As an experienced practitioner in experimental music, I was invited in residence by 4DSOUND during mid-2018 to creatively experiment as a sound artist, technologist and researcher. My fortnight consisted of introducing my compositional processes to a 42 speakers sound spatialisation engine. The corpus of the work was live electronics mixed with sensing technologies. Spatialisation was especially under focus as adding an extra perceptual layer.
As a performer, I’m working mostly (in limited) quadraphony and octophony. So, the new ‘object oriented’ piece has been developed around complex shifting spatialised psychoacoustics to generate an ever evolving soundscape using analog sound oscillators and an electromagnetic field sound translating device. The environment was an integral part of the composition as it is important to sonically navigate the space to alter the auditory perspective.
The set consisted of two computers, one for the sound generation and processing running Ableton Live and Max/MSP and one for the sound engine as a dispatch for the spatialisation. As to resume and as an announcement to the forthcoming event, it is to perform a subtle hybrid event between performance and installation whereas the audience experiental participation is gradually time related and expanded into an immersive happening.
Pierre Jolivet as PhD Scholar @ UCD SMARTlab under IRC Funding: Sound Art & Sensorial Perception / A Practice-based Study
Bio
Pierre Jolivet (born Paris, France 1964) is an artist who’s currently based in Dublin. Pierre started in the early eighties to perform as a French pioneer under the moniker of Pacific 231, in the industrial and power electronics musical fields before moving into more ambient and abstract electronic sounds. His works now explores the very limit of sound and space, especially through his past and present multimedia performances and installations: Stif(f)le (2007-08), Im’shi (2009-13) and Espace Altéré (2015) presented in numerous countries. His discography now exceed two dozens albums with more than eight international collaborations. In 2010, he became part of the Luigi Russolo jury, a prestigious international award in acousmatic music created in 1979 by Gian Franco Maffina and Rossana Maggia with the original participation of François Bayle and Pierre Schaeffer. He graduated from an MFA in the Digital World at the National College of Art and Design where he gives occasionally workshops in Art and Technology and he has been recently associated to an MA in Media and Electronic Arts at the Institute of Technology Tallaght (Dublin). His latest album Transenvironmental (2018) coincide with the start of a PhD research on Sound Art & Sensorial Perception.
