{"id":2193,"date":"2016-02-01T03:57:29","date_gmt":"2016-02-01T02:57:29","guid":{"rendered":"http:\/\/www.multimedialab.be\/blog\/?p=2193"},"modified":"2019-09-30T09:54:10","modified_gmt":"2019-09-30T07:54:10","slug":"instrument-decoute","status":"publish","type":"post","link":"http:\/\/www.multimedialab.be\/blog\/?p=2193","title":{"rendered":"Instrument d&rsquo;\u00c3\u00a9coute [2015-2016]"},"content":{"rendered":"<p>ESA Le 75 : Cours de cr\u00c3\u00a9ation sonore : exercice 1.<\/p>\n<p><img decoding=\"async\" id=\"image8230\" src=\"http:\/\/www.multimedialab.be\/blog\/wp-content\/uploads\/2015\/11\/son_index.jpg\" alt=\"Qu'est-ce que la r\u00c3\u00a9verb\u00c3\u00a9ration ?\" \/><\/p>\n<p><!--more--><\/p>\n<p><em>Un travail sonore dans le contexte du cours de Cr\u00c3\u00a9ation Sonore BAC 3<br \/>\n\u00c3\u00a0 l&rsquo;ESA Le 75 \u00c3\u00a0 Woluwe-Saint-Lambert (Bruxelles) 2015-2016.<br \/>\nProfesseur : Marc Wathieu. <\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" id=\"image2451\" src=\"http:\/\/www.multimedialab.be\/blog\/wp-content\/uploads\/2012\/09\/pixel_gris.gif\" alt=\"Grey line\" width=\"482\" height=\"1\" \/><\/p>\n<p><a data-flickr-embed=\"true\"  href=\"https:\/\/www.flickr.com\/photos\/marcwathieu\/albums\/72157662204188564\" title=\"Instrument d\u00e2\u20ac\u2122\u00c3\u00a9coute\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/farm2.staticflickr.com\/1611\/24772740630_38575b585e.jpg\" width=\"482\" height=\"319\" alt=\"Instrument d\u00e2\u20ac\u2122\u00c3\u00a9coute\"><\/a><script async src=\"\/\/embedr.flickr.com\/assets\/client-code.js\" charset=\"utf-8\"><\/script><\/p>\n<p><a href=\"https:\/\/www.flickr.com\/photos\/marcwathieu\/albums\/72157662204188564\" target=\"_blank\">Lien direct vers les photos sur Flickr.<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" id=\"image2451\" src=\"http:\/\/www.multimedialab.be\/blog\/wp-content\/uploads\/2012\/09\/pixel_gris.gif\" alt=\"Grey line\" width=\"482\" height=\"1\" \/><\/p>\n<p><strong><em>T\u00c3\u00a9l\u00c3\u00a9charger cet \u00c3\u00a9nonc\u00c3\u00a9.<\/em><\/strong><\/p>\n<p><img decoding=\"async\" id=\"image88\" src=\"http:\/\/www.multimedialab.be\/blog\/wp-content\/uploads\/2007\/02\/icon_zip_big.gif\" alt=\"icon_zip_big.gif\" \/><a href=\"http:\/\/www.multimedialab.be\/doc\/le_75\/2015-2016\/le_75_creation_sonore_01_instrument_d_ecoute.zip\">T\u00c3\u00a9l\u00c3\u00a9charger le PDF zipp\u00c3\u00a9 (72 Ko).<\/a><\/p>\n<p>Voir la documentation du cours :<br \/>\n\u00e2\u2020\u2019 <a href=\"http:\/\/www.multimedialab.be\/doc\/images\/index.php?album=son%2Fecoute\" target=\"_blank\">Instruments d&rsquo;\u00c3\u00a9coute.<\/a><br \/>\n\u00e2\u2020\u2019 <a href=\"http:\/\/www.multimedialab.be\/doc\/images\/index.php?album=son%2Fecoute\" target=\"_blank\">\u00c3\u2030coute a\u00c3\u00a9rienne.<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" id=\"image2451\" src=\"http:\/\/www.multimedialab.be\/blog\/wp-content\/uploads\/2012\/09\/pixel_gris.gif\" alt=\"Grey line\" width=\"482\" height=\"1\" \/><\/p>\n<p><strong>EXERCICE 1\u00c2\u00a0: Instrument d&rsquo;\u00c3\u00a9coute.<\/strong><\/p>\n<blockquote><p>\n<strong>OBJECTIF.<\/strong><br \/>\nCr\u00c3\u00a9er un instrument d&rsquo;\u00c3\u00a9coute qui souligne ou modifie la perception d&rsquo;un lieu ou d&rsquo;un ph\u00c3\u00a9nom\u00c3\u00a8ne sonore.\n<\/p><\/blockquote>\n<blockquote><p>\n<strong>01. INTENTIONS &#038; CONSIGNES.<\/strong><\/p>\n<p>Ce projet se pr\u00c3\u00a9sente comme une invitation \u00c3\u00a0 partager une exp\u00c3\u00a9rience d&rsquo;\u00c3\u00a9coute.<\/p>\n<p>Le r\u00c3\u00a9sultat souhait\u00c3\u00a9 peut \u00c3\u00aatre de diff\u00c3\u00a9rentes natures : un moment contemplatif ou surprenant, une \u00c3\u00a9coute attentive et consciente dirig\u00c3\u00a9e vers un ph\u00c3\u00a9nom\u00c3\u00a8ne sonore particulier (silence, qualit\u00c3\u00a9s du son ambiant, bruit parasite, \u00c3\u00a9v\u00c3\u00a9nement inframince, etc).<\/p>\n<p>Tout est envisageable du moment que la perception de l&rsquo;auditeur s&rsquo;en trouve modifi\u00c3\u00a9e, augment\u00c3\u00a9e, alt\u00c3\u00a9r\u00c3\u00a9e, amplifi\u00c3\u00a9e, conditionn\u00c3\u00a9e.<\/p>\n<\/blockquote>\n<blockquote><p>\n<strong>02. OBJET.<\/strong><\/p>\n<p>Il peut s&rsquo;agir d&rsquo;un objet trouv\u00c3\u00a9 ou d\u00c3\u00a9tourn\u00c3\u00a9 de son usage.<\/p>\n<p>Quelques principes possibles : tubes ou tuyaux souples ou rigides, bo\u00c3\u00aetes ou cavit\u00c3\u00a9s, c\u00c3\u00b4nes, ballons, membrane, plaque ou surface, etc.\n<\/p><\/blockquote>\n<blockquote><p>\n<strong>02. ESPACE.<\/strong><\/p>\n<p>Bien que l&rsquo;instrument d&rsquo;\u00c3\u00a9coute soit au centre de l&rsquo;exp\u00c3\u00a9rience, le lieu, ses qualit\u00c3\u00a9s sonores et notre positionnement sont \u00c3\u00a9galement \u00c3\u00a0 interroger, de mani\u00c3\u00a8re \u00c3\u00a0 \u00c3\u00a9tablir de nouvelles associations entre le son et l\u00e2\u20ac\u2122espace.<\/p>\n<p>Cet instrument peut nous inviter \u00c3\u00a0 diriger notre \u00c3\u00a9coute dans une direction inhabituelle (devant, derri\u00c3\u00a8re, au-dessus, en-dessous) ou \u00c3\u00a0 adopter une position, une posture insolite, une manipulation, un geste singulier.\n<\/p><\/blockquote>\n<blockquote><p>\n<strong>03. MANIPULATION.<\/strong><\/p>\n<p>L&rsquo;invitation \u00c3\u00a0 l&rsquo;\u00c3\u00a9coute et le mode d&rsquo;utilisation de cet instrument devront \u00c3\u00aatre compr\u00c3\u00a9hensible sans intervention ext\u00c3\u00a9rieure.<\/p>\n<p>Le cas \u00c3\u00a9ch\u00c3\u00a9ant, un signe graphique ou un mode d&#8217;emploi simple (marche \u00c3\u00a0 suivre, s\u00c3\u00a9quence d&rsquo;ic\u00c3\u00b4nes, etc) est \u00c3\u00a0 pr\u00c3\u00a9voir.\n<\/p><\/blockquote>\n<blockquote><p>\n<strong>05. IMAGES.<\/strong><\/p>\n<p>Deux images sont \u00c3\u00a0 r\u00c3\u00a9aliser :<br \/>\n&#8211; une image de l&rsquo;instrument<br \/>\n&#8211; une image d&rsquo;un utilisateur en position d&rsquo;\u00c3\u00a9coute.\n<\/p><\/blockquote>\n<blockquote><p>\n<strong>06. CRIT\u00c3\u02c6RES.<\/strong><\/p>\n<p>\u00e2\u20ac\u00a2 Qualite\u00cc\u0081s plastiques : ergonomie, inge\u00cc\u0081niosite\u00cc\u0081.<br \/>\n\u00e2\u20ac\u00a2 Pertinence (ade\u00cc\u0081quation, re\u00cc\u0081ponse approprie\u00cc\u0081e).<br \/>\n\u00e2\u20ac\u00a2 Incongruite\u00cc\u0081 (sens du contraste, surprise, provocation).<br \/>\n\u00e2\u20ac\u00a2 Attractivite\u00cc\u0081 (plaisir induit, attrait de la pre\u00cc\u0081sentation).\n<\/p><\/blockquote>\n<blockquote><p>\n<strong>07. AGENDA ET REMISE.<\/strong><\/p>\n<p><em>Ce travail sera r\u00c3\u00a9alis\u00c3\u00a9 par groupes de 4 \u00c3\u00a9tudiant(e)s.<\/em><\/p>\n<p>Lundi 01.02 : Introduction.<br \/>\nLundi 08.02 : Recherche et exp\u00c3\u00a9rimentation de diffe\u00cc\u0081rentes pistes.<br \/>\nLundi 15.02 : Mise en forme.<br \/>\nLundi 22.02 : Remise : pre\u00cc\u0081sentation d\u00e2\u20ac\u2122un prototype \u00c3\u00a0 l\u00e2\u20ac\u2122ensemble de la classe.\n<\/p><\/blockquote>\n<blockquote><p>\n<strong>RE\u00cc\u0081FE\u00cc\u0081RENCES &#038; LIENS.<\/strong><\/p>\n<p><a href=\"http:\/\/www.multimedialab.be\/doc\/images\/index.php?album=son%2Fecoute\" target=\"_blank\">Documentation \u00ab\u00a0E\u00cc\u0081coute\u00a0\u00bb.<\/a><\/p>\n<p>Baudouin Oosterlynck : Se\u00cc\u0081rie \u00ab\u00a0E\u00cc\u0081tant donne\u00cc\u0081s\u00a0\u00bb (2002 &#8211; 2004)<br \/>\nE\u00cc\u0081tant donne\u00cc\u0081 un objet, comment en re\u00cc\u0081ve\u00cc\u0081ler, en silence, les particularite\u00cc\u0081s sonores<br \/>\ninattendues ? Il y a 25 \u00ab\u00a0E\u00cc\u0081tant donne\u00cc\u0081s\u00a0\u00bb en guise de re\u00cc\u0081ponse.<br \/>\n<a href=\"http:\/\/www.baudouinoosterlynck.be\/etant%20donne%201.htm\" target=\"_blank\">http:\/\/www.baudouinoosterlynck.be\/etant%20donne%201.htm<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nBaudouin Oosterlynck, Exit11, Grand-Leez (B), May 2015.<br \/>\n<a href=\"https:\/\/www.fickr.com\/photos\/marcwathieu\/sets\/72157655404339810\/\" target=\"_blank\">https:\/\/www.fickr.com\/photos\/marcwathieu\/sets\/72157655404339810\/<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nBaudouin Oosterlynck : Se\u00cc\u0081rie \u00ab\u00a0Prothe\u00cc\u20acses acoustiques\u00a0\u00bb (1994 &#8211; 1995)<br \/>\nComment entendrait-on le monde si nos oreilles e\u00cc\u0081taient oriente\u00cc\u0081es autrement ?<br \/>\n<a href=\"http:\/\/www.baudouinoosterlynck.be\/prot.htm\" target=\"_blank\">http:\/\/www.baudouinoosterlynck.be\/prot.htm<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nLa se\u00cc\u0081rie des Etant donne\u00cc\u0081s [&#8230;] regroupe un ensemble d\u00e2\u20ac\u2122instruments acoustiques imagine\u00cc\u0081s par l\u00e2\u20ac\u2122artiste et re\u00cc\u0081alise\u00cc\u0081s a partir d\u00e2\u20ac\u2122objets re\u00cc\u0081cupe\u00cc\u0081re\u00cc\u0081s en partie dans les laboratoires de chimie. Ste\u00cc\u0081thoscopiques, ceux-ci induisent un rapport aux sons de\u00cc\u0081contextualise\u00cc\u0081s du bruit environnant. D\u00e2\u20ac\u2122abord manipule\u00cc\u0081s, puis tres rapidement joue\u00cc\u0081s, ils sont la source de ve\u00cc\u0081ritables univers sonores, dont les variations, d\u00e2\u20ac\u2122une subtilite\u00cc\u0081 infnie, se de\u00cc\u0081ploient dans un rapport exclusif avec le spectateur. Un spectateur devenu musicien, et qui, s\u00e2\u20ac\u2122e\u00cc\u0081merveillant dans une parfaite solitude du son produit, par exemple, par de petites billes de plomb glissant dans deux tubes de verre sinusoidaux, fnit par suivre de l\u00e2\u20ac\u2122oreille, comme on suit du regard, les reliefs sonores d\u00e2\u20ac\u2122une ge\u00cc\u0081ographie spatiale et temporelle comme de\u00cc\u0081ploye\u00cc\u0081e et amplife\u00cc\u0081e en son intimite\u00cc\u0081.<br \/>\nEcoute (Voir), Benoi\u00cc\u201at Dusart, L&rsquo;Art Me\u00cc\u201ame n\u00c2\u00b0 48 (3e trimestre 2010), p. 40.<br \/>\n<a href=\"http:\/\/www2.cfwb.be\/lartmeme\/no048\/documents\/AM48.pdf\" target=\"_blank\">http:\/\/www2.cfwb.be\/lartmeme\/no048\/documents\/AM48.pdf<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nCatherine Be\u00cc\u0081chard &#038; Sabin Hudon : Les E\u00cc\u0081couteurs (2011)<br \/>\n<a href=\"http:\/\/bechardhudon.com\/project\/les-ecouteurs-the-listeners-2011-en-continuongoing\/\" target=\"_blank\">http:\/\/bechardhudon.com\/project\/les-ecouteurs-the-listeners-2011-en-continuongoing\/<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nCatherine Be\u00cc\u0081chard &#038; Sabin Hudon : L\u00e2\u20ac\u2122Oreille [e\u00cc\u0081]tendue (2013)<br \/>\n<a href=\"http:\/\/bechardhudon.com\/project\/loreille-etendue-2013\/\" target=\"_blank\">http:\/\/bechardhudon.com\/project\/loreille-etendue-2013\/<\/a><\/p>\n<p>Catherine Be\u00cc\u0081chard &#038; Sabin Hudon : 1+1=3 (2013)<br \/>\n<a href=\"http:\/\/bechardhudon.com\/project\/113-2013\/\" target=\"_blank\">http:\/\/bechardhudon.com\/project\/113-2013\/<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nCatherine Be\u00cc\u0081chard &#038; Sabin Hudon : E\u00cc\u0081coute verticale (2011)<br \/>\n<a href=\"http:\/\/bechardhudon.com\/project\/ecoute-verticale-vertical-listening-2011\/\" target=\"_blank\">http:\/\/bechardhudon.com\/project\/ecoute-verticale-vertical-listening-2011\/<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nPierre-Laurent Cassie\u00cc\u20acre : Schizophone (2006)<br \/>\n<a href=\"http:\/\/pierrelaurentcassiere.com\/fr-schizophone.html\" target=\"_blank\">http:\/\/pierrelaurentcassiere.com\/fr-schizophone.html<\/a><br \/>\n<a href=\"http:\/\/www.documentsdartistes.org\/artistes\/cassiere\/repro13.html\" target=\"_blank\">http:\/\/www.documentsdartistes.org\/artistes\/cassiere\/repro13.html<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nTabatha Andrews : Listening Object 1 (2014)<br \/>\n<a href=\"http:\/\/tabathaandrews.co.uk\/listening-object\" target=\"_blank\">http:\/\/tabathaandrews.co.uk\/listening-object<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nCathy Van Eck : Extended Ears (2013)<br \/>\n<a href=\"http:\/\/www.cathyvaneck.net\/ownworks\/28-extended-ears-2013\/\" target=\"_blank\">http:\/\/www.cathyvaneck.net\/ownworks\/28-extended-ears-2013\/<\/a><br \/>\n<a href=\"http:\/\/www.cathyvaneck.net\/ownworks\/hearing-sirens\/\" target=\"_blank\">http:\/\/www.cathyvaneck.net\/ownworks\/hearing-sirens\/<\/a><br \/>\n\u00e2\u20ac\u201d<br \/>\nEar Accessory &#8211; Workshop at Head Geneva by SounDoesnTravel<br \/>\n<a href=\"https:\/\/vimeo.com\/144735814\" target=\"_blank\">https:\/\/vimeo.com\/144735814<\/a>\n<\/p><\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" id=\"image2451\" src=\"http:\/\/www.multimedialab.be\/blog\/wp-content\/uploads\/2012\/09\/pixel_gris.gif\" alt=\"Grey line\" width=\"482\" height=\"1\" \/><\/p>\n<p><strong>Inspiration Sonique.<\/strong><\/p>\n<p><a href=\"http:\/\/www.everydaylistening.com\/\" target=\"_blank\">Everyday Listening.<\/a><br \/>\n<a href=\"http:\/\/fresques.ina.fr\/artsonores\/\" target=\"_blank\">L&rsquo;aventure \u00c3\u00a9lectroacoustique.<\/a><br \/>\n<a href=\"http:\/\/arteradio.com\/\" target=\"_blank\">Arte Radio.<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" id=\"image2451\" src=\"http:\/\/www.multimedialab.be\/blog\/wp-content\/uploads\/2012\/09\/pixel_gris.gif\" alt=\"Grey line\" width=\"482\" height=\"1\" \/><\/p>\n<p><em>Cours de cr\u00c3\u00a9ation sonore<br \/>\nESA LE 75, 2015-2016.<br \/>\nProfesseur : Marc Wathieu.<\/em><br \/>\n\u00e2\u2020\u2019 <a href=\"https:\/\/www.flickr.com\/photos\/marcwathieu\/collections\/72157659819166321\/\" target=\"_blank\">Voir les photos li\u00c3\u00a9es au cours de Cr\u00c3\u00a9ation sonore \u00c3\u00a0 l&rsquo;\u00c3\u00a9cole Le 75.<\/a><br \/>\n\u00e2\u2020\u2019 <a href=\"https:\/\/le75.bandcamp.com\/\" target=\"_blank\">\u00c3\u2030couter un \u00c3\u00a9chantillon des sons cr\u00c3\u00a9\u00c3\u00a9s au cours.<\/a><br \/>\n\u00e2\u2020\u2019 <a href=\"http:\/\/www.leseptantecinq.be\/\" target=\"_blank\">Voir le site de l&rsquo;\u00c3\u00a9cole Le 75.<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" id=\"image2451\" src=\"http:\/\/www.multimedialab.be\/blog\/wp-content\/uploads\/2012\/09\/pixel_gris.gif\" alt=\"Grey line\" width=\"482\" height=\"1\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>ESA Le 75 : Cours de cr\u00c3\u00a9ation sonore : exercice 1.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[61,18],"tags":[],"class_list":["post-2193","post","type-post","status-publish","format-standard","hentry","category-le-75","category-son"],"_links":{"self":[{"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=\/wp\/v2\/posts\/2193","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2193"}],"version-history":[{"count":1,"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=\/wp\/v2\/posts\/2193\/revisions"}],"predecessor-version":[{"id":4073,"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=\/wp\/v2\/posts\/2193\/revisions\/4073"}],"wp:attachment":[{"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2193"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2193"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.multimedialab.be\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2193"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}