The Order of Noise. An Art/Music Symposium

Présentation inaugurale du symposium The Order of Noise
© HEAD – Genève, Juliette Russbach

Soirée inaugurale
© HEAD – Genève, Juliette Russbach

Projection de "Decoder", de Muscha (1984)
© HEAD – Genève, Juliette Russbach

Stuart Bailey, "Asterisk and the Sound Seminar”
© HEAD – Genève, Juliette Russbach

Tris Vonna Michell, "Performative Texts"
© HEAD – Genève, Juliette Russbach

Mattin, "What am I doing"
© HEAD – Genève, Juliette Russbach

Workshop : Paolo Thorsen-Nagel
© HEAD – Genève, Juliette Russbach

Workshop : Tris Vonna-Michell
© HEAD – Genève, Juliette Russbach

Workshop : Paolo Thorsen-Nagel
© HEAD – Genève, Juliette Russbach

Tris Vonna-Michell présente Mount Analogue
© HEAD – Genève, Juliette Russbach

Paolo Thorsen-Nagel, "Sonic Shelter"
© HEAD – Genève, Juliette Russbach

Workshop : Pauline Julier
© HEAD – Genève, Juliette Russbach

Workshop : Laurent Schmid
© HEAD – Genève, Juliette Russbach

Table ronde avec FM Einheit, UN Unruh et Franz Treichler, modération: Mathieu Copeland et Laurent Schmid
© HEAD – Genève, Juliette Russbach

The Order of Noise. An Art/Music Symposium

Mars 2016

"The Order of Noise" – Art/musique, un symposium

Avec les contributions de Stuart Bailey, Mathieu Copeland, Beatrice Gibson, Yann Chateigné, FM Einheit, Pauline Julier, Mattin, Doreen Mende, microsillons, Muscha, Nils Röller, Laurent Schmid, Paolo Thorsen-Nagel, Franz Treichler, Tris Vonna-Michell, UN Unruh

A l'occasion du Master Symposium 2016, ouvert à tous les étudiant-e-s des Master en Arts visuels de Suisse, les programmes CCC, Trans et Work.Master proposent "The Order of Noise", un symposium de trois journées intenses, traversées de questions travaillant les politiques du bruit, les pratiques du son, les relations entre musique et arts visuels aujourd'hui. Au travers des contributions d'une quinzaine de figures internationales, artistes, musiciens, cinéastes, designers, curateurs, théoriciens, le programme allie conférences, tables rondes, workshops et production. Il se clôt sur une soirée de performances et de discussions, conçue avec les participant-e-s étudiant-e-s.

Une proposition des Masters en Arts visuels de la HEAD – Genève, CCC / Trans / Work.Master.

Programme
Mercredi 16 mars
__________
18h : soirée inaugurale
Introduction par Yann Chateigné, Laurent Schmid, Mathieu Copeland, microsillons et Doreen Mende
Projection : « Decoder », de Muscha (1984), 87min
Verrée de bievenue
BH, Salle 25
__________
Jeudi 17 mars
10 – 12h : conférences, projections et discussions
Mattin, "What am I doing"
BH, salle 25

Stuart Bailey, "The Asterisk Seminar"
BH, room 11

Tris Vonna Michell, "Performative Texts"
BH, room S01
__________
14 – 17h : workshops
Workshop 01 avec Mattin
BH, salle 25 (CCC)

Workshop 02 avec Tris Vonna Michell
BH, salle S01 (Work.Master)

Workshop 03 avec Paolo Thorsen-Nagel
BH, salle R07 (Work.Master)

Workshop 04 with Stuart Bailey
BH, salle 11 (Work.Master)
__________
18h : événement
Tris Vonna Michell presente Mount Analogue
OraibiBeckBooks
__________
21h : concert
FM Einheit & UN Unruh
Cave 12
__________
Vendredi 18 mars
10 – 12h: conférences, projections et discussions

FM Einheit + Nils Röller, modéré par Mathieu Copeland
BH, salle 25

Projection : “La Disparition des Aïtus”, de Pauline Julier (2014), 35 min
Suivi d'une discussion avec l'artiste
BH, salles Trans (Trans)

Paolo Thorsten Nagel, "Sonic Shelter"
BH, salle R07
__________
14 – 17h : workshops
Workshop 05 avec Mattin
GD, salle Ri1

Workshop 06 avec FM Einheit
BH, salle 11 / 11B (Work.Master)

Workshop 07 avec Laurent Schmid
BH, salles Work.Master (Work.Master)

Workshop 08 avec Pauline Julier
BH, salles Trans (Trans)
__________
18h : soirée de clôture

Prologue : projection de “Solo for Rich Man” de Beatrice Gibson (2015), 15min
Introduction par Yann Chateigné
GD, cinéma

Conversation : FM Einheit avec UN Unruh et Franz Treichler
Modération par Mathieu Copeland et Laurent Schmid
GD, cinéma

Performance : Mattin et les étudiants participants au workshop, “A Social Realist Score”, 30 – 60 min
GD, salle Ri

"The static comes at him again: a second burst, heading the other way, like an enormous echo or the backrush from the first explosion, air propelled out by its breath being sucked in again. This time it carries him along with it: he feels himself rushing backwards, through a black and endless void. He’s merging with the void: seared, shot through, carbonisé, he’s become the sea of ink, the distance between planets, the space across which signals travel. Like time itself, he’s flattening, turning into carbon paper: the black smear between the sheets, the surface through which things repeat, CC themselves, but that will itself always remain black, and blank. Looking backwards as the soundwave draws away from him, accelerating onwards, he sees things being duplicated in the expanse created by its passage: cats and phone-wires, cars and dancers, rivers. The orchard’s been duplicated too: the siblings have stopped running through it and are sitting at a game-board. All these scenes and objects have been reproduced inwardly, as though injected through some kind of time-syringe into his stomach, in whose blackness they’re suspended like small, lit-up screens, contained by the walls of a new syringe that frames them and injects them further inwards, again and again, the scenes and objects miniaturising more and more as they regress. Eventually, they become so small and distant that they dwindle. From where he is now, he can see the children in the orchard and their game-board shrinking, and the orchard itself shrinking, and the wires around it too: their edges all contracting to form a compound that itself shrinks until it’s so small that it’s no longer perceptible. Then the whole image fades away. The noise has faded too: only fragments of it are left, small residues, vague sonic smudges…”

Tom McCarthy, C, 2010

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