Workshops

On this page I keep a log of the workshops and ateliers I have been running since a few years and which have become an inspiring laboratory of ideas for for me and others. All stemming from the original “musicality of spoken language” idea and obsession, those workshops have taken many different shapes and given unforessen results far beyond the starting inspiration. Here you find a few traces, photos and sounds (not yet) posted with much gratitude to all participants, hosts and curators that I have met in those adventures.

Workshop are added chronologically from bottom to up, and if you scroll till the very end you find a list of references and listening tips that I’ve been bringing up over the years, enjoy!

13 …

L’interview Etendue – III : Biography
2015 July Arles, Phonurgia Nova

” … Time to get our hands dirty. How much of ourselves are we ready to show? Further incursions into the (sound) realm of the real,  looking for what can be told and what could be touching…”

With: Soline Nivet, Luce Goutelle, Péroline Perret, Una Lee, Denis Morin.

Each participant brought sound materials related to her/his life. Those materials –  childhood cassettes, sound journals, previous works, beloved movies and private recordings – were confided to another participant, the so called “Extractor”. Each one of the participants became somebody’s else’s extractor and on it’s turn had someone else “extracting” on him.
The task of the extractors is that of immersing themselves into the given material, editing, processing, re-arranging or simply selecting the materials at will and then prompting a reaction from the originator of such materials – which we did call “subject” – by playing it back to her/him.
Up to this point each participant thought that it would have the extractor’s role that of authoring the biographical pieces at the end. But things were meant to be different. Reactions and edited materials were given back to the “subjects” so that they could produce an autobiographical piece with it. An advising relationship with the extractor was encouraged and in this was every participant become entangled into two specular “subject-extractor” and “extractor-subject” duos.
Denis Morin created a “recit autobiographique” in between laughing and crying and informed by techno music aestetic. Una Lee created a mix media delicate and self reflective radio performance. Soline Nivet simulated a dialogue between her and a child version of herself carrying a strong nouvelle vague character. Péroline Perret recalled the story of her first and exciting escape from home via the many travels in sound and music which have become her profession since then.

What haunted us the most was the idea of an autobiographic work that is completely in the present, or better, completely free of the constraints of time. A way to get rid of all associations of autobiography with past, memory, tradition and accumulation of memories as a burden.

 

12 …

Mono, multi-mono, poly-mono, mega-mono
May 2015, Weimar, Bauhaus Universität

“… one monophonic microphone or loudspeaker which is also:  an acoustic camera obscura or an acoustic pinhole where a complex sound landscape of voices is pushed through a tiny hole and re-projected on the other side.
This tiny dot  is at the same time a key hole towards which we are being spied, a mouth, an eye, an orifice, a collapsed supernova and a minigolf hole where the golf ball could disappear forever… “


What is mono ? Can you say that your mouth is mono while your ears are stereo ? How different the monophonic radio of the early days sounded ? What can you do with mono today ? What can you learn from it ? Is it a metaphore, a tool, a limit or just a pain in the neck in the era of surround, multichannel and wave field syntesis  spatial effects and illusions ?
Over two days we will look at mono as a possibility and a methaphore, a thin passage resemblant to the pin hole of a camera obscura, and to the mystical center of a mandala.
We will work with a strippend down equipment, namely a mono microphone, a cable, a single loudspeaker and two acoustically separated rooms to create a sound dispositive that may have a lot to say in regard to the our listening habits, surveillance and the history of radio.

11 …

Musica Reale
May 2015 Verona, Interzona.

“… mi hanno detto che non mi dedico abbastanza al reale …”

Il classico schema dell’intervista fatta di domande e di risposte può essere declinato in innumerevoli modi, divenite un gioco collettivo, una scultura sociale, una sessione di brainstorming, una seduta dall’indovino, un paesaggio di timidezze pieno di pause fascinose, un litigio, un confessionale, un’ora di psicoanalisi, una performance etc.
Ogni volta che schiacciamo “rec” e cominciamo a registrare cominciamo anche a cambiare e scolpire la situazione in cui stiamo intervenendo.

O-Tone. Che cos’è? Come si fabbrica ? (Piccolo excursus sulla fabbrica di realtà nella creazione radiofonica).Sperimentare una serie di dispositivi legati all’intervista dai più tradizionali a quelli più eterodossi.
Lavoro sul campo. Approccio agli approcci: le regole, la politica, l’etica e la poetica dell’utilizzo della voce altrui. (Con alcuni case studies e tanti esercizi). Rudimenti della registrazione e una piccola lezione su microfoni e registratori con Gene Hackman.
Mi hanno detto che non mi dedico abbastanza al reale. Analisi, smontaggio e rimontaggio di pieces sonore e radiofoniche che partono da un lavoro sulla realtà.
Suono senso. I mille modi ( tutti giusti ) di far musica con il linguaggio. Xenakis dice che la musica non è un linguaggio. Bosetti dice che il linguaggio è musica. Indizi per un lavoro sul vortice tra queste due preposizioni.
Tempo reale e tempo imperiale a temperatura ambiente: strategia della creazione collettiva e dell’editing di un lavoro sonoro in men che non si dica.




10 …

L’interview Etendue – II (Alphabophonie)
2014 october Arles, Phonurgia Nova Summer Radio University

“… apple finder, our favorire editing software…. “

Avec: Baptiste Tanne,  Sophie Charlotte Gautier,  Sigolene Valax, Arnaud Leroy, Nicolas Oudin.

“Faire le stage d’Alessandro, c’est commencer par glisser dans une poche ses certitudes, son ego dans l’autre et mettre en commun ce qui nous reste. C’est accepter d’avoir des questionnements et des doutes jusqu’à la fin du stage et voir naître à ses oreilles un travail collectif. On sort de cette expérience, plein d’envies, de désir et avec un horizon des possibles élargi” confie Nicolas Oudin.  Alpha-bo-phonie donc est né en 4 jours à partir d’enregistrements effectués en une matinée dans le studio arlésien de Radio 3D FM.

 

9 …

Reschool: Alessandro Bosetti – Language as Instrument (presented by Liquid Architecture)
2014 September 2014 Sydney, workshop held at Museum of Contemporary Art, Australia

“… a speaking machines orchestra built in one day ….”

Explore sound art through the practice of Italian composer, performer and sound artist Alessandro Bosetti. Then work with Alessandro to create your own software based instrument that manipulates recorded sound. Discuss language and sound as territory for art making and learn the basics of software based tool MAX/MSP. Suitable for beginners or the curious.

Presenter: Italian artist Alessandro Bosetti probes the slippage between information and pure sound in speech – the point at which language becomes music, and at which music becomes a language – with his work Mask Mirror. using a synthesiser to manipulate spoken word samples from field research, interviews, conversations and soliloquies to develop elaborate abstract live compositions.

 

8 …

L’interview Etendue
July 2014 Arles, Phonurgia Nova Summer Radio University

Avec: Eloise Plantrou, Cathy Perrocheau, Agnès des Ligneris, Rémi Salas, Luncinda Terreyre, Caroline Arnaud, Maxim Funes, Adeline Debatisse, Deborah Gros, et Aline Pénitot

Beaucoup de pièces radio sont construites autour d’interviews où l’acte d’enregistrer l’histoire des personnes, leurs réactions et conversations, se substitue à l’écriture d’un script. Mais qu’est-ce qu’une interview audio? Comment peut-on utiliser de manière créative les voix trouvées, jouer avec des documents sonores et des citations ? Il existe de multiples façons d’approcher les gens avec un micro. Beaucoup sont connues, mais tant d’autres ne demandent qu’à être expérimentées. Le schéma classique de questions/réponses peut être décliné sous différentes formes : devenir une pièce collective, un jeu, une sculpture sociale, un brainstorming, une session de divination, un paysage timide empli de magnifiques pauses silencieuses, un combat, une confession mutuelle, une thérapie, etc. Est-ce que l’interview peut se transformer en performance ? Et si au lieu de chasser les réponses avec nos questions préétablies, nous commencions à faire autre chose ensemble, probablement plus surprenante et amusante?

 

7 …

We can keep the meat (Performative Conversations)
April 2014 Venice, Cantiere fondamenta, curate by Enrico Bettinello.

Con: Laura Balbinot, Paolo Calzavara, Massimiliano Cappello, Raul Catalano, Enrico Coniglio, Nicola Di Croce, Francesco Gibaldi, Emanuele Lombardini, Riccardo Marogna, Carlo Siega, Alessandra Trevisan, Stefania Visentin

“… a modular speech music theater, for voices, bodies and conversations…”

Da diversi anni il compositore, artista sonoro e performer Alessandro Bosetti esplora il confine incerto tra musica e linguaggio utilizzando una serie di dispositivi come speech-melodies, istruzioni per improvvisazioni parlate, macchine delle interruzioni (Mask Mirror) e camere oscure sonore ispirate alla radiofonia monofonica degli albori (Hand Made Radio).

A Venezia propone un workshop di due giorni, indirizzato a musicisti, attori, performer, artisti visivi e scrittori in cui si lavorerà sull’impossibile eppure ovvio matrimonio tra linguaggio e musica.

Durante il workshop si passerà da dimostrazioni e decostruzioni di alcuni lavori e dispositivi di Bosetti a esercizi pratici come “The Pool and the Soup” in cui una semplice conversazione viene modulata attraverso parametri musicali sonori e geometrici.

Nella pratica si farà riferimento a fonti diverse scelte tra le conductions di Butch Morris, i presepi viventi italiani e le constructed situations di Dan Graham, Tino Sehgal e Masahiro Miwa di cui verranno analizzati alcuni lavori.

 

6 …

We can keep the meat (Performative Conversations)
2013 Seoul, Mullae  Art Center, curated by Hankil Ryu.

Over the years the composer Alessandro Bosetti has been exploring the blurred edge between language and music using a series of dispositives as Speech Melodies, instructions for spoken improvisation, interruptions and translations machines as “Mask Mirror” and monophonic Hand Made Radio situations.

At Mullae he will propose a 3 days workshop addressed to musicians, actors, performers and writers and aimed to the creation of a performative conversation work delving into the music/language divide where a simple conversation is modulated through musical, sonorous and geometric parameters and that the public is invited to access like a living installation whose references range from the conductions of Butch Morris, the traditional animated Italian nativity scenes and the constructed situations of Tino Seghal.
During the workshop Bosetti will give several short insights and examples from historical pieces and from own work but will mainly focus on the creation of a new piece together with the participants.

 

5 …

Mit dem Tiger warscheinlich (A book of Rumors)
December 2012, Muthesius Kunsthochschule. Curated by Annette Stahmer.

“… text-sound composition for typographers… “

Wir brauchen doch aber zwei Texte.  Ja ja deswegen müssen wir doch alles aufnehmen jetzt, wir müssen einfach. – und die in zwei Teile teilen– Ja das ist ja, ja ja das sehen wir noch, vielleicht nehmen wir noch ein Text von uns und den anderen Text. Auf jeden Fall brauchen wir – Ja. – Wart ihr schonmal bei dem Boesner drin? – Ne – Meinst du da ist was? –  Möcht ich aber gern – Wollen wir da nochmal reingehen und gucken? – Erstmal Post, da sind mehr Leute. – Das bringt nichts. – Sinnloses Gerede. – Ich fühl mich, als wenn ich ewig wach bin.  – Ja – Der halbe Tag – Ich weiß auch nicht wie du das schaffst immer. – Frag mich mal. Ich weiß es auch nicht wie ich es immer schaffe. Echt. – Ich bin so froh, dass sie mich damals nicht wollten. – Huahaha – Dann wäre ich wahrscheinlich eh nicht mehr da. –  Damit können Sie so zur Kasse gehen, so. Ja. Bitte. – Man müsste es hier so weit vorne halten. – Hahahahaha, ja na klar. – 42 Cent – Vergiss die Berliner nicht. – Dankeschön. – Macht nochmal 42 Cent.

 

4

Hand Made Radio (Voice Lab)
Brussels November 2012, Sarma/Pianofabriek. Curated by Myriam Van Imschoot.

” … For 20 minutes look at that silent loudspeaker as if it were a mandala and remember all sounds (as well as images, ghosts and demons ) that you imagine coming out of it. For 20 minutes go through the memory of those imagined sounds, fix them into a mental timeline  while moving your body in the space. Create a score. For 20 minutes perform the imagined sounds togehter with the other participant…. “

“Learning to compose with one microphone, one loudspeaker, two separate spaces and operating a camera obscura that works with sound. There is no recording or editing, no digital processing and alteration. No pre or post production. It all happens in real time in a hidden space. Bodies and voices are not bound to a computer, instrument or other interface of sort. They are free to move, they are invisible. Extremely light, extremely present. Handmade Radio is a collaborative lab for composers and sound creators on conceiving a handmade sound work following the rules and techniques of early radio days. Get close to the microphone. Get far away from the microphone. Feel the space. Let your feet slide softly on the floor and be silent until you are ready to place your sound.  It is all mono. It all goes through a pin hole. And then spreads all over again.”

 

3 …
La Macchina delle Interruzioni. 
2013 Area Sismica, Meldola. Curated by Enrico Malatesta.

With: Alberto Prezzati, Luca Fusconi, Marianna Murgia, Alessandra Tempesti, Agnese Fortuna, Lara Malingut, Martina Scienza, Giuliano Tremea.

“.. casual conversations becoming sound scultpures … “

“La “Speech Melody”, la serie di istruzioni per l’improvvisazione parlata “Pool and the Soup”, la macchina delle interruzioni MaskMirror e la “Radio fatta a Mano” sono solo alcuni degli strumenti creati dall’artista sonoro e compositore Alessandro Bosetti per esplorare quel confine incerto che si trova tra linguaggio e musica. Ad area sismica proporrà un laboratorio di due giorni, aperto a musicisti, attori, performer e scrittori, dove ad un lavoro di creazione collettiva approfondendo le possibilità sonore delle attività dialogiche e fono-articolatorie si alternerà una presentazione di lavori significativi nell’ambito della musicalità del linguaggio parlato, dello stesso Bosetti e di altri. ”

 

2 …

Hand Made Radio created with Anne Laure Pigache
July 2012, Arles, Phonurgia Nova

With:  Jean Fürst, Myriam Van Imschoot , Veronique Macary , Chloé Sanchez,  Aline Pénitot, Hélène Choer, Florence Beaurepaire, Amandine Provost, Emilie Mousset, Pascale Bellier.

” …Imagine going back to the first days of radio when tape splicing and editing and sound effects and sound processing where not available. Imagine a time when everything was mono and all actors, noisemakers, foley artists and speakers would gather in front of a single microphone to broadcast in real time. Imagine a radio play, a radio documentary, or a sound composition where all sounds are exclusively derived from the human voice. ..”

Re discovering the primitive radio techniques radio artist and composer Alessandro Bosetti and Sound poet Anne Laure Pigache will guide you in producing a complete piece for radio using just one single microphone, your mouth and your ears.

 

1 …
Le lan­gage comme musique universelle
11 -15 mai 2009 ,  Brussels ACSR

Avec: Chloé Despax, Damien Magnette, Christophe Rault, Inger Gleditsch, Rosalie Peeters.

“… so many ways of making music with language, no one that’s completely right and no one that’s completely wrong…”

Sur l’espace de cinq jours, Alessandro Bosetti ani­mera un ate­lier adressé aussi bien à des artistes du son et de la radio, des com­po­si­teurs, que des plas­ti­ciens, des auteurs que des artistes de la vidéo, tout artiste inté­ressé à tra­vailler le son et le lan­gage comme matière sonore. L’objectif de cet ate­lier sera , à tra­vers la réa­li­sa­tion d’un ou plu­sieurs tra­vaux sonores, d’explorer la musi­ca­lité des langues et du lan­gage parlé, avec une ana­lyse des dif­fé­rents modes de com­mu­ni­ca­tion (poé­sie, tra­duc­tion dou­blée, incom­pré­hen­sions, entre­tiens, conversation).

A par­tir de dif­fé­rents concepts qui seront énon­cés, il sug­gè­rera aux par­ti­ci­pants des idées de départ, des pro­po­si­tions de tra­vail (cer­taines peuvent être consul­tées ici; ceux-ci for­me­ront alors de petits groupes, pour tra­vailler paral­lè­le­ment et uti­li­ser dif­fé­rentes approches tech­niques. Durant le pro­ces­sus, Alessandro Bosetti appor­tera des mises en pers­pec­tive tech­niques et poé­tiques sur quelle manière trai­ter la musi­ca­lité du lan­gage parlé à par­tir de dif­fé­rent contexte choisi. Le pro­ces­sus devien­dra de plus en plus col­lec­tif pour abou­tir à une pièce unique et une per­for­mance impro­vi­sée en fin du workshop.

Some listening references…

 

 

 

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