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Here are only informations related to Purepresence and my role as its Director
Here are only informations related to Purepresence and my role as its Director

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7/25/17
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Exhibition, solo
Erik Samakh
June, 20 - Sept30, 2015

Opening : June, 20 2015 at 11 am
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Exhibition, solo
Dominique Petitgand  
Il y a des nuages qui avancent
Centre International d'Art et du Paysage, Ile de Vassivière
May, 28 -June, 13 2015
Opening May, 28 - 4-8 pm

http://www.gbagency.fr/fr/14/Dominique-Petitgand/#!/Les-liens-invisibles-Vassiviere-2015/site_medias_listes/1965
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Exhibition, solo
Dominique Petitgand  
Diffusion presqu'intégrale, 1992/2015
May, 28 -June, 13 2015
Opening May, 28 - 4-8 pm

Parcours CHOICES Paris, du vendredi 29 au dimanche 31 Mai, de 12h à 19h
Samedi 30 Mai à partir de 16h, diffusion sonore spéciale, en présence de l'artiste.
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Exhibition, objects
Art or Sound
Fondazione Prada, Milano
Jun 7 - Nov 3, 2015

Germano Celant gathers objects from the 16th century to the present day dealing with art and sound relations. Contemporary artists are invited too.

Opening on video :
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Radiophony, Website
SONOSPHERE

Collection od radio art works from Deutschlandradio Kultur transmitted by Götz Naleppa to the french association Phonurgia Nova and Réattu Museum in Arles, France.

French, English, German website.

http://sonosphere.org/
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Festival
90dB Festival
Roma, Italia

 A festival is dedicated to sound art and digital art, with workshops and concerts. A broad and articulated programme or diversified proposals  enhanced by interactive workstations allowing for a direct and physical relationship with the very notion of “sound”.
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Achitecture, Sound displays
AUDIOLAB
MUDAM Collection

Le projet des Audiolabs est le mariage entre l’architecture et le design sonore. Au cours d’un long processus commun, les talents de quatre designers et d’une multitude de musiciens les plus divers ont été réunis, rassemblant le design, la musique et l’art dans une expérience qui fonctionne sur de nombreux niveaux. Les Audiolabs individuels peuvent le mieux être décrits comme un environnement d’écoute et d’immersion sonore. Il a été demandé aux designers de créer un objet ou un espace d’accueil d’un confort parfait pour les visiteurs, qui, pendant un long moment, étaient censé s’exposer à une diffusion sonore optimisée.

english
The Audiolab project is a coming together of architecture and sound design. The long collective process – involving the talents of four designers and a diversified medley of musicians, sound artists and engineers – has gathered design, music and art into an experience that works on many levels. Individual Audiolabs can best be described as listening and sound-immersion environments. The designers were asked to create an object or space that would accommodate visitors in consummate comfort, possibly for a considerable length of time, while allowing for optimal sound diffusion.
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Architecture
DOUG AITKEN'S HOUSE
NYTimes, MARCH 30, 2012

[…] Aitken took that concept further in his house, by embedding nine geological microphones in its foundation. They amplify not just the groan of tectonic plate movements but also the roar of the tides and the rumble of street traffic. Guests can listen in on this subterranean world without putting an ear to the ground. Speakers installed throughout the house bring its metronomic clicks and extended drones to them whenever Aitken turns up the volume. “It’s very easy to lose track of the environment around you, to lose touch with the present,” he said. “I wanted the house to help bring me back to the moment that is.”

A half dozen other microphones installed under the staircase make it possible to play the steps like a percussion instrument. Aitken even keeps lightweight mallets on hand for those who want to pick out a rhythm, or they can also use their feet. And when they sit down for one of Ponsa’s meals, they can play the suspended marble surface of the “sonic” dining table. “This is a great house for an insomniac!” he said. (Though in truth he looks every bit the well-rested surfer that he is.)

Still, Aitken insists that “it’s not a radically avant-garde house. It’s not glamorous. But there’s nothing more stimulating than living in an environment that I feel free to experiment with. Come back in a year and there might be new developments.”

http://www.nytimes.com/2012/04/01/t-magazine/doug-aitkens-sound-garden.html?pagewanted=all&_r=0
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