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La Terza Luce

The project belongs to an Italian artist, Michele Tadini, composer and professor of composition and technologies at the National Conservatory of Music and Dance in Lyon (CNSMD) and to Angelo Guiga, researcher technician at the LETI laboratory of CEA Grenoble . .

La Terza Luce may open our minds to a new dimension of perception, in which light becomes sound and sound becomes light. A new state, where eyes create an acoustic illusion and light makes ears vibrate or glitter.

The Laureate Team
- Michele Tadini, composer and professor of composition and technologies at the National Conservatory of Music and Dance in Lyon (CNSMD).
- Angelo Guiga, researcher technician at CEA Leti Grenoble
The team won the A.R.T.S Prize in 2011

The research residency will be concluded with a concert at Hexagone Scène National Arts Sciences - Meylan on 11 and 12 October, in the framework of the Rencontres-i Arts Sciences Biennale 2013.

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Research project and artistic project

La Terza Luce may open our minds to a new dimension of perception, in which light becomes sound and sound becomes light. A new state, where eyes create an acoustic illusion and light makes ears vibrate or glitter.

The project aims at confirming these hypotheses and at expanding research on possible interactions between sound and light from various angles : physics, perception, cognitive, compositional.
.

Research objectives : :

  • Create an experimental environment bringing sound and light interactions to fruition
  • Classify and interpret results various perception test on possible interactions between sound and light
  • Write a research dissertation including all examples and test results
  • Compose and perform in real time a piece of music for cello, bassoon, percussion, electronics and light
  • Create and present an immersive stage performance

La Terza Luce research

As a first step, the project was elaborated along two main research axes :

Searching for a terminology, a grammar of possible syntheses - almost like a "counterpoint course book". How and to what extent can we entwine the principles of counterpoint used in music ? How freely ?

  • Searching for effects produced by the "beat of light", just like the beat of sound, with luminous vibrations following the pattern of a stroboscopic pulsation. A luminous flanging effect ; does it really exist ?

These objects will serve as vocabulary, grammar and syntax for writing a global score in various musical ranges. This research step needed a series of tests taken and evaluated by a non-scientific group of people.
The tests were carried out during the EXPERIMENTA 2012 between 11 and 13 October. 556 people of all ages and categories participated in these tests during the three-day exhibition.

Second part of research/Following the perception tests

Light, sound and digitalization
The first phase of research is completed. The test results, according to our hopes and beliefs, yield to new possibilities.
Carrying out the tests was made possible by a new version of control software interfacing sound and light.
The significant outcome of this first phase of research is that the command centre of interactions, the most interesting ones, depends on the efficiency and flexibility of the software. Nevertheless, the DMX protocol used for controlling the LED projectors did not totally correspond to the requirements of musical composition based on relationships and synchronization.

MAX MSP is the basis for development of the control software. The software is mainly designed for music : for controlling and transforming sound. The logical, digital part can ensure a common ground for this connection, which is at the same time strict and independent, but is by all means, driven by musical composition.
Once again, being able to develop a unique software development interface places digitalization at the core of several lines of research.
Based on the possibility of controlling the DMX protocol through the logic of musical programming, one of the key elements in the new research will be to succeed in simulating a very precise control despite the transmission protocol.
A practical research on digitalizing the control is inevitable. We will also need to conduct some parallel research on different ways of transmitting data, on other lighting elements, their projection and materialization.

LED - Direct interface control
Important research will be conducted on other direct interface LED controls. So as to be able to study closely and precisely interactions between frequencies of various stroboscopic pulsations, we will not abide by the DMX protocol. The DMX does not provide sufficiently accurate possibilities for serious work on "beats of light", as initially envisioned.
We should be able to control and observe with high accuracy the possible phase shifts, to confront, contrast, link them and to compose with similar phenomena from the realm of sound. For this, we need to design a specific interface enabling a dynamic control via a USB interface so as to achieve a perfect command of the pulsation frequency associated with the luminous power of the LEDs. Many components more or less specialized in LED control/command already exist. These various devices will need to be tested and compared. This will be followed by designing the electronics as well as developing a software driver for interfacing the card with the MAX MSP software.

Luminous objects
In connection with investigating other types of luminous source controls, a line of research will aim at developing one or two luminous objects to be used in an immaterial scenography. Due to their shape and material, they should enhance the luminous effects, thereby contributing to a fusion between spectators’ sensory and visual perceptions over the course of different phases of the show.
The results of the tests carried out in a closed room illuminated by only four LED projectors directed on a white wall, prove the necessity of a large space for our next production. It is important that spectators do not suffer from light and sound effects. Therefore, they will need to be in the middle of the narrative space of sound and light, so that they get carried away by a whirlwind of a sensory experience towards the third light - their third light.
The development of an interactive device, to be presented at the EXPERIMENTA show in October 2013 and then showcased at the DRT showroom, is also in perspective.
The object will be acoustic and luminous, made of luminous fibres and materials which diffuse and reflect the LED emitted light. The technological principle is based on the use of algorithms and software developed for the Terza Luce project. Threads of words pronounced in front of the object and captured by a microphone will be digitally processed, thereby generating modulated sound and light effects.
The shape of the object can be inspired as a large shell which, when a spoken sentence is uttered, diffuse the transformed sound and will be illuminated, reflecting the luminous conversation. It can thus compose a personalised story.
If there is no sound, after a second’s interval, the device will launch a pre-defined animation.

The residency will conclude with a concert.

Michele Tadini - Artist

Born in Milan (Italy) in 1964, Michele Tadini is a composer and professor of composition and music technology at the National Conservatory of Music and Dance in Lyon (CNSMD).
Graduated from the Milan Conservatory in guitar in Riccardo Sinigaglia’s class, in composition in Sandro Gorli and Giacomo Manzoni’s class and in electronic music in Riccardo Sinigaglia’s class. Attended courses by Franco Donatoni at the Scuola Civica in Milan and at the Accademia Chigiana in Siena, where he obtained the "Diploma de Merito" in 1989. In 1991, he was invited to the Ferienkurse in Darmstadt. In 1998, he attended the autumn training session at Ircam.
His music has been played at numerous festivals in Italy as well as in Europe, United States, Latin America, Canada and Japan.
Between 1990 and 2003, he co-directed with Luca Francesconi the AGON (acustica-informatica-musica) research centre in Milan.
He was co-director at "Centro Tempo Reale" (2004 - 2007), centre for research founded by Luciano Berio in Florence in 1987.
Between 2008 and 2010, he directed the IRMUS (Instituto di Ricerca Musicale - Accademia Internazionale della Musica di Milano), where he has been teaching since 2002.
Since 2009, he has been teaching composition and music technology at the National Conservatory of Music and Dance in Lyon (CNSMD).
He is a regular lecturer at conferences and seminars at European universities.
Michele Tadini also composes for theatre, dance, video, interactive installations, radio, television and cinema. His works are edited in Milan by Suvini Zerboni publishing house and his articles have been published in several international collections and reviews. In 2008, he was awarded the PRIX ITALIA for "La Musica Nascosta", a radio production.

His recent compositions :
"K_446 for 446 string ensemble". Concerto for 100 electric guitars (commissioned by the Auditorium Parco della Musica in Rome-2012)
Music for the stage production "Alan Turing - a staged case history" (Picolo Teatro di Milano)
A piece of music for the Fabrique Nomade ensemble (violin, cello, karlax, and electronic instruments) - "Ripples never come back" (sollicited by the Studio ArtZoyd in Valenciennes)
A piece of music, "Architecture en Espace Ouvert" for the NOMOS ensemble of 12 cellos, commissioned by the French State
A piece of music for the Grand orchestre, "I had walled the monster up... (commissioned by RAI Nuova Musica in Turin)
"Agora", for an ensemble of electronics and video in real-time
Commissioned by Grame/Biennale Musiques en Scène, Arfi

Angelo Guiga - Scientist

Researcher Technician
In charge of technical development of innovation
With an electronics engineering degree, he started his career in 1976 in the field of nuclear fuel production. In 1979, he started a three-year contract at the CEA, at the laboratory in charge of elaborating DMG fuels. Joined CEA in 1982 and worked in the infra-red laboratory (LETI/DOPT/LIR) until 1996. Then he joined the LETI/DSIS Division where he worked until 2011. He currently works at the Open Innovations Platform within the LETI/ IO/SPICE Division.
He acquired expertise in various fields throughout his career, such as in computer science, electronics, optics, magnetism and mechanics. He has also contributed to several patents. He completed his first Atelier Arts Sciences project in September 2007, producing the stage balloon for the EZ3kiel group. Following that, he was project manager for three installations in the Poetic Mechanics by the EZ3kiel group at the Rencontres-i 2009. He worked with Yann Nguema, EZ3kiel bassist on : "La Madone", "L’orgue à flacons" and "Le Piano" and supported several other projects.
He was involved in the "Chromatophore" project displayed during the Rencontres-i 2011, being in charge of integrating the electronics and LED light commands.

Associated Researchers

Angelo Guiga (CEA Leti) - Gilles Le Blevennec (CEA Liten) - Philippe Grosse (CEA Leti) - Dominique David (CEA Leti), Fabrice Forest, Grenoble Institut de l’Innovation
 UPMF - INNOVACS, Michel Dojat, Grenoble Institute of Neuroscience (GIN), David Alleysson, CNRS - LPNC – colour vision models.

Researchers met in April 2012 : :
Céline Coutrix, CNRS Researcher - Jean Caelen, Research Director at CNRS, Deputy Director at Carnot Institute LSI (Intelligent Systems and Softwares), MultiCom Team Manager (Design and Evaluation of Interactive Systems), Project Manager for Relations with Industries and Economic Development at LIG (Laboratoire d’Informatique de Grenoble).

Concert

La Terza Luce / Techno Party Cognitive
Aural scenography

Composition and design Michele Tadini
Technology research Angelo Guiga


With
Percussion - Thibaut Weber
Bassoon, double bassoon - Sophie Raynaud
Cello - Marie Ythier

Scenography, light Françoise Henry

Four musicians, cello, bassoon, percussion, electronics on stage, playing in real time a sound and light score. Is it possible to find the Terza Luce ? Is it possible to develop a multimedia counterpoint : a grammar of common vibration ? Is there an Art of Fugue exploiting light ? The synaesthetic perception, both a hindrance and freedom for the composer, yields to a wide range of poetic explorations ; it allows a distinctive language based on a lapse between the perception of musical and visual impressions.

Artistic Team

Michele Tadini
Born in Milan (Italy) in 1964, Michele Tadini is a composer and professor of composition and music technology at the National Conservatory of Music and Dance in Lyon (CNSMD).
Graduated from Milan Conservatory Giuseppe Verdi
in guitar in Riccardo Sinigaglia’s class, in composition in Sandro Gorli and Giacomo Manzoni’s class and in electronic music in Riccardo Sinigaglia’s class. Attended courses by Franco Donatoni at the Scuola Civica in Milan and at the Accademia Chigiana in Siena, where he obtained the "Diploma de Merito" in 1989. In 1991, he was invited to the Ferienkurse in Darmstadt. In 1998, he attended the autumn training session at Ircam.
His music has been played at numerous festivals in Italy as well as in Europe, United States,
Latin America, Canada and Japan.
Between 1990 and 2003, he co-directed with Luca Francesconi the AGON (acustica-informatica-musica) research centre in Milan.
He was co-director at "Centro Tempo Reale" (2004 - 2007), centre for research founded by Luciano Berio in Florence in 1987.
Between 2008 and 2010, he directed the IRMUS (Instituto di Ricerca Musicale - Accademia Internazionale della Musica di Milano), where he has been teaching since 2002.
Since 2009, he has been teaching composition and music technology at the National Conservatory of
Music and Dance in Lyon.
He is a regular lecturer at conferences and seminars at European universities.
Michele Tadini also composes for theatre, dance, video, interactive installations, radio, television and cinema. His works are edited in Milan by Suvini Zerboni publishing house and his articles have been published in several international collections and reviews. In 2008, he was awarded the PRIX ITALIA for "La Musica Nascosta", a radio production.

His recent compositions :
"K_446 for 446 string ensemble". Concerto for 100 electric guitars (commissioned by the Auditorium Parco della Musica in Rome-2012)
Music for the stage production "Alan Turing - a staged case
history" (Picolo Teatro di Milano)
A piece of music written for the Fabrique Nomade ensemble (violin, cello, karlax, and electronic instruments) - "Ripples never come back" (commisioned by the Studio ArtZoyd in Valenciennes)
A piece of music, "Architecture en Espace Ouvert" for the NOMOS ensemble of 12 cellos, commissioned by the French State
A piece of music for the Grand orchestre, "I had walled the monster up... (commissioned by RAI Nuova Musica in Turin)
"Agora", for an ensemble of electronics and video in real-time
Commissioned by Grame/Biennale Musiques en Scène, Arfi

Thibaut Weber
Percussionist at Orchestre des Gardiens de la Paix (2012).
Holds a Master’s degree in percussion with honours from the National Conservatory of Music and Dance in Lyon (CNSMD), in Jean Geoffroy, Henry-Charles Caget and Philippe Labadie’s class.
Bachelor’s degree in percussion (CNSMD in Lyon, Jean Geoffroy’s class, 2009).
First prize at the competition of "Musique d’ensembles" by the FNAPEC shared with ARGILLOS percussion quintet (2009).
State Diploma as Assistant specialised in Percussion (2008).
Advanced Percussion and Chamber Music Prize (CRR in Metz, Eric Chartier’s class, 2006).
State Diploma in Music with a major in Percussion, Chamber Music and Music Education (CRR in Metz, 2005).
Gold Medalist in Jazz Vibraphone (CRR in Metz, Benoit Staziaczik’s class, 2006).
Degree in Musicology (University Metz, 2002).
French-German Baccalaureat in Science, with honours (Franco-German High School, Sarrebruck, 2000).
Supplementary percussionist in National Orchestras in Lyon (Leonard Slatkin), Lorraine (Jacques Mercier), Toulouse (Tugan Sokhiev) and Lille (Jean-Claude Casadesus) as well as in the Luxembourg Chamber Orchestra (Nicolas Brochot).
Member of the TaCTuS Percussion Ensemble and of Le Trichrophone improvisation trio.
AÏDA trainee at the Capitole National Orchestra in Toulouse (Tugan Sokhiev, 2009).
Percussionist at the French National Youth Orchestra, OFJ (Jean-Claude Casadesus, 2005-2007).
Trainee at Centre Acanthes (Michel Cerutti, 2006) and at the Franco-German Academy Opus XXI (contemporary music, 2011-2012).

Marie Ythier
Graduated from the National Conservatory of Music and Dance in Lyon (CNSMD). She is currently following her post-graduate studies at the CNSMD in Paris. First prize winner at the Zonta Clubs’ cello competition, laureate of the Adami bursary since 2011, Marie Ythier also benefited from the support of the Meyer Foundation and sponsorship from the Société Générale in 2012.
As a soloist, Marie Ythier was honoured to perform at the Festival d’Ambronay, Festival les Nuits d’Eté, Festival Messiaen au Pays de la Meije, at the Auditorium de Dijon, at the Musée des Beaux-Arts in Lyon, at the Château d’Ecouen, during the Festival Jeunes Talents, at the Opéra de Dijon, at the Cité Internationale des Arts, Salle Gaveau in Paris and at the Cité de la Musique. She played in orchestras directed by Peter Csaba, René Gulikers, etc. as well as in works by Alfred Schnittke, Tchaïkovski, Haydn and Vivaldi.
Founding member of the Sequenza Quartet, she is involved in the Festival de l’Epau, Normandoux and she has also played at Carré d’Art in Nîmes, Salle Molière in Lyon, and at France Musique, in Jean-Pierre Derrien’s show.
Marie Ythier is also member of the Denisov Duo, founded by herself and the saxophonist Carl-Emmanuel Fisbach.
Cello solo with the Lucerne Festival Academy Orchestra, she has also played at Salle Pleyel, as well as at the Culture and Congress Centre in Lucerne (KKL) in Lucerne, directed by Pierre Boulez and Clement Power.
Being regularly invited to perfrom in France, she has also performed in England, Germany, Austria, Serbia, Greece and Italy as well as in South America.
Marie Ythier, due to her varied musical experiences, has developed a certain eclecticism and open-mindedness, which is revealed in her particular interest for contemporary music. She feels comfortable playing classic repertoires from various periods, as chamber music or solo.

Sophie Raynaud
She started her musical education with piano, then took courses at the Conservatory in the 14th district in Paris, where she obtained the First Prize from the City of Paris in 1997. Nevertheless, at this stage of her life, she did not plan a career in music. She studied modern literature at University Paris III Sorbonne Nouvelle, graduating with a Bachelor’s degree in literature, then a Maîtrise degree in cultural mediation in 2003.
She has dedicated herself to music, more particularly to bassoon, her second instrument, and joined Lionel Bord’s class at the CNR in Saint-Maur des Fossés in 2004, then Carlo Colombo and Jean Pignoly’s class at the CNSM in Lyon in 2007 and obtained her Master’s degree in 2011.
Passionate about chamber and orchestral music, she played in the Coriolys and Amarillo wind quintets and in the La Symphonie de Poche ensemble. She performed with various orchestras and ensembles, notably the Opéra de Lyon, the Orchestre de Paris, the Orchestre Saint-Etienne, the Ensemble Orchestral de Paris, the Orchestre Lamoureux...

Françoise Henry
Born in Cluj (Romania) in 1966, scenographer, graphic artist and light designer
Holds a Bachelor’s degree in Italian literature and a degree in scenography with honours (Diplôme national supérieur d’expression plastique Villa Arson Nice). Françoise Henry has dedicated her research to relationships between theatrical space and writing in contemporary theatrical art.
She has thereby designed scenography for numerous stage directors since 1988, including several collaborations with Olivier Py ("Des oranges et des ongles", 1988, "Gaspacho un chien mort", "Mon père qui...", "L’invention de la liberté", 1990, "La femme-canon", 1991), as well as with André Gunthert ("Le palais de cristal", 1990), Eugène Durif and Catherine Beau ("Eaux dormantes", 1991), Mohammed Rouabbhi and Claire Lasne ("Les Acharnés", 1993), François Bing ("Cendrillon et les gangsters", 1993), Catherine Fourty ("Le Pélican", 1995), Jacques Vincey ("Opéra Cheval", 1997), Judith Depaule ("Illuminations", 2000), Romain Bonin ("Les Cancans", 2001), Jean-Charles Mouveaux ("Retour à la Citadelle", 2007), Marc Goldberg ("Anthologie de l’humour noir",2008).
Her scenographies, deliberately uncluttered, use light both as material and as means to reveal space.
She enjoys a one-year fellowship at the Villa Médicis in 1997/98, where the fact of encountering the world of music engages her in a quest of exploring links between visual and aural impressions and imagining abstract spaces that spark an audience’s reverie thanks to this aural experience.
She designs luminous scenographies for several musicals, such as "Antreciel" (music by Grisey, Xenakis, Matalon, Adamo…) Arsenal de Metz 2005, scenography at the Festival du Souffle de l’Equinoxe Poitiers 2006 and 2007, a concert/dance show with music by Takemitsu in Poitiers, 2008.
As a graphic artist, in collaboration with Laurent Bolognini until 2007 and within the framework of the "Les Alternateurs Volants" association, she undertakes a ten-year research on light in movement. Her work, "Abracadabra", displayed at the Frieland/Rivault Gallery in Paris, received support from EDF and was presented as a performance in relation to music improvisation at Espace Electra, Mac/Val, during the Museum Nights in Cassel, in the "Tales of Hoffmann" directed by Oliver Py at the Geneva Opera in 2001, at the Festival Musiques Démesurées in Clermont in 2006, the Festival de la Voix with the Mikrokosmos Ensemble in Châteauroux in 2007, and at the Architecture Biennale in Venise.
Françoise Henry associates her imagination with a solid technical knowledge both in scenography and lighting and offers her expertise to architects and consulting agencies in various fields (Atelier du nord in Lille, La Villette, Théâtre du Châtelet in Paris), collaborating on numerous productions, operas and exhibitions. She carries on this consulting activity from concept to stage, assisting Alain Lagarde for the opera "Julie de Boesmans" (Orélans 2009) and Catherine Bluwal for over ten scenographies including "La Serva Amorosa", awarded with the Molière Prize for scenography.
She also loves sharing her enthusiasm for scenography at conferences and workshops with various audiences, mainly on the theme of light (Festival d’Aix en Provence). Moreover, she would like to go further by passing on her experience through experiential workshops with the aim of engaging a large group of people in observing in a different, poetic way, all forms of interaction between matter, light, movement and soundscape.

Atelier Arts Sciences production With kind support from the Support Fund for Digital Artistic Productions (SCAN) of the Région Rhône-Alpes, Spedidam and Dicréam
Staged in co-production with Mixlab

Atelier Arts Sciences production With kind support from the Support Fund for Digital Artistic Productions (SCAN) of the Région Rhône-Alpes, Spedidam and Dicréam
Staged in co-production with Mixlab


To read :
LA TERZA LUCE
Tests perceptifs : vers de nouvelles interactions entre le son & la lumière par Christiane Dampne, journaliste, octobre 2013
Interview de Michele Tadini et de Angelo Guiga par Christiane Dampne - Juillet 2012