02 n°91 sep/oct/nov 2019
02 n°91 sep/oct/nov 2019
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  • 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

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4 Interview Sylvain Darrifourcq 8 though it is on the face of it irrational ? What cognitive bias is at work at that time ? All this certainly echoes my practice as an improviser where it is a question of making decisions and acting in real time, even if things are perhaps less transparent in my head than my way of putting it here. But, at the same time, I am also interested in more coercive and deterministic theories. To understand a theory, I need to understand the field in which it is situated and contradiction seems tome to be the appropriate way. These readings are intended to complete a field of knowledge rather than to maintain my prejudices, particularly the political and sociological ones. Similarly, my artistic research is purely speculative. I do not give an answer, I do not position myself politically, I propose an aesthetic object that participates in man/machine questioning. I leave itup to everyone to get what they need from it. The next step for me would be to work with scientists. For the moment, I apply my ideas to motors and I’m starting to work with choreographers on these same themes. In particular, I am starting a research project with the Catalan choreographer Toméo Vergès, whom I discovered through his play Anatomia Publica, which offers a theatrical view of fragmented everyday gestures, repeated until they appear surreal. It just so happens I saw that Liz Santoro was also collaborating on FIXIN... Yes, on this project, she’s giving choreographic advice about the performative dimension. I greatly admire the work she’s doing with Pierre Godard on perceptual biases. Are you particularly interested in the question of efficiency ? It is one of my areas of interest, yes. One of the things that fascinates me the most in live music is the anticipation of the gesture, people whose intentions are very clear  : their gesture is very clear, the sound emission is very clear, it always impresses me. And no matter whether it is a performer of written music or someone who improvises. But I find that there is something ineffective about improvisation. Quite often, improvised music is a gathering of people who do not necessarily have the same languages, who do not even necessarily work on the same aesthetics, who do not use their instruments in the same way and who, sometimes, even have completely different relationships with time, and who play concerts together. So for forty-five minutes, it can be very boring, sometimes even bad, and then all of a sudden, there are five gem-like minutes that emerge. After having gone along with this dogma of the freedom of improvisation versus the constraint of writing ; after listening to it and making it myself, I realized that what is interesting for everyone is these five minutes. How to delete the rest ? By re-establishing constraints, and it is between ultra constraint and zero degree of constraint that these five minutes can happen. It is obviously a commonplace, but freedom can only be thought of through coercion. In the world of improvisation, which is historically highly politicized and located very far to the left (from American free jazz that can be roughly equated with the political demands of Black Americans, to European improvised music that appeared in the 1960s and 1970s), there is this idea of freedom without constraint that is consistent with a formof political anarchism. As an artist, I am steeped in these stories and I have to get rid of them because they condition my choices. For me, starting an action openly and stopping suddenly has a real value of effectiveness. The information I send is direct. Everything I’ve been working towards in recent years is exactly that  : a sound emission, a very clear intention. Hence this relationship to computer science and rationality, which I mentioned. These questions came about from my improvisational practice and a certain annoyance regarding those other forty-five minutes. And so for FIXIN, the music is written, there is no way that it can go wrong, that it will go on the blink ? Right. But I’m going to give the illusion that there are things that messup, at least in the performedversion. I am working in parallel on ramifications of the project  : an installation version and a sound-only version, without the lighting part. Both will include more flexible modules where randomness will have a more important place. To go back a little bit, the genesis of this project was made with other prototypes—the ones I used with Zimoun—, made by another artist, Florent Colautti. For this version, I used a sound bank that I had made myself and which allowed me to improvise with the motors. Via TouchOSC and my phone, I controlled them remotely and live, while playing my drums, but always in this on/off way. Whereas here, this is not the case... Here, no, no, not at all. At the beginning of the project, the possibilities seemedendless to me. I had to understand all the technical constraints at the same time as I was clarifying the artistic outlines. Randomness was part of what seduced me as a musician but did not seem relevant tome when I was imagining the interaction between the lights, the motors and me. I think that with a certain way of writing, I can give the illusion that I am interacting directly with the motors and the lights. At least that’s the challenge I set myself. The limit commonly attributed to writing is the repetition of the same and the boredom that might result from that, as an interpreter. However, the solution is simple  : changing the writing, making the device more flexible... Nothing scary, when all is said and done. You talk about a « man-machine », about an extension of your body by the motorized system  : were you already, as a musician, in a prosthetic relationship with your instrument ? Yes, for a long time, actually. The orchestral experience has sharpened my awareness of timbre alloys. Being a composer mainly means organizing in time these possibilities which today can be infinite with electronics. Since I was twenty years old—when I started working with composers from acousmatic
Sylvain Darrifourcq, FIXIN, 2019. Photo  : Romain Al’l. 4 Interview Sylvain Darrifourcq 9 movements—I have been fascinated by the possibilities offered by the expansion of my drum set. I experimented with that in two directions  : one via microphones placed on my drum set which passed through effects pedals ; the other clearly acoustic but in a kind of mimicry of electronics  : for this, I had to invent gestures peculiar to certain found objects (often kitchen things) but also to small sex toy engines, very easy and fast to handle. The goal being to go beyond the limits and paradoxes of my instrument to become a man-orchestra, if not a man-machine.



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