PubliLocus2008.en - Jerome Joy website

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!!!ISSUES AND PERSPECTIVES As we have seen, our current questioning of networked sound spaces is centered on modification of perception and usage of space, the conditions which these modifications require or imply and the way that these conditions are implemented into systems which interact with a place or several places simultaneously. The artistic dimension of this networking of spaces refers not so much to existing forms such as remote concerts, or remote interactive systems ^[2^], as to the social dimensions inherent to the creation of a « circle » (i.e. a social circle ^[10^]) or the participation in a game. If the expression « networked » commonly implies a multi-site distribution of points of transmission and of reception and realtime simultaneous interactions between these sites we are more specifically interested by mediation, interlocution, transportation and translation as forms of composition (''live composition''), interpretation, instrumentation (''collective instrument'') and listening (i.e. the modification of the way that an audience perceives the sound relevant to the system which transports and presents it - ''shared audiences'' - ) : How is it possible to « play » these streams, flux of continuous material, factual and unpredictable sound from a distant context ? What kind of organology is applicable to this meta-/multi-/remote-instrument « autophone » and these (communal) playable interfaces innervated with distant sound flux ? How does the agogic{footnote}{small}Time fluctuations.{/small}{/footnote} dimension (due to latency within the network), audibly perceptible as one « plays » with an online networked system, become a part of the compositional spacial process ^[1^] ? How can the interaction and the influences between remote acoustic spaces, which is only possible through a networked system ^[8^] offer new possibilities for live performance and composition ? To avoid abandoning ourselves to the fluidity of the flux of streamed sound and to our (recently developed) listening habits various lines of research have been developed : remote acoustics{footnote}{small}Remote acoustics is the phenomenon of using a remote site as acoustic chamber for a sound source ^[8^]{/small}{/footnote} (''LS in SL'', ''Espaces Chantants'' and ''LAPS'' by Nicolas Maigret), remote soundscapes and listenings (''Locustream''), remote sound recording and post-recording (''Journal de Streams'' by Esther Salmona, ''Streams Fictions'' by Nicolas Bralet), inter-modulated soundscapes, re-composed/improvised soundscapes and remote performances (''Concert Sympathique Mondial'' by Sabrina Issa, ''Sobralasolas !'' and ''nocinema.org'' by Jérôme Joy{footnote}{small}http://jeromejoy.org/ {/small}{/footnote}, Roadmusic Autosync by Peter Sinclair{footnote}{small}http://petersinclair.org/ and http://nujus.net/peterhomepage/autosync/autosync.html {/small}{/footnote}). The instrument (''organon'') becomes the networked system with it's inputs and outputs which can be stimulated from the outside, programmed or processed to produce modulations, inter-modulations and acoustical artifacts, controllable, composable and interpretable by public and authors alike through interfaces and systems which hybridize local and remote spaces. It allows for multiple recurrent or permanent operations (performing, playing, participating) within a coherent system, an apparatus which proposes to be experienced as an art work. This leads us to find possible forms and practices which « compose » with the system which we are developing: gesture, notation, drifting, participative and interactive listening{footnote}{small}RadioMatic/Streaps (2001) Jérôme Joy & Radiostudio Bauhaus Universität Ralf Homann.{/small}{/footnote}, atmosphere and imagination (Cagean listening), a continual redefining of roles between author and listener{footnote}{small}PicNIC (2002) Jérôme Joy / Quatuor Formanex, Festival Résonances, Nantes.{/small}{/footnote}. As a consequence and a prolongation of this project our explorations which continue under the heading of ''Field Spatialization'' include practices related to multi-scaled sound spaces (''Networked sonic spaces'') which could imply the use of streaming, natural acoustics, telecommunications, radio, and virtual spaces, it also implies mapping or referencing of existing sound spaces, studying the mobilization of personal sound spaces – ''locative and variable media'' -. (''Net_Dérive'' Atau Tanaka, ''Silophone'' The User, ''City Links'' Maryanne Amacher, ''Variations VII'' John Cage, ''RadioNet'' Max Neuhaus, ''Sound Island – Landscapes Soundings'' Bill Fontana, ''Netrooms'' Pedro Rebelo) ^[4^] Critical analysis plays a large part in our research, and has largely developed through exchanges with researchers working close to us in the areas of sociology, epistemology, esthetics and sound anthropology{footnote}{small}Samuel Bordreuil (LAMES), Jean-Paul Thibeau (CRESSON), Marc Relieu (LTCI) , Bastien Gallet (ESBA Montpellier), Christophe Kihm (Le Fresnoy), Jean Cristofol (ESA Aix en Provence).{/small}{/footnote}. One of the notions which has developed out of these collaborations is that of ''Audio Extranautes''. The notion of extranaut, loosely defined, describes an individual or a community moving freely between online and offline spaces or activities - ''hybridization / immersion'' - it also implies manifestations of projects which are essentially web based in physical space or again social behavior which finds its origins in an online situation and which extends this behavior into physical space. This notion allows us to tackle in a more precise and communal manner issues related to forms of public reception and attention such as: the displacement of "ambiances" and sensibilities, experimental forms of flux as art, real time or organization of time, open source or other cooperative models ^[6^]. This exploration of networked spatial systems reveals and clarifies the context in which new audio practices are developing between physical and virtual spaces ^[5^] while offering a new experimental dimension in audio art and music. {br}{br}
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