronics. I see my work braiding in more acoustic-ness lately, and this makes me happy. It is all about the pureness of acoustic sound as shaped by the intensity of electricity. This is what really excites me.

blog: http://derekpiotr.wordpress.com
soundcloud: http://soundcloud.com/derek-piotr

Interview of protofuse by Derek Piotr

Derek Piotr made this interview of me: derekpiotr.wordpress.com/2010/10/12/protofuse-interview/

Our collaboration began when he proposed to make 2 crossed-remixes.

I liked to answer because it always made me digging more than usual deep in my mind.
Thanks a lot Derek, I’ll send you my questions today

12′ video from ambient/drone Issue Project Room last live

Thanks to Chris Gilroy for the visuals, Thanks to Keiko for the share.dj/IPR connection, Thanks for everything!
Thanks to Denis for the footage (and to support me), and of course to my dear Angie (and Silvia, her sister)

The live performance was based on automatic virtual machines (reaktor, customized patch + some operator in Live) + deep tweaking improvised.
The result is pretty, I mean: I like it.
It has to be improved more, but it is already ok for me.

New York’s trip

Invited by Chris from In/Out Festival, I went to USA.
It was a so nice trip, experience, visit!
I went with close family & friend.

The protodeck has been VERY damaged during the travel (plane), and I had to fix it but finally it was very complicated to make that in the hostel’s room!
So… it happens.

Here are some photos of the first event, protodeck’s workshop :

After this workshop on saturday, I did a music live performance in the evening.

On next day, sunday, I did a 20′ ambient/drone live performance @ Issue Room Project in Brooklyn. Chris Gilroy made the visual.
It was a so nice experience!

Thanks Jared (Smyth) for the photo!

I want to thank :
- Chris & Philip from In/Out festival ; they are sweet and were more sorry than me for the protodeck’s health…
- Jared for his enthusiasm and VERY nice performance.
- Keiko for the share event @ Issue Project Room ; we’ll share ideas & music & events in the future, for sure!

protofuse’s performance at Codelab #8