etwas d'else
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a u d i o plaisir de vous automne 1998

première synthèse active : faire qq chose avec les techno / metho / esthétiques qui concernent le son /
tous les sons qu’on peut attrapper & écouter / déjà ré-écouter
& vérifier la valadité des liaisons entre la culture acoustique socio-écologie (soundscape) & la culture musicale /
explorer un peu leurs terrains de rencontres /
faires qq essais de ethno-tekno /
à l’échelle du home studio (le salon de musiques) & de la mobilité-légèreté dans l’espace & les temps (tetartEXPERIENCE)
=> échelle de la circonstance ?

01 • intro JFA / réaction


02 • bohemia

03 • out of waters / histoire de l’eau #1

04 • GNAWAS for olga's Bday

05 • Slaves

06 • the BLACK ROCKING CANAPé

07 • (like this)

08 • chocolate rice  crispie now

09 • marine

10 • coma

11 • diamonds (&rust)

12 • another way 2 (hide)

13 • the only words

14 • lyra

15 • sei venuta

16 • instant lover

17 • champagne

18 • fi  ramazi

 

patient discovery of sound technologies (theories / methodologies  etc).
Surprised by interactions here's what I've learned :

 • when you're holding a microphone you're not invisible /
 • most of the people don't like their own voice / 

 • space through earphones / the "tetart" bricolage experience /
 • reactivated listening often generates phantom sounds / or sense effects /
 • almost any recorded soundscape can be easily harmonized with it's own elements and turned onto any stylee of music /
 • manipulating sounds has become as easy as taking photographs or sending postcards ( try to figure out how we'd percieve the world / comparing with the developpement of photography during XXst century / and the importance of pictures in our cultures)

it also can be used as a cut-up poetry instrument or a tool for analysing our everyday sound environment / it offers for instance the possibility to compare sounds from from here & there in the world : not only talk about but to listen…