{"id":8520,"date":"2022-01-13T17:03:24","date_gmt":"2022-01-13T16:03:24","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=8520"},"modified":"2024-05-14T12:26:15","modified_gmt":"2024-05-14T10:26:15","slug":"the-lights-which-can-be-heard","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/the-lights-which-can-be-heard\/","title":{"rendered":"The lights which can be heard"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\"><strong><strong><strong>THE LIGHTS WHICH CAN BE HEARD<\/strong>\u00a0\u2013 LE DERNIER SON DES AURORES<\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\">S\u00c9BASTIEN ROBERT<\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-002ffff5 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Installation and visual art<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p class=\"wp-block-paragraph\"><strong><em><strong><em>The Lights Which Can Be Heard<\/em>\u00a0<em>\u2013 Le dernier son des aurores<\/em><\/strong><\/em> is a research and creation project about the sound of the aurora borealis, which has long been witnessed by various indigenous communities in the Arctic. Despite the many accounts, the Western scientific community denied their existence for decades until some hypotheses about their origin began to surface in the 1950s, but are still debated today.\u00a0<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Some believe that the natural VLF (Very Low Frequency) radio waves produced by the aurora borealis can be perceived in the observer\/listener&#8217;s environment. Some natural elements (minerals or crystals) would act as receivers and transform the radio waves (electromagnetic) into the audible spectrum (acoustic). Without rejecting any hypothesis, it is this last one that caught S\u00e9bastien&#8217;s attention for his project.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Despite successful recordings following a three-week residence on And\u00f8ya in Norway, S\u00e9bastien realised that the VLF waves emitted by the aurora are increasingly difficult to perceive because they are more and more drowned out by artificial signals. They are therefore bound to disappear. Inspired by this unique context, and in the continuity of his previous work, S\u00e9bastien is currently developing a body of work around this research, which will allow the audience to perceive the sounds of the aurora borealis while preserving them in light.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"690\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-1024x690.jpg\" alt=\"\" class=\"wp-image-11201\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-1024x690.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-300x202.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-768x517.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-1536x1035.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-2048x1379.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption><meta charset=\"utf-8\">And\u00f8ya, Octobre 2021 \u00a9 S\u00e9bastien Robert<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"690\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-1024x690.jpg\" alt=\"\" class=\"wp-image-11204\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-1024x690.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-300x202.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-768x517.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-1536x1035.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-2048x1379.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Lofoten, February 2022 \u00a9 S\u00e9bastien Robert<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default wp-block-paragraph\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/the-lights-which-can-be-heard\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/the-lights-which-can-be-heard\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=The+lights+which+can+be+heard&amp;url=https:\/\/chroniques-biennale.org\/en\/the-lights-which-can-be-heard\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-1000x1000.jpg\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>Khalil Epi <sup>(FR)<\/sup><\/h2><div class=\"artistContactLine\"><ul class=\"artisteSocials\"><li><a href=\"https:\/\/www.instagram.com\/khalilepi\" target=\"_blank\" class=\"iconLink\"><i class=\"fab fa-instagram\"><\/i><\/a><\/li><\/ul><\/div><div class=\"artisteContent\"><p><span style=\"font-weight: 400;\">Compositeur, multi-instrumentiste et artiste vid\u00e9o, Khalil Hentati (EPI) s&#8217;impose comme une figure centrale de la r\u00e9interpr\u00e9tation \u00e9lectronique contemporaine des musiques traditionnelles et populaires. Son univers sonore circule librement entre musique \u00e9lectronique, improvis\u00e9e, club et savante, tissant des ponts entre h\u00e9ritage et modernit\u00e9 avec une coh\u00e9rence et une \u00e9motion rares.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">A\u00efchoucha, sa cr\u00e9ation immersive m\u00ealant musique live et film documentaire qu&#8217;il a lui-m\u00eame r\u00e9alis\u00e9, a rencontr\u00e9 un succ\u00e8s critique et public retentissant \u2014 salu\u00e9e par les artistes et les grandes institutions pour son approche singuli\u00e8re de la m\u00e9moire sonore nord-africaine. Son duo A\u00efta Mon Amour avec la chanteuse marocaine Widad Mjama a depuis tourn\u00e9 largement, portant leur vision de la musique populaire arabe contemporaine sur les sc\u00e8nes d&#8217;Europe et au-del\u00e0. Il est \u00e9galement membre de Frigya aux c\u00f4t\u00e9s du percussionniste Imed Alibi.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Au fil des ann\u00e9es, il a collabor\u00e9 avec un large spectre d&#8217;artistes, danseurs et musiciens \u2014 N3rdistan, Seydou Boro, Masrah el Khachaba, Arabstazy \u2014 \u00e0 travers l&#8217;image, la danse contemporaine, l&#8217;animation, l&#8217;orchestration et l&#8217;arrangement lyrique. Il co-dirige le label franco-tunisien Shouka, et est co-fondateur de Mottamar, le Congr\u00e8s arabe des musiques \u00e9lectroniques et innovantes.<\/span><\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-002ffff5 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\"><meta charset=\"utf-8\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p class=\"wp-block-paragraph\">Originally commissioned by STRP Festival<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Creation realized in coproduction with the platform <strong>CHRONIQUES CREATIONS<\/strong>, supported by the DRAC Provence-Alpes-C\u00f4te d&#8217;Azur, the R\u00e9gion Sud Provence-Alpes-C\u00f4te d&#8217;Azur, the City of Marseille and the French Institute in Paris<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With the financial support of Stroom Den Haag, DICR\u00e9AM, Fonds [SCAN] Auvergne-Rh\u00f4ne-Alpes, and Stimuleringsfonds Creatieve Industrie<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With the intellectual support of The Royal Library of the Netherlands, The Troms\u00f8 Geophysical Observatory, Fiona Armery (University of Cambridge), Rob Stammes (Polarlightcenter), Harald Gaski (University of Troms\u00f8 ), Hans Ragnar Mathisen and Matti Aikio<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With the technical support of Lucien Nicou (design + production), Leandros Ntolas (light + optics), Pim Kerssemakers (metalwork), Mark IJzerman (TouchDesigner) and Zois Loumakis (hardware + software)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Under the artistic supervision of Jean-Emmanuel Rosnet<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Initiated during the Arctic Wave residency (And\u00f8ya, NO)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><meta charset=\"utf-8\">Partner: Les M\u00e9janes &#8211; Biblioth\u00e8que et Archives Michel Vovelle<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"is-style-noMarginBottom wp-block-paragraph\"><\/p>\n","protected":false},"featured_media":11201,"menu_order":0,"template":"","edition":[66],"type_oeuvre":[25,71,95],"class_list":["post-8520","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/8520","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/11201"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=8520"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=8520"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=8520"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}