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previous artist: ottave		there are 3 titles featuring julien ottavi in stock. they are listed below.		next artist: hans otte

$13.44

back in stock as of
february 7th, 2009

first in stock on
july 18th, 2005

threads:
electro-acoustic-improvisation
digital-musics

erstwhile (usa) #erstwhile 045 cd

julien ottavi / dion workman “misenlian” compact disc

misenlian (55:01)

click the play button to hear an excerpt of "misenlian"

superb minimal electro-acoustic sound-drift from these two sigma-affiliated composer/performers. dion’s set at the 2004 intransitive festival was a feat of sensory deprivation / overload (he played in complete darkness; it was incredibly loud; alpha states were reached.) his work here, in tandem with julien ottavi, has the same effect at any volume/light-level ...

erstwhile press release...

julien ottavi / dion workman - gnu/linux operating systems and free audio software.

julien ottavi and dion workman are two of the most extreme of the younger wave of sonic explorers, pushing the boundaries of sound and art. ottavi hails from nantes, france and workman from new zealand, but their overlapping concerns and aesthetics have drawn them together, and misenlian contains the results of their initial collaborations.

julien ottavi studied sound and photography at the art school of nantes. he is a founding member of formanex, an electroacoustic quartet performing graphic scores from the 20th and 21st centuries, including works by cardew, cage, wolff, feldman, brown, and ralf wehowsky, as well as the founder of the nantes-based experimental music organization apo33 (responsible for running the label fibrr among numerous other activities). his most notable previous release is the superb solo cd nervure magnétique (sigma editions, 2003).

dion workman began his career in the improvised rock trio thela, along with dean roberts and rosy parlane. after thela split up, workman and parlane founded sigma editions in 1998, beginning an exploration of electronic music that has continued to this day. workman is a meticulous composer, with a feldman-like sense of development in his pieces, best represented on disc by the perfectly sculpted ching (antiopic, 2003), a work which won him the 2003 max brand prize from the austrian cultural forum.

workman was introduced to ottavi's work in 2001 by parlane, who suggested that ottavi record for sigma editions after seeing him play in london. later, workman invited ottavi to play a series of us shows, where they performed solo sets on the same bill and grew to be good friends. after being invited to record as a duo for erstwhile, ottavi came to the us for a month in 2003 and the two performed and recorded constantly. based in workman's brooklyn apartment, the duo literally improvised for days at a time - when they slept, the computers continued to generate sound, with changes in the puredata patches triggered by microphones placed outside the apartment - and intermittently recorded the results. ottavi and workman directly followed up this intense recording period with several long-duration live performances, each set lasting between 3 and 6 1/2 hours. by the end of ottavi's stay in the us, the duo had amassed approximately fifty hours of recorded material, which they later selected and shaped into misenlian.

misenlian unites workman's glacial, continuous pacing with ottavi's love for challenging the limits of dynamic range, resulting in a single remarkable piece as jarring and unsettling in its own way as the fluorescent colors of the cd packaging.

(cc) some right reserved.

this work is licensed under a creative commons license.

$11.76

back in stock as of
february 19th, 2009

first in stock on
may 16th, 2004

threads:
electro-acoustic-composition
digital-musics
minimalism-drones
harsh-noise

sigma editions (usa) #sigma 011 cd

julien ottavi “nervure magnétique” compact disc

(30:58)
(32:50)

click the play button to hear an excerpt of "(30:58)"

sigma editions press release...

artist julien ottavi
title nervure magnétique
cat. # sigma011
format cd
duration 63'48"
released august 2003

nervure magnétique's two mountainous tracks shock by bleeding unpredictably out of audible range at both ends. because track two for example, does not present expected musical progressions beginning with methodical test pattern format in which basic analogue-sounding tones of varying duration and texture are laid down in guileless succession at a drastically low volume leaving you vulnerable to the sonic assault at 12-odd minutes, you are never sure where to set your listening parameters. you must either except the loss of the shadow or highlight detail or excavate from these extremities with the volume control.

julien ottavi is not the type of experimentalist so inclined to subtly expand the listeners perceptual horizons as to forcibly pries them open. the experiments he conducts on you have a similarly gaping range from the fuck you boy's noise to the subtle strategy of loosening his grip on the listener's attention so perilously with the low tones at the end of track one that you forget what it is you are supposed to be engaged in.

ottavi knows how to manipulate with the direct physicality of sound. in track one, simply with a slowly building increase in volume, reedy contemplative tones become pressing and forbidding, and effects a complete inversion in scale around the listener's body, moving from it is in you, to you are in it.

it is his intelligent violence and subtle brutality which distinguishes his output. in nervure magnétique, you are also led through passages of intense beauty and clarity. that he is able to assemble such extremes without making a show of musicality, and attain coherence, shows that there is a persuasive overriding intelligence at work.

- anna sanderson, 2003

$12.01

new to stock as of
february 16th, 2008

threads:
digital-musics
minimalism-drones
sound-art

w.m.o/r (germany) #w.m.o/r 15 cd

julien ottavi “for degreadable music : the cdr i will never release” compact disc recordable

for degreadable music (65:00)

click the play button to hear an excerpt of "for degreadable music"

a single extended computer-music piece by julien ottavi ; designed to itself erode as the media on which it was composed / is presented decays over time ... extremely low and high frequency sounds give way to digital errors near the end of the piece (listen to the sound-sample to your left - and please, for once, hook up a decent pair of speakers to your computer ...)

w.m.o/r press release...

julien ottavi
for degreadable music:the cdr i will never release
w.m.o/r 15 cdr

released: 15th october 2004

“ the cdr has a different status from a regular cd, a status which makes the creation of a cdr label quite paradoxical. the regular cd proposes something fixed and lasting and its sale is based on these elements. on the other hand, the cdr represents both an intermediate state and an objet of transition : the information engraved on it is destined to be rendered, at a certain point in time, to its virtual state of digital composition interpretable by a computer. from cd to cdr, we move from a practice of conserving finalised products to a practice of stocking or transmitting transitory products (and this way of using the cdr is most obvious in the practice of pirating). the cdr is an extension of the computer, developing a circulation mode that is similar to the internet, but outside the virtual net. the nature of the cdr implies another relation to time and to the process of creation. in this sense it seems contradictory to consider a cdr as a finalized product.

with the cdr as with the sound pieces on the internet we seem to enter in a new field and manner of developing and showing artistic practice: not only showing finalised propositions but also the different stages of the artistic creation. the cdr and the internet become a tool in a process of experimentation and not only means of conservation.

this social use of the cdr as a transitory objet is a reflection of it's material structure : the cdr has a short life span as a physical objet, therefore the recorded sound is destinated to deteriorate.

when mattin proposed to me to produce a sound piece for his cdr label, i started thinking of the specificity of the cdr medium and wanted to hijack his proposition. the question was : how to render in sound the nature of the cdr, i.e., how to make a transitory sound form and at the same time propose a reflection on this form ? how can the sound content act on the cdr itself as a material structure ? this reflection was linked to work i started some time ago, of hand-engraving or pouring acid on the material support of the cd and see how it would act on the recorded sound. but these attempts mainly focused on the material aspect of the cdr and neglected the sound. so i began thinking about the sound content again and i realised that when you engrave a cdr on your computer and keep it for a while, the first things to disappear, soundwise, when it deteriorates, are the very high and very low frequencies. this is why this sound piece is only composed of extreme frequencies, at the limit of what man can hear and of what the machine can reproduce. the result is that the sound piece acts not only on the material structure of the cdr but also on the material environnement of the listener's body. the sound piece on this cdr is at the limits of the audible. ”

this sound piece was realised under gnu/linux operating system with free audio software as ardour, jack, rezound, audacity, puredata.

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ottave

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next artist:
hans otte