Domestic Drones – An Inverted Acousmonium

“They’re my pets. They can be heard for hours at low volume in my workshop, even when I’m not there. I call them my domestic drones and they live in the open air.” (JPRRR)

Principle of the inverted acousmonium :

When recording, I place several types of microphone in the room. Each microphone has its own listening point. I alternate the sound points while remaining permeable to ambient sounds. In this way, I create an inverted acousmonium from a simple broadcast source.

Domestic Drones series 01 was first created as part of the Fallback on air residency, TT Node, Summer 2024.

radio psg matin is a very local station that simulcasts live on p-node.org  For the past five years, the main show, named la matinale (morning show), takes place every other monday from 7 am to 9 am at a local café in le Pré-Saint-Gervais, a North-Eastern Parisian suburb. translate chain was recorded under live conditions. radiopsgmatin.org

The MiniDisc was born exactly thirty years ago, on November 1, 1992.    Abandoned in 2012, it was then officiallyreported missing in 2013.
A very short existence in the life of audio formats.This programme for the Radia network becomes the pretext to resuscitate a selection of personal recordings, amongst a hundred MiniDiscs representing several hundred hours of recordings made between 1998 and 2005 on this no less famous ATRAC format whose simple evocation will move some of you.
A (very) personal opinion:
The mini disc was THE best format of all time ! It had all the advantages of the audio cassette in re-writable digital format and instant playback, plus the possibility of editing within the support itself, to make loops without cuts, and to re-record on the spot.
A pocket studio at the height of mechanical technology. A format so bastard and born too late to survive. Neither mainstream nor professional, a consumerist marvel at the dawn of digital, so to speak, dematerialized.The quintessence of obsolescence, the last song of a materialistic sign. The MINIDISC.This radio programme brings together a hundred files from 1 sec to 4min mixing a lot of raw materials, some field-recordings many wanderings back and forth with a protools editing suite from another time and a series of minidisc’s players noise.

Yann Leguay lives and works in Brussels. He focuses on the notions of dematerialization, the use of interfaces and everything about the materiality of memory. In his sound practice he was defined as a ‘media saboteur’ by the Consumer Waste label, seeking to fold the sound materiality in on itself using basic means in the form of objects, videos and performances. He has presented his work in many places and         festivals all around Europe and further such as Kunstenfestivaldesarts, Club Transmediale, Centre Pompidou, Ex-Teresa Arte Actual.

I have no voice is a spoken word piece construite sur une indétermination de sons en chaos, phonétiquement structurés de façon à ce qu’ils forment leur propre langue parlée. La voix en outil langue, charcute cut le langage et sa parole par tranche, slices de syllabes, et hypercut.
De ritournelles en ritournelles la voix avance en deux langues et devient une langue à langage informatique, au parler algorythmique. Le rythme et la déconstruction des mots, voix hâchée et mots collés pour expérimenter la parole en la réinventant.
La voix dit qu’elle n’a pas de voix, elle est une IA, un bot, sa voix se prénomme Daniela, le féminin de Daniel dans 2001 Odyssée de l’espace de Arthur C. Clarke et Kubrick, et l’un des avatars dont Annlee parle dans Anywhere Out of the World (2000 Parreno).
Une langue frgl (franglais) ou glfr(glaisfran) ou françaisanglais ou
Frengl (frenchenglish) ou englfr (englishfrench) ou frenchenglish.
La confusion du sens dans tous les sens à mon sens un sens essentiel.

I have no voice is a spoken word piece based around an indeterminacy of sounds in chaos, phonetically structured so that they form their own spoken language. Here the voice is used a tool, it cuts into language and slices speech into syllables and hypercuts.
As the refrain develops the voice advances in two tongues and becomes a computer language, with an algorythmic diction. The rhythm and deconstruction of the cut-up fragmented voice and seeming hastily pasted together words are an experiment with speech through reinvention of the idiom.
The voice tells us she has no voice, she is AI, a bot. Her voice however has a name, Daniela, the feminine of Daniel in 2001 Space Odyssey by Arthur C. Clarke and Kubrick, and one of the avatars Annlee speaks about in Anywhere Out of the World (2000 Parreno).
A language frgl (franglais) or glfr(glaisfran) or françaisanglais or
Frengl (frenchenglish) or englfr (englishfrench) or frenchenglish.
The confusion of meaning in all directions has, in my opinion, an essential meaning.

Instrumentaux: Joseph Marzolla
https://soundcloud.com/juliedesk
https://www.instagram.com/julie_coutureau_brossa_i_roger/
www.juliecoutureau.com

Produced following an invitation from the French radio network TT Node, this sound creation is an invitation to travel.

Imagination is undoubtedly, and will always be, our means to cross the world and to dream about it differently.

The author, Charles-Henri Despeignes is a graduate of the conservatory of Pantin in electroacoustic music and hasa University Diploma in Theatre. Hetrained at Radio Campus, and then produced programmes for Le Mouv’, France Culture, RFI.

He also has a company, Les Bruits du Réel, with whom he produces immersive sound works.

Based in Marseille, he recently composed the sound scores for shows for Galmae and Ex Nihilo theatre groups.

FR /

Réalisée à l’invitation de la radio française TT Node, cette création sonore est un appel au voyage.

L’imagination est sans doute, et sera toujours, notre moyen de traverser le monde et de le rêver autrement.

Diplômé du conservatoire de Pantin en musique électroacoustique et doté d’un Diplôme Universitaire de Théâtre, je navigue entre différents univers dont la radio, la musique et le théâtre. Formé dans les Radio Campus, j’ai par la suite produit des formats pour Le Mouv’, France Culture, RFI.

Je travaille aussi à développer ma compagnie, Les Bruits du Réel, avec laquelle je réalise des formats immersifs qui ne connaissent pas de limite de genre de par la pluralité des arts qui y sont convoqués et où, l’Autre, à une place centrale.

Basé à Marseille, je compose également la dramaturgie sonore de spectacle pour la compagnie Galmae et la compagnie Ex Nihilo.

J’étais invité pour une pièce de théâtre afin d’enregistrer ce que vous allez entendre. C’est un plan séquence dans un abattoir d’Anderlecht à Bruxelles. Cette abattoir est loué par une centaine de petit concessionnaire, de petit éleveur d’animaux. Ils n’ abattent pas de poulet.

il y a 2 voix:

la voie hallal

la voie non hallal (porc)

De par sa situation géographique, cet abattoir représente un véritable enjeu social économique car il est situé dans la bordure du centre ville de Bruxelles. Tout le quartier en bénéficie ainsi que les boucherie de la ville.

Nous avons été guidé par une Anthropologue, dont le poste de travaille eu était commissionné par la commune d’ Anderlecht afin de réfléchir à la question du Vivant aux sein d’une ville, car d’habitude tout cela ce fait à l’extérieur des villes, voir très loin de la ville ….

Ce que ces sons ne disent pas, c’ est que les personnes qui y travaillent souffrent de trouble psychologique et physique permanent , des cauchemars liés à la mort et aux sang.

Enregistré par Aymeric de Tapol en 2018

For a theatre play I was invited to record what you are about to hear. It’s a sequence recording in a slaughterhouse in Anderlecht in Brussels. This slaughterhouse is rented by a hundred small dealers, small animal breeders They don’t slaughter chickens.

There are 2 voices:

the hallal way

the non-hallal way (pork)

Due to its geographical location, this slaughterhouse represents a real social and economic issue because it is situated on the edge of the city centre of Brussels. The whole neighbourhood benefits from it, as do the city’s butchers.

We were guided by an anthropologist, whose job was commissioned by the municipality of Anderlecht in order to reflect on these questions because usually all this is done outside the city, even very far from the city ….

What these sounds don’t say is that the people who work there suffer from permanent psychological and physical disorders, nightmares related to death and blood.

Recorded by Aymeric de Tapol in 2018

Aymeric de Tapol is an electronic musician and Sound-recordist, for film, art Video, documentary, radio, Dance performance.
He lives in Brussels. He played in the past in the wall of noise band ” ZOHO”and “Le cable de Feu”

He run the proto techno duo “CANCELLLED” with the Sound Artist Yann leguay.
His music his release by different label, Vlek, Lexi disques, Tanuki, A.V.A, Tanzproceszand Knotwilg record

site : https://aymeridetapol.bandcamp.com/

!Make Some Domestic Noise! is a collective online performance created in the context of the covid-19 lockdown. It can be described as an online domestic noise big band. As everyone was isolated at home, ∏ Node launched the Antivirus program in order to train people to join this online community with their own stream and sounds.

Being alone at home can be stressful, but it can also reveal the beauty of everyday noises.

On a weekly basis, people were invited by email to participate by playing with the noises of their domestic set-up and live stream the result. These separate audio fluxes were then mixed in real time and sent to the main output stream. This was enabled by the ∏ Node site structure, which provides a volume button for every active stream. The website also has an IRC chat through which participants can, and did, directly interact.

Bio

A video artist and performer, Sarah Brown has been exploring video media since 1996 via analogue and computer-based devices. She began her work in the free party scene where she initiated the search for a language that links images and sounds. She has collaborated with many artists and dance and theatre companies (Cie Vent de Sable, Fabienne Gotusso, Hey! La Cie) and since 2015, has been part of the radio collective ∏ Node for whom she conceives participatory sound performances and produces various programmes.

https://www.enreportagepermanent.com/sarahbrown

https://p-node.org/broadcasts/antivirus-makesomedomesticnoise

Last winter, France experienced the longest strike in its modern history. Launched in opposition to a pension reform project, the strikers’ demands very quickly joined the sectors already struggling in a deleterious socio-economic context: health, justice, university, transport, energy, arts, education and media converged in the streets with the  gilets jaunes  aka yellow vests that had been demonstrating and occupying roundabouts for more than a year. Many alliances were formed: lawyers took up the song of the yellow vests, strikers from Radio France investigated a strike by cleaning women, queer collectives defended a striking bus driver fired for homophobic insult, even artists joined the procession, that preceded the unions in the streets and formed the majority of the demonstrations. This social movement is a multitude that agrees on one thing: to get rid of Macron and his world. Only the containment due to the coronavirus will put an end to this political sequence, and the reform will finally be suspended.

This episode of Radia is a subjective attempt to put this moment in sound. Recordings made during demonstrations, sound creation and political reflections are mixed to illustrate the bubbling political atmosphere and sonic environment of this period.

Interventions: Judith Butler : « On Demonstrating Precarity » – 2015 Michel Foucault : « Interview at the Université Catholique of Louvain » – 1981 Michel Foucault : « Debate with Noam Chomsky on Human Nature » – 1971 Hakim Bey : « Waiting for Revolution » in T.A.Z – 1991, read by Stephanie Boubli & DinahBird

Thanks to : Léa Roger, Méryll Ampe, BSP Barbès, Miliani, Sarah, Lola.

Nicolas Montgermont is a sound and radio artist who explores the physicality of waves in its different forms. For more than 15 years, he has been designing artistic devices that explore the poetic essence of waves: reality of waves in a volume, vibration of materials, richness of invisible radio landscapes, musicality of noises, antenna sculpture, listening and broadcasting territory… and is currently developing a work on the links between radio-art and politics. He makes sound performances, installations, records and compositions, alone or in collaboration (chdh, Art of Failure, Cécile Beau, RYBN, Pali Meursault…) and participates in several sound and radio creation collectives (∏node, Yi King Operators, les Sons Fédérés, Jef Klak, l’Acentrale). His projects have been shown in many art centers, museums, concert halls and self-managed venues in Europe and elsewhere. He teaches sound and multimedia creation at the ENS Louis Lumière and at Paris 8.