{"id":1487,"date":"2021-06-29T22:59:51","date_gmt":"2020-07-10T08:44:01","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/option-aim-i-chatel-preham-2\/"},"modified":"2021-06-29T23:09:05","modified_gmt":"2021-06-29T21:09:05","slug":"option-aim-i-chatel-preham","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/option-aim-i-chatel-preham\/","title":{"rendered":"Option AIM I \/ Gabriel Chatel, Charles Preham"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":881,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"jetpack_post_was_ever_published":false},"categories":[15,1,20],"tags":[],"class_list":["post-1487","post","type-post","status-publish","has-post-thumbnail","hentry","category-cours-tfe-19-20","category-productions","category-prod-19-20"],"grid":"{\r\n \"colCount\": 6,\r\n \"colGutter\": 1.5,\r\n \"rowGutters\": [],\r\n \"frameMargin\": 5,\r\n \"topFrameMargin\": 10,\r\n \"bottomFrameMargin\": 5,\r\n \"rowAttrs\": [\r\n {}\r\n ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Brian Eno, Ambient 1\u00a0: Music for Airports (1978)
Interpr\u00e9tation par mod\u00e8le proc\u00e9dural
Gabriel Chatel, Charles Preham<\/em>
<\/span><\/p>

Ce projet a \u00e9t\u00e9 r\u00e9alis\u00e9 dans le cadre du cours \u00ab\u00a0Analyse formelle et processus informatique\u00a0\u00bb. Le travail propos\u00e9 aux \u00e9tudiants consiste \u00e0 explorer un syst\u00e8me de composition autonome en se basant sur l\u2019analyse d\u2019une oeuvre d\u2019art. Les \u00e9tudiants transcrivent leur interpr\u00e9tation de l\u2019oeuvre choisie dans le langage de programmation Python, et g\u00e9n\u00e8rent des configurations spatiales param\u00e9triques pour investir l\u2019espace d\u2019un cube de 10 cm de c\u00f4t\u00e9.<\/span><\/p>

Enseignants: Denis Derycke (coord.), Michel Lef\u00e8vre, Julien Rippinger<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 2,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 651\r\n },\r\n {\r\n \"type\": \"shortcode\",\r\n \"cont\": \"[shared_counts]\",\r\n \"align\": \"top\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 5,\r\n \"shortcodeid\": 1594817507803\r\n },\r\n {\r\n \"type\": \"hr\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 4\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Ce travail est constitu\u00e9 de deux parties : une analyse graphique et m\u00e9thodologique de la musique et des partitions de Brian Eno pour son album exp\u00e9rimental \u00ab\u00a0Ambient 1 : Music for Airport\u00a0\u00bb, et une interpr\u00e9tation de ces analyses dans le but de concevoir notre propre production.<\/p>

Pour cet album, la m\u00e9thode de composition de Eno consiste \u00e0 superposer des bandes sonores de diff\u00e9rentes longueurs diffus\u00e9es chacune en boucle de fa\u00e7on \u00e0 obtenir une texture sonore bas\u00e9e sur une forme de r\u00e9p\u00e9tition, mais aussi sur une forme d\u2019\u00e9volution gr\u00e2ce au d\u00e9calage qui s\u2019installe entre les boucles. L\u2019analyse se focalise sur les deux premiers titres de l\u2019album : \u00ab\u00a01\/1\u00a0\u00bb et \u00ab\u00a02\/1\u00a0\u00bb. Chaque morceau a sa logique propre : \u00ab 1\/1 \u00bb se compose d\u2019une boucle dans laquelle s\u2019incr\u00e9mente des \u00e9v\u00e9nements<\/em>, et \u00ab\u00a02\/1\u00a0\u00bb est une superposition de huit boucles de tailles et de fr\u00e9quences diff\u00e9rentes.<\/p>

Le travail d\u2019analyse, purement g\u00e9om\u00e9trique, nous a permis de cr\u00e9er des sch\u00e9mas d\u2019abstraction du processus compositionnel de ces morceaux. La deuxi\u00e8me \u00e9tape du projet consiste \u00e0 utiliser ces sch\u00e9mas \u00e0 des fins g\u00e9n\u00e9ratives, de fa\u00e7on \u00e0 programmer en Python un processus de composition bas\u00e9 sur des param\u00e8tres, certes al\u00e9atoires, mais r\u00e9pondant aux crit\u00e8res analytiques. Il s\u2019agit donc d\u2019isoler les \u00e9l\u00e9ments structurant du travail de Brian Eno, de les interpr\u00e9ter, puis de les int\u00e9grer dans une composition spatiale comprise dans un cube de 10 de c\u00f4t\u00e9. Nous obtenons alors une \u00ab\u00a0boucles\u00a0\u00bb de cylindre, se positionnant soit dans la partie haute, soit dans la partie basse du volume. Dans ce dernier cas, une ouverture se forme dans la partie oppos\u00e9e du volume. Parall\u00e8lement \u00e0 cela, des volumes rectangulaires sont form\u00e9s : plus la densit\u00e9 de colonne est forte, plus ces volumes sont hauts. Aussi, l\u2019\u00e9paisseur de la partie haute du volume est directement corr\u00e9l\u00e9e au rayon des colonnes alentours. Par ailleurs, des \u00e9v\u00e9nements<\/em> liant les parties inf\u00e9rieures et sup\u00e9rieures de la composition ainsi obtenue apparaissent dans le volume lorsque certaines conditions sont valid\u00e9es.<\/p>

L'objet r\u00e9sultant peut \u00eatre compris comme \u00e9tant un fragment d'un paysage infini o\u00f9 le vide prend autant d\u2019importance que le plein, et o\u00f9 des \u00e9l\u00e9ments<\/em>\/\u00e9v\u00e8nements<\/em> vienne briser la r\u00e9p\u00e9tition.<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 2,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 652\r\n }\r\n ],\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 650,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"carousel\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n 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Brian Eno, Ambient 1\u00a0: Music for Airports (1978)
Interpr\u00e9tation par mod\u00e8le proc\u00e9dural
Gabriel Chatel, Charles Preham<\/em>
<\/span><\/p>

Ce projet a \u00e9t\u00e9 r\u00e9alis\u00e9 dans le cadre du cours \u00ab\u00a0Analyse formelle et processus informatique\u00a0\u00bb. Le travail propos\u00e9 aux \u00e9tudiants consiste \u00e0 explorer un syst\u00e8me de composition autonome en se basant sur l\u2019analyse d\u2019une oeuvre d\u2019art. Les \u00e9tudiants transcrivent leur interpr\u00e9tation de l\u2019oeuvre choisie dans le langage de programmation Python, et g\u00e9n\u00e8rent des configurations spatiales param\u00e9triques pour investir l\u2019espace d\u2019un cube de 10 cm de c\u00f4t\u00e9.<\/span><\/p>

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Cr\u00e9dit des images: AlICe lab<\/span><\/span><\/p>\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Ce travail est constitu\u00e9 de deux parties : une analyse graphique et m\u00e9thodologique de la musique et des partitions de Brian Eno pour son album exp\u00e9rimental \u00ab\u00a0Ambient 1 : Music for Airport\u00a0\u00bb, et une interpr\u00e9tation de ces analyses dans le but de concevoir notre propre production.<\/p>

Pour cet album, la m\u00e9thode de composition de Eno consiste \u00e0 superposer des bandes sonores de diff\u00e9rentes longueurs diffus\u00e9es chacune en boucle de fa\u00e7on \u00e0 obtenir une texture sonore bas\u00e9e sur une forme de r\u00e9p\u00e9tition, mais aussi sur une forme d\u2019\u00e9volution gr\u00e2ce au d\u00e9calage qui s\u2019installe entre les boucles. L\u2019analyse se focalise sur les deux premiers titres de l\u2019album : \u00ab\u00a01\/1\u00a0\u00bb et \u00ab\u00a02\/1\u00a0\u00bb. Chaque morceau a sa logique propre : \u00ab 1\/1 \u00bb se compose d\u2019une boucle dans laquelle s\u2019incr\u00e9mente des \u00e9v\u00e9nements<\/em>, et \u00ab\u00a02\/1\u00a0\u00bb est une superposition de huit boucles de tailles et de fr\u00e9quences diff\u00e9rentes.<\/p>

Le travail d\u2019analyse, purement g\u00e9om\u00e9trique, nous a permis de cr\u00e9er des sch\u00e9mas d\u2019abstraction du processus compositionnel de ces morceaux. La deuxi\u00e8me \u00e9tape du projet consiste \u00e0 utiliser ces sch\u00e9mas \u00e0 des fins g\u00e9n\u00e9ratives, de fa\u00e7on \u00e0 programmer en Python un processus de composition bas\u00e9 sur des param\u00e8tres, certes al\u00e9atoires, mais r\u00e9pondant aux crit\u00e8res analytiques. Il s\u2019agit donc d\u2019isoler les \u00e9l\u00e9ments structurant du travail de Brian Eno, de les interpr\u00e9ter, puis de les int\u00e9grer dans une composition spatiale comprise dans un cube de 10 de c\u00f4t\u00e9. Nous obtenons alors une \u00ab\u00a0boucles\u00a0\u00bb de cylindre, se positionnant soit dans la partie haute, soit dans la partie basse du volume. Dans ce dernier cas, une ouverture se forme dans la partie oppos\u00e9e du volume. Parall\u00e8lement \u00e0 cela, des volumes rectangulaires sont form\u00e9s : plus la densit\u00e9 de colonne est forte, plus ces volumes sont hauts. Aussi, l\u2019\u00e9paisseur de la partie haute du volume est directement corr\u00e9l\u00e9e au rayon des colonnes alentours. Par ailleurs, des \u00e9v\u00e9nements<\/em> liant les parties inf\u00e9rieures et sup\u00e9rieures de la composition ainsi obtenue apparaissent dans le volume lorsque certaines conditions sont valid\u00e9es.<\/p>

L'objet r\u00e9sultant peut \u00eatre compris comme \u00e9tant un fragment d'un paysage infini o\u00f9 le vide prend autant d\u2019importance que le plein, et o\u00f9 des \u00e9l\u00e9ments<\/em>\/\u00e9v\u00e8nements<\/em> vienne briser la r\u00e9p\u00e9tition.<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 652\r\n }\r\n ]\r\n}","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2020\/07\/AIMI2.jpg","_links":{"self":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/1487","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/comments?post=1487"}],"version-history":[{"count":0,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/1487\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media\/881"}],"wp:attachment":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media?parent=1487"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/categories?post=1487"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/tags?post=1487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}