to 25th of july 2017 (4 days)
Where ? Arles
Students : 200 euros
Others : 400 euros
Langage : french and english
Sound and radio artist Alessandro Bosetti has been drawing
the main materials for many of his pieces from "extended interviews".
He has interviewed people in languages he can't speak, constructed narratives
just out of unexpected revelations, used headphones and collective feedback
games to create stories and misunderstandings, created a machine to
"interview oneself" and conducted entire radio pieces by letting
people talk just and only about "the first thing that come to your
mind". He is fascinated by the idea that any encounter and conversation
can be negotiated as a "constructed situation" and has been
interrogating several issues linked to the appropriation of other people
voices as part of radio, music and art projects.
This new workshop is address to beginner and professional radio
makers, radio journalists, sound artist, sociologists, anthropologists
an writers interested in "sound writing". Settings will span
from a classic "question and answer" scheme up to collective
and generative experimental role plays.
Many radio pieces are built around "interviews" where the
act of recording people's stories, reactions and conversations substitutes
the writing of a script. But, what is an audio interview? And how do
we generate our "O-Tone", the original tones radio pieces
can be made of ad that have not been written before?
There are so much more ways to approach people with a microphone as
we expect. Many have been already tried out while many others
are still waiting to be experimented with.
The plain interview schema of questions and answers can be turned upside
down in a number of ways, become a collective play, a game, a social
sculpture, a brainstorming, a divination session, a shy landscape full
of beautiful pauses, a fight, a confession booth, a therapy and so on.
Can the interview be transformed into a performance process where instead
of chasing answers to our pre-made questions we start doing something
together, possibly more surprising and more fun?
Whatever we do when we press "rec" and start taping, we also
start sculpting a situation. Even if we will eventually cut out all
our interventions the situations will always carry the blueprint of
our presence and ideas as reflected in the answers and reactions people
will show us. No matter how genuinely motivated by the search of authenticity
we are, we always change the situation by the only fact of being there
asking something with a recorder at hand.
So, why not trying to construct those situations anew and try to play
with the notion of what is real and what is fiction?
Learning how to approach someone for an audio interview. What to ask?
What not to ask? What gear works better? How can we build a situation
without a script? Reflections and exercises on how to conduct a "classic"
interview. Learning on how to deconstruct a classic interview. Learning
how to turn the interviewee into the interviewer. Learning to build
collective situations and modulated conversations. Learning to use recordings
and interviews as brainstorming tools for creative, artistic and organizational
processes. Generating performative interviews.
Workshop will be mainly practical, equally divided in trying out many
different interview settings among each other and heading out the classroom
to experiment on the field with all sort of approaches. A number of
practical exercises will be given and participants will be prompted
to produce a short audio piece to be presented at the end of the workshop.
- Generative exercises: experimenting with a number of classic and unusual
interview settings, real and simulated, in the classroom.
- Field work: approaching approaches with people, from getting in touch
with someone (on the phone, in the street, in official situations) till
the actual interview. We will discuss ethical aspects of appropriating
other people’s voices for an audio piece and technical solution
to record voices of individuals and groups.
- Analysis: We will also explore several radio works built around unscripted
interviews and O-tones. We will also analyze each participant's interview's
approach pro and cons. What are you good at and what aren't you good
at? (There's no good for all approach, it's a very personal matter…)
- Audio works: we will produce one or more audio/radio works to be presented
at the end of the stage. Piece/s will be done with no script but
exclusively built around interviews and real time interactions used
as materials for "sound writing".
Alessandro Bosetti (Born Milano, Italy, 1973) is a
composer, performer and sound artist currently based in Berlin.
Most of his works delve on musicality of spoken language and sonorous
aspects of verbal communication. He utilizes misunderstandings, translations
and interviews as compositional tools. He has been presenting pieces
for voice and electronics blurring the line between electro acoustic
composition, aural writing and performance in leading venues as the
GRM/Presences Electroniques festival in Paris, Roulette in NYC, The
Stone in NYC and Cafe OTO in London among many more all over Europe,
Asia and the United States.
Most recently he was awarded the Phonurgia Nova prize 2012 for his composition
“636≤ (RTBF 2010) and the IDAF prize 2013 for his performance
“Mask Mirror” an instrument and software that reorganizes
speech for musical purposes enacting an electronic ventriloquism.
Since 2009 he started exploring repetitive speech-loop forms with his
ensemble Trophies with drummer Tony Buck and fretless guitarist Kenta
Nagai. Trophies has released three CDs and tours regularly. Further
ongoing collaborations are with pianist Chris Abrahams (The Necks),
composer vocalist Jennifer Walshe and vocalists Tomomi Adachi and Amelia
Although being known in recent years mostly as a solo performer
past and present collaborations include musicians as Sophie Agnel, Serge
Bagdassarians, Boris Baltschun, Günter Christman, Rhodri Davies,
Michel Doneda, Axel Dörner, Annette Krebs, Peter Kowald, Giuseppe
Ielasi, Phil Niblock, Enrico Malatesta, Renato Rinaldi, Christian Kesten,
Bhob Rainey, Hankil Ryu, Otomo Yoshihide, Ches Smith, Taku Sugimoto,
Taku Unami along with writers Charles Pennequin and Kim T’ae Yong
and typographers Indre Kilimaite and Annette Stahmer.
Bosetti has published more than ten CD’s under his own name on
labels as Errant Bodies Press, Monotype, Rossbin and Sedimental and
many others in different collaborative settings. Blow Up magazine
has called Bosetti “One of the most anomalous and fascinating
figures in the contemporary scene“. Bosetti’s
Cd Zwolfzüngen has been listed as one of The Wire’s best
15 outer limits cd’s of 2010.
more infos, registration, accomodation
+ 33 4 90 93 79 79 or info[at]phonurgia.org