Archive Officielle

Archive Officielle is a multidisciplinary platform and a physical archive focused on conceptual work. Founded in 2016

Point of… by Philippe Vandal is a piece of work inspired and conceived from a series of readings dealing with architecture theory, hearing (in the philosophical and scientific sense) and issues surrounding certain principles of perception and listening. These readings are used as starting points. They generate different sound explorations that attempt to illustrate the theories studied under an instinctive and formal approach. Interested in the great italian theaters from the Renaissance and, in particular, the relationship between the spectator and the stage, Vandal proposes a work which tends to encourage the participation of the listener. When one realizes the particularity of the sound landscape, a process of analysis is almost inevitable. This landscape is constantly being defined and redefined, sometimes gradually, sometimes drastically, with elements that seem to test their own limits and possibilities. From this incessant flow of information, the artist presents his understanding of perception versus apperception notions through a generous spectrum of sounds that constantly demand to be recontextualized and re-evaluated: « our perception of the sound of the sea is said to be composed of the sounds of each single wave we hear without being aware of doing so » (ERLMANN on Leibniz). Some passages, in that sense, reveal a trick played on our ear when a time can be observed between the disappearance of an element and the moment the impact of its absence is felt. The opposite is also true. The sounds are re-sampled, re-used and reorganized. Vandal’s approach shows a great attention to detail and a particular attention paid to the relationship between the different elements, the places they occupy and their size hierarchy: « natural scaling hierarchy influences the viewer because it facilitates the process of human cognition. We are able to perceive a complex structure easily by reducing it to a number of distinct levels of scale » (SALINGAROS).

Philippe Vandal – Point of...

Bur sting brea k’r is the début EP by Montreal's Cloud Circuit. Cloud Circuit is Deanna Radford (poetry) and Jeremy Young (electronics.) The Cloud Circuit Ensemble includes Philippe Vandal (saxophone) and Alexandre St-Onge (bass & laptop.) This project is inspired by the failures of communication technologies as they are tied to human experiences of communication. All efforts are put in place to transport the listener into the grey areas of connection; a space where de-synchronized signals, dropped data packets, repetition and/or deterioration of information is observed. Young develops a magnetic soundscape in which Radford's voice transmits from. Produced using sine wave oscillators and physical interventions on amplified surfaces with saxophone (Vandal) and bass (St-Onge), Bur sting brea k’r evokes the sense that one can hear when the sounds, recognizable and unrecognizable, fall away into particles. Using the soundscape as infrastructure and atmosphere, Radford delivers her poetry guided by the process of deep listening and semi-improvisation. As in live Cloud Circuit performances, her words are spoken in response to sound by Young, Vandal and St-Onge. At the same time, she deconstructs word order so we might question typically intended meanings and better feel the presence of the machines and software which surround us. This demonstrates the ironies that; first, we observe a text deliberately deconstructed by a human to represent the shortcomings of a technology set up to meet an essential and very human need; communication. Second, words sometimes shift from the technical to the emotional as a result of repetition and this process of scattering. Here lies the strength of Cloud Circuit; the ability to create in the listener the desire to re-synchronize disorganized blocks of information and at the same time, accept the tragic end reserved to them. In some ways, Bur sting brea k’r is an invitation to appreciate the failure of our connected world and the void left by it's loss of meaning. -- Deanna Radford: words, deconstructed word events, mouth soundsJeremy Young: sine waves, mouth soundsPhilippe Vandal: saxophone on Side AAlexandre St-Onge: bass, laptop on Side BMixed by Markus LakeMastered by Lawrence EnglishDesigned by Marie-France Gaudet

Cloud Circuit – Bur sting brea k'r

Listening to the latent part which is the master of the evident part La natura delle cose ama celarsi (The nature of things loves to hide) is a research path in perpetual becoming started in 2019, through which I investigate the concept of content dispersion as a direct consequence of contemporary media collapse, facing the dynamics of massification and the accumulation of processes of creation and fruition, placed in relation with the inevitable impermanence that unites everything. The poetic imagery and material peculiarities of Pietra Serena - a gray-blue sandstone used extensively in Renaissance Florence - form the backdrop to a multi-media transient fresco, where planning and the randomness of events cohexist, in which process and work overlap until they merge. Stefano De Ponti Work process and landings are visible This is a project created with the contribution of: NUB Project Space within the Licheni projectTempo Reale within the KATE Artistic Residency ProgramCava NardiniArchive OfficielleRadio PapesseLes FAC IMPERMANENZEPerformed at NUB Project Space on June 17, 2021Stefano De Ponti, Pietra Serena powder, chak-pur, burned old tapes, prepared speakers, samples, electronic and field recordings RELAZIONE MINIMAPerformed at NUB Project Space on July 01, 2021Stefano De Ponti, resonant sculptures in Pietra Serena, electronics and field recordings
David Ryan, voice CIMENTOPerformed at Cava Nardini on October 27 2021Stefano De Ponti, breathing, posture, listening and enduranceFrancesco Frosini mixer, resonances and reamp TRANSIENT MOBILESMonophonic listening devices in Pietra Serena for unrepeatable compositionsConceived, imagined and created by Stefano De PontiTechnical support by Giovanni Magaglio and Leonardo RubboliSculpting support by Marco NardiniVoice over by Alessio Chiappelli and Holly Palmer

Stefano De Ponti – La natura delle cose ama celarsi

Opportunism was recorded off and on approximately between 2019-2021. The album consists of primarily of sounds captured while working in a lab. Bryan is a behavioral neuroscience graduate student at the University of Washington in Seattle, where he studies the neurobiology of fear, anxiety and decision-making. The name of the album is intended to reflect the means in which it was recorded; opportunistically while working or during brief periods of respite in between work. Bryan confiscated a variety of cassette players (all of them broken in one way or another) from the Psychology department storage and began recording sounds while working. Here are some of the found sounds: Track 1: Keyence bz-x800 fluorescence microscopeTrack 2: Nuts and bolts across wood, synth playback through Grass lab audio amplifierTrack 3. Destroying “closed economy” behavioral apparatus in the department loading dock (Haters style)Track 4: Metal junk play in loading dock, recordings of my parent’s garden fountain/conversations we had while I was visiting home.Track 5: Air leak from bike tire on way home from school and office keyboard (followed by synth noise and contact mic)Track 6. Coffee mug against stairwell rail (cassette loop), broken office thermometer and office refrigerator.Track 7: Preparing room for behavioral experiment, 3d printer operating.Track 8: Cassette player feedback and ultrasonic frequencies being picked up from office electronics by cassette player with poor electrical shielding. Manipulated fire alarm from a building fire drill. Minimal synthesizer was later added to the tracks. Manipulation of the source material was purposefully minimal; mainly just panning and EQ work. Some custom Max/MSP was used too. “Conceptually, I view this album as artistic expression of the struggles to obtain work/life balance in graduate school, as well as the intrinsic coupling of science and art—research in general takes a lot of creativity and is not simply rote procedural stuff from what I’ve come to realize over the years. Ultimately, however, it was simply a way for me to blend my two passions in a way that I could afford and to create sounds I like to hear.” - Bryan Schuessler

Bryan Schuessler – Opportunism

Time | Tone composition part I & II are live recordings of two performances by the formation Eventless Plot. This title is referencing the underlying concept of the composition. In practice, the two parts present four notes/tones that alternate and react throughout the duration of the piece. Musicians will react to these fundamental tones creating random combinations and harmonies. The sequence of the notes/tones is interrupted by short dynamic instrumental phrases at the following minutes: 1st ,3rd ,5th ,7th and 9th. If time plays an essential role in these 2 compositions, it is mainly because it follows a graphic and text score. This score serves as a general guideline helping the musicians to achieve a certain level of understanding while leaving to each one of them the freedom to contribute to the final sound as they see fit. Even though Eventless Plot is officially described as a trio, their collaboration with other musicians brings complexity to an already rich sonic landscape. In merging a wide spread of instruments and techniques, from classical to modern, they are able to provoke in the listener a certain state of uncertainty and malleability. That being said, one of the greatest achievements of these two... more -- Composed & Recorded by Eventless Plot (2015-2018)Vasilis Liolios—psaltery (part I), sine tones (part II)Aris Giatas—tuning whistle, sine tones (part I), piano (part II)Yiannis Tsirikoglou—electronics Max/ MSP, tuning whistle (part I), electronics Max/MSP (part II)Angelica Salvi Vasquez—harp (part I & II)Mastered by Yiannis TsirikoglouRelease date : 11/16/2019

Eventless Plot – TIME - TONE COMPOSITION (PART I and II)