Editorial (next)


[...] From FAMA's mechanical box to the Pandora's box of electronics manipulated by the choreographer Emmanuelle Huynh, Ircam's festival combines the world of technology and that world which escapes us. Motion capture carried out by Pierre Jodlowski intersects with a completely different experiment with movement where, without any electronics and under the gaze of the choreographer Xavier Le Roy, the true spirit of the act of making a sound becomes tangible. To this performance of sound and visual manipulation we add, one at a time, the vocal automats of A-Ronne de Berio and the electronic voices of Accentus, the digital distortions of Franck Bedrossian and the entirely orchestral display of Enno Poppe.

One of the recurrent problems in contemporary creation can be seen through these unique presences, that of the mirror it holds up to itself.  In the work of the artist Pierre Huyghe in the adventure Apocalypsis by Philippe Leroux, the investigation of the compositon becomes confused with the creative process itself. This narcissist, mirror mindset, abundant in the visual arts, dance, writing and theater, exhausts itself by concentrating on the conditions surrounding of its own activity. The productions that deconstruct their own views are countless, theatrical performances within theatrical performances. Self-reference, self-understanding, this mise en abime participates, perhaps, in perpetrating today's zeitgeist, pushed by the media to the point of becoming a caricature of itself with reality TV.

The mirror has become one of the most effective mechanisms against chaos, an imaginary chaos from which we can expect anything! The composer Brian Ferneyhough, whose new quartet opens the symposium on the writing of time, suggests a radical alternative to this narcissist logic: do things that we do not completely understand. How do the exterior space and the exterior powers suddenly loom up?
Just like in FAMA's box, we need doors even more than mirrors.

Frank Madlener, Director of IRCAM