PROJETS / STATUT ESTHETIQUE DE L'ART TECHNOLOGIQUE / PARTICIPANTS

MARCEL FREMIOT
Démarche | Bibliographie | Intervention 

2, rue Lieutaud
13100 Aix-en-Provence-FRANCE
Tél : 04 42-42-26-83-11
Email : mfremiot@lac.gulliver.fr
WEB :
http://www.cosa-mentale.fr/MIM.html

Né le 29 février 1920 à Paris VIIe.

Etudes musicales : piano et orgue; classes d'harmonie et de contrepoint au Conservatoire de Paris (Olivier Messiaen et Noël-Gallon). Hors Conservatoire : cours de René Leibowitz. Introduction à la musicologie (Vladimir Fedoroff).

1946-1950, Direction de chorales populaires.
1949, Responsable de la section musique au service de la Récupération Artistique et Culturelle (Office des biens et intérêts privés).
1950-1962, Direction artistique (folklore, musique classique et musique moderne) aux Editions Le Chant du Monde.
1962-1963, Direction artistique et prise de son aux Editions Harmonia Mundi. Lancement de la collection "Orgues historiques".
1963-1965, Adjoint au Directeur des disques Jéricho (prise de son et réalisation).
Depuis 1966, Professeur d'Histoire de la Musique au Conservatoire de Musique de Marseille.
1968, A l'initiative de Pierre Barbizet : création au Conservatoire de Marseille de la première classe de musique électro-acoustique dans un Conservatoire de France.
1969-1983, Chargé de cours à l'Université d'Aix-Marseille .
1970, Création du groupe de Musique Expérimentale de Marseille (G.M.E.M.).
1983, Grâce à l'acquisition du système SYTER le C.N.R. de Marseille est le premier de France à pouvoir dispenser un enseignement en Musique et Informatique , en collaboration avec le département Musique et Science de l'Université de Provence.
1984, Création du Laboratoire Musique et Informatique de Marseille (M.I.M.).
1985-1986, Chargé de cours au département de Musique de l'Université d'Aix en Provence (filière B, Sciences de la Musique).
1989, Professeur honoraire du CNR de Marseille.
1990, Directeur du M.I.M.

Démarche artistique

De l'oeuvre de Marcel FREMIOT "Une disparate" se dégage, que seul le petit Larousse qualifierait d'étrange. Elle est le reflet de tiraillements, d'illusions et de déceptions, de retours aussi. La confrontation des souhaits intimes de création aux réalités de la vie l'ordonne.

Tout ce qui est à destination directement "populaire" maintient une référence à des structures communément maîtrisées. Ainsi, par exemple : système tonal s'il s'agit de chants profanes ; système "grégorien" s'il s'agit de chants destinés à une liturgie catholique ; réalisme du phénomène sonore si le moyen d'expression est la manipulation de studio "analogique" ou "numérique".
Les autres oeuvres sont atonales, si leur exécution est confiée à des instruments traditionnels ; elles sont libres si leur matérialisation est de nature électro-acoustique. Mais leur virtuosité, comme leur structuration, est tempérée par les effets pervers de la régionalisation.

Un fil conducteur chemine, cependant, au travers de cette production. Il est à la fois recherche du dialogue avec l'auditeur et volontariste confiance en la non irréductibilité des rugosités du comportement humain.

 

Bibliographie

Musique instrumentale

Musique vocale

Musique chorale

Musique de scène

Musique pour réalisations audio-visuelles

Travaux de musicologie et d'analyse

Analyses

Recherche

Les Unités Sémiotiques Temporelles, en collaboration. (ed. MIM, Marseille 1996)
Diffusion ESKA, collection Documents Musurgia Paris.

 

Intervention (français - anglais)

Le multimedia est multiple. Les arts n'ont pas les mêmes problèmes à la même époque.

Les propos tenus sur l'art "technologique" , l'art "médiatique" ( se renvoyant l'un à l'autre ) ou encore l'art "multimedia" semblent faire l'impasse sur des ambiguités auxquelles il serait possible d'achopper. D'une part le " media" d'art médiatique et le "média" d'art multimedia ne renvoient pas aux mêmes réalités.
D'autre part le "multi" d'art multimedia est traité comme étant une seule réalité alors qu'il est, dans la pratique, la juxtaposition ou la superposition de plusieurs disciplines artistiques qui ne fonctionnent pas sur les mêmes concepts aux mêmes moments; que ces moments soient occasionnels ou historiques.
Il est donc nécessaire de ne pas se laisser aller à glisser, sans précautions, de l'une à l'autre de ces disciplines, d' appliquer à l'autre ce que l'on dit de l'une.

" Aux contraires" ; traits possibles d'une esthétique

Le(s) statut(s) esthétique(s) conféré(s) à l'art technologique par le créateur et la société est , ou sont, une chose que disent esthètes, philosophes et/ou sociologues.
Par contre, les traits possibles de l'esthétique-même des oeuvres, si tant est que l'on puisse déjà en dégager une, voici ce que je tente ici de dire.
Et ceci en me référant, en grande partie, aux couples explicités par Jean-Marc Lévy-Leblond dans son ouvrage " Aux contraires"; couples tels que, par exemple, Absolu/Relatif, Global/Local, Formel/Intuitif ....
Bien évidemment je parle en tant que musicien.

Same period, same problems?

Technological art, whether the basis for consideration is traditional--painting and sculpture, music, literature--or more recent,--multimedia, network or interactive media--is characterized by the juxtaposition, or the superposition, of several artistic disciplines. These various disciplines have undoubtedly developed in various ways throughout the course of their history; they have not necessarily been faced with the same problems at the same period, even if they may have been interrelated in the same aesthetic current.

It is therefore wise not to yield to the temptation of applying to one of the disciplines what can be said about another one. Here are some of the problems involved:

Painters and musicians: are we, as painters and musicians, different from each other?

What differs, states Jacques Mandelbrojt, are the constraints imposed by the matter we use, as well as the constraints of one or several sensory receptions.

Thus in music, a composer obeys rules or creates them for himself. In painting, certain painters do the same; others do not.

The single creator: Networks and interactivity innovate by getting rid of the single creator. Some musicians would disagree with this postulate, notably those who have created collective works, within more or less formal improvisation groups, a process which dates back several centuries.

The virtual, "non-fixed" created on a network.

Example of a virtual "non-fixed" work:

the improvised work necessarily created by an organist playing Christian liturgical works. An even more striking example is to be found since the very last years of the 16th century, using "figured bass," that is to say, harmonic shorthand. Jazz musicians use the same element which they call "chord symbols." Furthermore, both the figured bass and the chord symbols have multiple virtual possibilities.

Continuum: if the new technologies do not seem to have unsettled the painter's brush stroke, the musician, on the contrary, no longer has to apply the technique of "punctum" ( musical "scales" are "discreet") and can at last freely use the technique of the continuum which has not been used since the 12th century at the least.

Computer: Anyone who knows how to use a computer and its software may allow himself to be persuaded that he can be a painter, musican, choreographer, sculptor or poet and do a fine job of it. Whether he can actually do so with equal success is rare. More often than not, his texts, to be heard or read, seem rather more like instruction sheets than literature. As, more often than not, moving images around in space is more akin to the exacerbated movements of ordinary manipulation than to cinematic skill. "Figures" are more often reutilized in the form of repetition or automatization than in the form of startling elaboration. And finally, for a composer's ears, there is no feeling of mastery in the handling of time. This is not to say that there is no solution to all of this: what is needed are teams with competence in diverse fields, including disciplines classified as non-artistic.

Message : The preceding remarks show that the idea of McLuhan that the media are the work must be reexamined, even in the cases in which the traditional notion of a work tends to be indistinct.

Interactivity : Optimistic invention leads us to think that interactivity, whether part of a network or not, will metamorphose art and artistic methods to come. That may well be, provided that industrialists decide that it is financially advantageous for them, and that they produce instruments that can lend themselves to standard and widespread use, instead of the current supply for the opulent few.

For instance: Thirty years ago we hoped that people would be enabled to return to "amateur" creativity thanks to tape-recorders. But industrialists transformed them into machines that are programmed, sterile, throttled, barely good enough for the consumption of so-called "mass-distributed products."

Elements for an aesthetics of technological art

I am putting a message into a bottle and throwing it into the sea . I would like to go more deeply into the aesthetic status of technological art: try and define the current aesthetic characteristics of the genre itself. The artisans of mechanisms and of interactivity may be caught unawares by this move. For them, what counts is to act and to cause to act, not to put into perspective. I express myself here as an European music composer , that is to say, of a race among whom "revolutions" have always been carried out not in the name of technology but of aesthetics. Whence these suggestions found in the message in the bottle:

The listener will notice that the characteristics of aesthetics are often diametrically opposed to the characteristics of technological structures.

Straight/curved: Replacing the traditional position of the audience opposite the musicians by positioning sound sources around, or even in the midst of, the audience, and orienting sound projections between these sources, has given priority to the aesthetics of the curve. The curve is reinforced by the non-linearity of accelerations and slowing of tempi and of trajectories in the field of pitch.

Continued/discontinued: Discontinuity prevails in collages, rupture, scratch, channel-surfing, spattering, a refusal of discursiveness, contradictory materials, impulsions superimposed on the flow, and spatial destructions,--contiguous or discreet.

Absolute/relative: The relative predominates over the absolute, whatever the nature of the "relative," whether it be of "scientific" nature as in interpolations, whether it be found in "approximation" since musical interplay is composed of relationships between registers and masses, and no longer the pitch of notes and specified chords, or, finally, whether it be "relational" as in the multimedia.

Certain/uncertain: The uncertain dominates musical attitudes: taste is oriented towards "performance," the "open" work (both, in their essence, impossible to reproduce identically), the "happening", and performance in places formerly considered as "incongruous" . In the work itself, technical elements bearing the aesthetics of the curve engender perspectives and different perceptions from one listener to another.

Finite/infinite: The aesthetics of the infinite and of the "non-finite" reign here: the "set groove", the "repetitivity," the "open" composition, the short pieces whose energy surges without predetermined origin or end, the inexorable electronic flows without any apparent direction, the search for hypnosis produced by the intensity of sound and the concerts whose limits are stretched in a lasting manner.

Specified/random: When the "register" and the evolution of a trajectory are more important than the precise pitch, when the idea of a "wrong note" gives way to that of a "cloud," when the composition is consigned to a module of "random production," filtered or not, the specified has given way to the random.

Formal/Intuitive. The present trend is to the "logical matrix ": ordinateur oblige! However, when considering the results, some composers intituively add or cut elements - as in the old way; others, more rational, modify the original matrix.

Real/fictive The reader will have noticed that I have tried to transpose into the field of aesthetics the scientific and philosophical pairs that Jean-Marc LEVY-LEBLOND has written about in his recent study "Aux contraires." I have not used True/False, since in music everything is both true and false. Nor can I apply Global/Local or Elementary/Complex, since in music these concepts are laden with technical rather than aesthetic meaning. I can see my way through Real/fictive from comic strips to cyberfilms. But in music everything is real and everything is also fictive.

Everything considered, what is the case in other technological artistic fields?

Will you answer my message?

Bibliography: Jean-Marc LEVY-LEBLOND: Aux contraires.

The exercise of thought and the practice of science. With original plates by Jacques Mandelbrojt. Gallimard, "nrf essais," 1996.

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Document mis à jour : Thursday, January 29, 2004 09:29 AM

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