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Report at Scopitone festival, digital art & electronic music festival in Nantes, France
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Scopitone 2011 marked the start of a new adventure for the Stereolux team who launched the festival in Nantes ten years ago already! The program was extended over four days with the opening ceremony of new premises at La Fabrique, intense goings-on through other venues (TU, Ensan, Lieu Unique…) as well as multiple concerts, installations and performances… Here is the story.
Supported by Songo (L'Olympic), a non-profit organisation from Nantes, Stereolux has found a platform of visibility to fulfil its mission, i.e. to promote the musiques actuelles et arts numériques (current music and digital arts)… this venue, called La Fabrique, is also hosting, on a permanent basis or as temporary residencies, other cultural organisations and bodies including Trempolino, Apo33 or Spoutnik Théâtre Production…. This old 4800 m2 converted industrial building, akin to a gigantic ship, is sub-divided into two live performance halls (one of which holds 1230 seats), an exhibition space (La Galerie
Numérique), several workshops (Labos de création) as well as a bar and restaurant… In acquiring permanent premises, Stereolux can thus now offer events all year round, including its main feature, the Scopitone festival.
In order to launch and highlight this new space, the Stereolux team asked the Visual System collective to emphasize the indoor architecture of their mother ship. The idea was to create a kind of marking of the passageways to underline the tentacular topography of the place thanks to an installation undulating like a mechanical and shimmering snake. Entitled Organic Culture, this installation made of LED footlights, emphasising the main vanishing points and perspective lines of the building via dotted lines, moreover seemed to react, or rather interact, with the public’s presence. Designed by Valère Terrier and Julien Guinard, with the help of Pierre Gufflet for the interface destined to produce this interactive environment, the installation was emitting a strange kind of humming breath generated by Le Tone.
Amongst the other installations and audiovisual performances presented during this tenth anniversary event, as the noteworthy participation of Ryoichi Kurokawa and his “algorithmic” music, both "infra" and "supra" minimal, echoing designed sketches projected on screens. Presented in its beta version in 2010, Naexus, the WhiteBox device by Purform, was equally staging on a large screen a complex interplay of geometric and abstract 3D figures moving along a multi-channel soundtrack, in an also very "abstract-groove" style… Not to forget the "cubic medusa" by Yannick Jacquet & Thomas Vaquié (3destruct)…
Another work worth noticing was Kit Webster’s curious digital trail with a very retro-futuristic "tunnel" effect produced by his squares and diamonds… in a more "performative" way, the dancer-choreographer
Hiroaki Umeda was moving alone on stage, in synchronicity with a mesh of light beams cutting his silhouette out. Conceived as a sensorial experience, his performance entitled Haptic was traversed by screeching high frequencies contrasting with the fluidity of his moves. A special mention for Daito Manabe and the sound "tortures" he has been inflicting himself like a soft electrocution, which make his face contort along his "electric" music (Face Visualiser)…
for micro to cosmos…
The musical program of Scopitone 2011 was operating on a rather large scope, from daring electro-pop to iconoclast breakbeats, via strict electronic music and thunderous techno,instrumental music and frantic
vocals… Amongst others, the bill included Marklion (Dat Politics), Murcof + AntiVJ (very stratospheric…), Acid Washed, Karl Bartos (formely linked to Kraftwerk), Edwin van der Heide for a gigantic light
show (laser sound performance), Shit Robot (DFA), some illustrious representatives of a certain French scene (Yuksek, Sebatian, Agoria, Étienne de Crécy…); not to forget Zan Lyons’ electronic and acoustic improvisations,
Kid Koala’s technological and playful exuberance, Murat Ombombe’s sensors serving a paradoxically rather low-tech approach and music or Aucan’s sound war machine (in hooded "black block" style…).
(DATA: SARAH TAURINYA)
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