Camino del Sol Video and Documentation

Galerie Thaddaeus Ropac Paris Pantin
27 Nov 2014 – 10 Jan 2015

Sylvie Fleury presents Camino del Sol, a new sound and dance performance project at Galerie Thaddaeus Ropac Paris Pantin. The exhibition that follows reveals the set for the performance and some of its leftover materials.

Originally inspired by Fluxus performance, where simple, repeated actions produced sounds, Fleury’s performance, with its own aesthetic premise, incorporates gestures from everyday life revealing the vibrational presence of individuals. The set-up allows for the poetic, the sonic and sometimes the absurd to bloom.
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Performance Camino del Sol for Sylvie Fleury, Gallery Thaddaeus Ropac, Pantin

Seven actresses and dancers enact swiss artist Sylvie Fleury’s universe. It is about escalation, trepidations, and SOUND, SOUND, SOUND….
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Camino del Sol

Composition, sound and gestural interaction design by Diemo Schwarz, additional sounds by Russel Haswell.

VERNISSAGE et performances
JEUDI 27 NOVEMBRE 2014, 18h – 21H
Exposition 27 NOVEMBRE 2014 – 10 JANVIER 2015

Gallery Thaddaeus Ropac Pantin
69 AVENUE DU GÉNÉRAL LECLERC, 93500 Paris Pantin


Alarm–Signal played at Sound and Music Computing Conference, Barcelona

Concert around freesound

Diemo Schwarz performs the piece Alarm–Signal, for CataRT, controllers, and freesound sounds

Alarm sounds and signals are usually lying in wait all around us to alert our attention, warn us of danger, wake us up.  This piece finally gives them a chance to express themselves freely, just what the freesound project was intended for.
“Alarm” and “signal” are the search terms used in freesound to find the sounds out of which this piece is exclusively constructed. Despite the startling nature of most of these sounds, the use of corpus-based concatenative synthesis techniques in the CataRT system makes it possible to compose smooth evolutions and soothing combinations of timbres, thereby reflecting on the inner qualities of these sounds that are richer than their everyday use.

Acknowledgements: Many thanks to Pascal Baltazar for the loan of the Stantum SMK 15″ multitouch interface, and to Mathieu Chamagne for the fantastic work on the Max Multitouch Framework (MMF).


Silver Sounds Exhibition with MTBF soundscape wins award

The Silver Sounds exhibition has won the Times Higher Education Award for Excellence and Innovation in the Arts. At a ceremony in London last night the University’s Naughton Gallery’s Silver Sounds Exhibition took the top award in the category, beating off competition from universities all over the UK.
See the exhibition’s site at

The exhibition is unique because visitors can ‘hear’ as well as see the University’s silver collection, through using handheld computers to highlight objects and listen to the artists’ interpretations. Ten internationally renowned sound artists created sound pieces to accompany 22 of the silver objects, exploring their origins and the reasons for their creation and use. Read the rest of this entry »


Trowel and Seal Silver Sounds exhibition soundscape, Naughton Gallery, QUB, Belfast

This composition was commissioned by Queens University, Belfast, for the QUB Silver Collection soundscapes project, a permanent exhibition at QUB’s Naughton Gallery that presents the universities rich silver collection in a setting where each piece is accompanied by a soundscape, commissioned from one of ten internationally renowned sound artists. These soundscapes respond to the provenance of a particular piece of silverware and explore the reasons for its creation, donation and use and combine with the silver objects to create a new immersive artwork.

The exhibition won the 2008 Times Higher Education Award for Excellence and Innovation in the Arts.

The soundscape for the two exhibition objects Presentation Seal and Trowel (1896) is based on the re-contextualisation of sounds stemming from the life cycle and environment of the exposed objects: their creation, their materiality, their usage, and the concepts and entities they refer to.  These sounds are re-contextualised into a soundscape according to their sonic characteristics by corpus-based synthesis, creating a reminiscence of the objects’ presence in its multiple facets, a sort of sonic cubism.

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