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DISC 1 (64:13)
1. Facteur D'Échelle (Marie-Hélène Fournier) (13:22)
2. Out Of Range (Zbigniew Karkowski) (10:49)
3. The Structure Of A Work (Phill Niblock) (22:45)
4. Shangaï Revisited Talks (Daniel Denis) (17:17)
DISC 2 (69:46)
1. Eleven (Ricardo Nova) (20:10)
2. Canopee (François-Bernard Mache) (16:31)
3. Reminiscences (Todor Todoroff) (17:17)
4. Totem (Francis Faber) (15:48)
DISC 3 (70:50)
1. Airr (Henri Algadafe) (10:13)
2. Copass (Phil Von) (13:28)
3. Derives Chaotiques (Iancu Dumitrescu) (15:03)
4. Di Questo Passo (Giuliano d'Angiolini) (15:54)
5. Iced (Stevie Wishart) (16:12)
Total Time: 204:49
Line-up / Musicians
Art Zoyd:
Gérard Hourbette / artistic direction
Yukari Bertocchi-Hamada / keyboards, electronics, computer, sampler
Nathalie Negro / keyboards
Andrew Russo / piano
Laurent Dailleau / theremin
Serge Bertocchi / sax
Kasper T. Toeplitz / bass (1.2)
Laurence Chave / electronic percussion (2.1-3.4)
Mathieu Constans / meta-instrument
L'Ensemble Musiques Nouvelles:
violin, viola, cello & double-bass
Jean-Paul Dessy / conductor & artistic direction
Releases information
Compilation of the creations made throughout 2002 (Expériences De Vol #4), 2003 (Expériences de Vol #5 - concert with video projections) and 2004 (Expériences de Vol #6).
3xCD In-Possible Records - EXP 01 (2005, France)
Art Zoyd studios - Expériences de vol
"Art Zoyd Studios" has set itself the task of encouraging the designing and production of new works, distributing them and favouring the development of musical research, notably through devising new creative tools and processes involving state-of-the-art technologies, and beyond that, supporting efforts in making music fully part of the blossoming of digital arts. Art Zoyd Studios strives to make audiences more aware of contemporary musical forms, and carries out actions, notably with local communities, with educational purposes or favouring cultural democratisation.
For several years already we have devised a series of releases entitled "Expériences de vol" ("flight experiences") to ensure the continued availability of works commissioned by our studios, and at the same time devise a kind of unifying thread linking all the pieces together.
The title "Expériences de vol" is borrowed from a series of three pieces I had composed in the 1990s.
These days, we feel that the needs, tools, equipment, skills and habits have changed, at first imperceptibly (early 2000s) then, more recently, in a radical way, although different generations of musicians have perceived this change differently: indeed, many composers still adhere to the "commission, composition, performers" pattern, whereas newer generations are searching for mixed or shared languages, for stage work and new creative spaces.
We believe that the prospects and raison d’être of studios must be constantly questioned, without resting on past experiences or certainties which turn into postulates. Composers are increasingly artists in the broader sense (as in the Renaissance days), with an interest in, not only, obviously, music, its substance, forms and technologies, but also in all possible marriages, hybridisations or associations with other performing and graphic arts, including image and video art, VR (virtual reality) and new media (Internet, 3D sound, VR headsets…)
Whether a craving, a need or simply the product of combined visions, composers, as artists from generations who have either been the product or the architects of a process of constant amalgamation and cross-breeding between practices, are increasingly seeking different, renewed or prototype, knowledge and collaborations. Not because music has given ground to other, "intrusive" or "invasive" art forms, but rather that its place and ranking, whether on concert stages, in theatres or auditoriums, seem to have narrowed in some respects; equally narrow are its powers of self-regeneration in the face of the often too rigid operation of musical institutions, orchestras or ensembles, which are run according to inherited traditions.
There is another observation to be made - that more and more artists, plastic artists, video artists and choreographers are questioning sound itself or the sonic "language" in order to take it over and make it fully part of their work, in a non-disassociated manner, without necessarily understanding (or having a point of view on) the aspect of "music" which, for us, remains a fundamental part of the art of hearing, of organising time and of listening – precisely with regard to the history of this art.
This issue of the place of music also applies to applications in the field of games or "virtual reality" which, in their inception, have often tended to neglect sound and music.
The composer must find his place in these new spaces, which involves questioning technical and artistic aspects of one’s art, and redefining one’s writing and paradigms and, beyond that, addressing the issue of future "new" audiences.
These days, we feel that the needs, tools, equipment, skills and habits have changed, at first imperceptibly (early 2000s) then, more recently, in a radical way, although different generations of musicians have perceived this change differently: indeed, many composers still adhere to the "commission, composition, performers" pattern, whereas newer generations are searching for mixed or shared languages, for stage work and new creative spaces.
We believe that the prospects and raison d’être of studios must be constantly questioned, without resting on past experiences or certainties which turn into postulates. Composers are increasingly artists in the broader sense (as in the Renaissance days), with an interest in, not only, obviously, music, its substance, forms and technologies, but also in all possible marriages, hybridisations or associations with other performing and graphic arts, including image and video art, VR (virtual reality) and new media (Internet, 3D sound, VR headsets…)
Whether a craving, a need or simply the product of combined visions, composers, as artists from generations who have either been the product or the architects of a process of constant amalgamation and cross-breeding between practices, are increasingly seeking different, renewed or prototype, knowledge and collaborations. Not because music has given ground to other, "intrusive" or "invasive" art forms, but rather that its place and ranking, whether on concert stages, in theatres or auditoriums, seem to have narrowed in some respects; equally narrow are its powers of self-regeneration in the face of the often too rigid operation of musical institutions, orchestras or ensembles, which are run according to inherited traditions.
There is another observation to be made - that more and more artists, plastic artists, video artists and choreographers are questioning sound itself or the sonic "language" in order to take it over and make it fully part of their work, in a non-disassociated manner, without necessarily understanding (or having a point of view on) the aspect of "music" which, for us, remains a fundamental part of the art of hearing, of organising time and of listening – precisely with regard to the history of this art.
This issue of the place of music also applies to applications in the field of games or "virtual reality" which, in their inception, have often tended to neglect sound and music.
The composer must find his place in these new spaces, which involves questioning technical and artistic aspects of one’s art, and redefining one’s writing and paradigms and, beyond that, addressing the issue of future "new" audiences.
(Gérard Hourbette, composer & director of Art Zoyd Studios. March 2018)
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