{"id":3280,"date":"2022-09-17T15:27:28","date_gmt":"2020-07-10T08:44:01","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/option-aim-i-boey-troc-2\/"},"modified":"2022-09-17T15:30:36","modified_gmt":"2022-09-17T13:30:36","slug":"option-aim-i-el-khattabi-ouiriarhli","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/option-aim-i-el-khattabi-ouiriarhli\/","title":{"rendered":"QA AIM I | Dina El Khattabi, Ayman Ouiriarhli"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":3293,"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":[29,1],"tags":[],"class_list":["post-3280","post","type-post","status-publish","has-post-thumbnail","hentry","category-cours-tfe-21-22","category-productions"],"jetpack_featured_media_url":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2022\/09\/ONLINE_Thumbnails-QA-EL-KHATTABI-OUIRIAHLI.jpg","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\": \"<p class=\\\"_Head1\\\"><span lang=\\\"FR\\\">Joan La Barbara &amp; John cage, Solo for Voice 45 (1977)<br \/>Interpr\u00e9tation par mod\u00e8le proc\u00e9dural<br \/><em>Dina El Khattabi, Ayman Ouiriarhli<br \/><span class=\\\"_Head2\\\">Question d'Architecture, Informatique et Multim\u00e9dia<\/span><br \/><\/em><\/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\": 6,\r\n          \"absolute_position\": false\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\": 7,\r\n          \"absolute_position\": false\r\n        },\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p><span>Ce projet a \u00e9t\u00e9 r\u00e9alis\u00e9 dans le cadre du cours \u00ab Analyse formelle et processus informatique \u00bb (enseignants: Denis Derycke (coord.), Michel Lef\u00e8vre, Julien Rippinger). Le travail propos\u00e9 aux \u00e9tudiants consiste \u00e0 explorer un syst\u00e8me de composition autonome en se basant sur l\u2019analyse d\u2019une \u0153uvre d\u2019art. Les \u00e9tudiants transcrivent leur interpr\u00e9tation de l\u2019\u0153uvre 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. Ces processus analytiques et g\u00e9n\u00e9ratifs s\u2019op\u00e8rent exclusivement dans un espace graphique axonom\u00e9trique et utilisent \u00e0 des fins exploratoires l\u2019impression 3D par extrusion de plastique ou par solidification de r\u00e9sine.<\/span><\/p><p><span>\u00a0<\/span><\/p><p><span>Solo for Voice 45 est une pie\u0300ce compose\u0301e par John cage et interpr\u00e9t\u00e9e exclusivement au chant par Joan La Barbara. La partition comporte 18 pages sur chacune desquelles sont r\u00e9parties de courtes mesures repr\u00e9sentant des instants musicaux, ainsi qu\u2019une s\u00e9rie d\u2019instructions sur la mani\u00e8re d\u2019interpr\u00e9ter l\u2019oeuvre. Selon ces instructions, l\u2019interpr\u00e8te peut choisir un nombre ale\u0301atoire de pages dans un ordre tout aussi al\u00e9atoire, pour ensuite les chanter, ce qui donne lieu \u00e0 une nouvelle version de l\u2019oeuvre \u00e0 chaque performance. L\u2019interpr\u00e8te doit \u00e9galement repr\u00e9senter sous forme de temps et d\u2019espace musical la position relative des courte mesures pr\u00e9sentes sur chaque page de la partition. <\/span><\/p><p><span>Cette interpr\u00e9tation formelle de l\u2019oeuvre de Cage et La Barbara reprend l\u2019id\u00e9e des 18 pages de partitions choisies al\u00e9atoirement et dans un ordre quelconque. Chaque page s\u00e9lectionn\u00e9e se traduit par une cercle dont la surface est organis\u00e9e selon un syst\u00e8me de coordonn\u00e9es polaires. Les courtes mesures pr\u00e9sentes et leur positions relatives sur chacune des pages deviennent des points dans ce syst\u00e8mes de coordonn\u00e9es. Ces points sont reli\u00e9s et dessinent une surface arrondie et ferm\u00e9e correspondant aux \u00e9v\u00e8nements musicaux rassembl\u00e9s sur la page en question. Les points sont ensuite projet\u00e9s en hauteur et les surfaces d\u00e9form\u00e9es suivant une instruction relativement libre que John Cage appelle l\u2019<em>ambigu\u00eft\u00e9<\/em>. Les compositions formelles r\u00e9sultant de ce processus sont constitu\u00e9es de une \u00e0 18 surfaces en l\u00e9vitation, courb\u00e9es dans les trois dimensions, s\u2019entrem\u00ealant et se t\u00e9lescopant al\u00e9atoirement.<\/span><\/p><p><span>\\\"A note might be indefinitly extended\\\" est la derni\u00e8re instruction de Cage, et aussi celle par laquelle ces compositions spatiales arrondies et tr\u00e8s libres se confrontent \u00e0 l\u2019espace rigoureusement orthogonal du cube\u00a0: chaque \u00e9v\u00e8nement sonore a la potentialit\u00e9 de se d\u00e9ployer ind\u00e9finiment, m\u00eame si au final, ce sont bien des objets sonores \u2013 ou g\u00e9om\u00e9triques \u2013 finis, et limit\u00e9s \u00e0 une temporalit\u00e9 et \u00e0 un espace et tr\u00e8s contr\u00f4l\u00e9, qui \u00e9mergent.<\/span><\/p>\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\r\n          \"offsetx\": 0,\r\n          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Le travail propos\u00e9 aux \u00e9tudiants consiste \u00e0 explorer un syst\u00e8me de composition autonome en se basant sur l\u2019analyse d\u2019une \u0153uvre d\u2019art. Les \u00e9tudiants transcrivent leur interpr\u00e9tation de l\u2019\u0153uvre 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. Ces processus analytiques et g\u00e9n\u00e9ratifs s\u2019op\u00e8rent exclusivement dans un espace graphique axonom\u00e9trique et utilisent \u00e0 des fins exploratoires l\u2019impression 3D par extrusion de plastique ou par solidification de r\u00e9sine.<\/span><\/p><p><span>\u00a0<\/span><\/p><p><span>Solo for Voice 45 est une pie\u0300ce compose\u0301e par John cage et interpr\u00e9t\u00e9e exclusivement au chant par Joan La Barbara. La partition comporte 18 pages sur chacune desquelles sont r\u00e9parties de courtes mesures repr\u00e9sentant des instants musicaux, ainsi qu\u2019une s\u00e9rie d\u2019instructions sur la mani\u00e8re d\u2019interpr\u00e9ter l\u2019oeuvre. Selon ces instructions, l\u2019interpr\u00e8te peut choisir un nombre ale\u0301atoire de pages dans un ordre tout aussi al\u00e9atoire, pour ensuite les chanter, ce qui donne lieu \u00e0 une nouvelle version de l\u2019oeuvre \u00e0 chaque performance. L\u2019interpr\u00e8te doit \u00e9galement repr\u00e9senter sous forme de temps et d\u2019espace musical la position relative des courte mesures pr\u00e9sentes sur chaque page de la partition. <\/span><\/p><p><span>Cette interpr\u00e9tation formelle de l\u2019oeuvre de Cage et La Barbara reprend l\u2019id\u00e9e des 18 pages de partitions choisies al\u00e9atoirement et dans un ordre quelconque. Chaque page s\u00e9lectionn\u00e9e se traduit par une cercle dont la surface est organis\u00e9e selon un syst\u00e8me de coordonn\u00e9es polaires. Les courtes mesures pr\u00e9sentes et leur positions relatives sur chacune des pages deviennent des points dans ce syst\u00e8mes de coordonn\u00e9es. Ces points sont reli\u00e9s et dessinent une surface arrondie et ferm\u00e9e correspondant aux \u00e9v\u00e8nements musicaux rassembl\u00e9s sur la page en question. Les points sont ensuite projet\u00e9s en hauteur et les surfaces d\u00e9form\u00e9es suivant une instruction relativement libre que John Cage appelle l\u2019<em>ambigu\u00eft\u00e9<\/em>. Les compositions formelles r\u00e9sultant de ce processus sont constitu\u00e9es de une \u00e0 18 surfaces en l\u00e9vitation, courb\u00e9es dans les trois dimensions, s\u2019entrem\u00ealant et se t\u00e9lescopant al\u00e9atoirement.<\/span><\/p><p><span>\\\"A note might be indefinitly extended\\\" est la derni\u00e8re instruction de Cage, et aussi celle par laquelle ces compositions spatiales arrondies et tr\u00e8s libres se confrontent \u00e0 l\u2019espace rigoureusement orthogonal du cube\u00a0: chaque \u00e9v\u00e8nement sonore a la potentialit\u00e9 de se d\u00e9ployer ind\u00e9finiment, m\u00eame si au final, ce sont bien des objets sonores \u2013 ou g\u00e9om\u00e9triques \u2013 finis, et limit\u00e9s \u00e0 une temporalit\u00e9 et \u00e0 un espace et tr\u00e8s contr\u00f4l\u00e9, qui \u00e9mergent.<\/span><\/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\": 651,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"shortcode\",\r\n      \"cont\": \"[shared_counts]\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 4,\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\": 5,\r\n      \"shortcodeid\": 1594817507803\r\n    }\r\n  ]\r\n}","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3280","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=3280"}],"version-history":[{"count":0,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3280\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media\/3293"}],"wp:attachment":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media?parent=3280"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/categories?post=3280"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/tags?post=3280"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}