02 n°91 sep/oct/nov 2019
02 n°91 sep/oct/nov 2019
  • Prix facial : gratuit

  • Parution : n°91 de sep/oct/nov 2019

  • Périodicité : trimestriel

  • Editeur : Association Zoo galerie

  • Format : (210 x 297) mm

  • Nombre de pages : 92

  • Taille du fichier PDF : 9,6 Mo

  • Dans ce numéro : les frères Quistrebert.

  • Prix de vente (PDF) : gratuit

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MILESDAVISQUINTET !, Watchin’with, 16.11.2017. Biennale Némo, La Dynamo, Pantin. Sylvain Darrifourcq  : percussions ; Xavier Camarasa  : piano préparé/prepared piano ; Valentin Ceccaldi  : violoncelle/cello ; Jean-Pascal Retel  : effets vidéo/video effects. Extrait de la vidéo de Jean-Pascal Retel/Still from the video by Jean-Pascal Retel. 4 Interview Sylvain Darrifourcq 6
4 Interview Sylvain Darrifourcq 7 onto our bodies kinds of white pixels to the rhythm of our playing, or as a counterpoint, and these shapes revealed the set as the performance progressed. This project had been co-produced by Arcadi and presented at Némo, the Île-de-France digital arts biennale  : it was at that moment that I felt that this step aside was becoming possible. And the more partners I brought together (in particular the Théâtre de Vanves, whose pioneering work I admire, the Cube-centre for digital creation in Issy-les-Moulineaux and the Muse en Circuit-national centre for musical creation in Alfortville), the more I was able to unleash my imagination and envisage an installation in which I would play. This process took about three years. Especially since I had never used computers for music. I started from scratch as far as this aspect was concerned and surrounded myself with fantastic engineers who are also, and even above all, artists  : Nicolas Canot and Maxime Lance. And so what is FIXIN, more precisely ? FIXIN is thus an immersive performance/installation in which a musician and a whole host of motors mounted on tom drums interact. The device—a kind of extension of my instrument (itself hidden) designed to be surrounded by the audience—is relayed by lighting that hides/reveals/dialogues in counterpoint. The music is minimalist and industrial. It is a question of testing the musician in his humanity. To what extent can man turn himself into a machine ? What is the influence of one on the other ? As I said, to compose, I use Abelton Live which is a software that allows me to send MIDI signals in a box—specially designed by Max Lance—which processes the information and transmits it to the motors. It integrates a Teensy microcontroller card (quite like the Arduino), transformers (MOSFET), power supply, USB, Ethernet connections, etc. I chose the motors (solenoids, vibrators, DC motors, motorized fader, electromagnet...) based on the types of sounds I had in mind, and all the objects on the drums are objects that I use in my regular drumming practice (steel egg cups, small sex toy motors, the most diverse found objects). This is where the game of going back and forth with the machine begins. After years of working to force my body and my musical gestures to become mechanical, I program these motors so that they mimic those « rehabilitated » gestures. They return to the sender in a way, but loaded with specific human phenomena (micro errors, irregularities, and so on). For me, it’s an incredible feeling. I can modify the speed and a raft of parameters. The fader for example... It’s a mixer controller mountedupside down, a rather fragile object, full of small notches inside, it’s the most complex object here. I attached sandpaper to it and it opensup so many sound possibilities depending on the object that I make it rub ! By attracting the ball-bearings, the electromagnet produces a kind of acoustic granular synthesis  : it turns on, it turns off, the ball-bearings stick to it and detach themselves permanently from it ; here again, it is an on/off relation. There are also the vibrators that I use like basslines. There are many relationships to explore between them  : the strength I give them, the tension of the skin above, the tension of the skin below and the acoustics of the room. And it’s different every time because the frequencies that resonate naturally in a place are never the same. And everything will be visible, there will be no box or anything to hide all this ? At first I thought about that but since the objects added onto the tom drums are the ones I usually practice with, they can’t be too clean. It had to remain coherent, the installation part cannot be too sleek in relation to the drum set I will play on, otherwise I will be excluded from it, and the installation is really like a visual extension of my instrument but also of my body and my intentions. I will be in the dark, and sometimes lit. My gesture really starts and stops like a click, it has no evolving dimension. It is a minimalist approach, after years spent gathering technique, to remove harmony, to remove melody, to remove everything that would be the flesh of music to return to its fundamentals,i.e. the emission of an on/off frequency, and to remake music with that. It’s really complicated because you have to get rid of everything you’ve learned. It’s a Picasso style approach, this unlearning. That’s absolutely right. I learned music through written music and, when I discovered free improvised music, it was already a way to unlearnwhat I had learned. You haven’t always been a drummer... I studied classical percussion, it’s a pretty wide field that includes keyboards, timpani, vibraphones, all forms of orchestral percussion—I played in an orchestra for a long time then I specialized in drums when I was seventeen. Improvised music came next. I discovered jazz, then really abstract music later on, and I became interested in each field with the same dogmatic approach  : deconstructing, rebuilding, getting things out of it and then moving away from all these dogmas, so now I’m starting a new cycle again. But it’s very natural because this project perfectly matches my instrumental practice which was already stripped down. So you were talking about « playing like a computer »  : is automating your body a purely aesthetic aim, a physical performance, or is there a more conceptual, even political dimension to this idea ? I am thinking in particular of the studies of the Gilbreths’human movements—to take a pioneering example from this field—, of their division of workers’gestures into combinations of simpler movements, of all these questions of optimization applied to industrial management... I read a lot of sociology and cognitive sciences, research that cuts across economics, statistics and cognitive psychology, especially in the field of rationality as a decision-making factor. What is the reason for a decision ? Why is this decision made



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