SILENT PARTY perceptions of movement and time in silence

12 - 13 October 2017


perceptions of movement and time in silence

SILENCE[S],a national programme proposed by the National Theatre of Chaillot, is echoed in Marseille on 12 and 13 October with SILENT PARTY, initiated by SCENE44. n + n Corsino. These two days bring together artists and researchers interested in the perceptions of movement and time in silence.

While dance provides a unique cognitive perception of time in silence, the support of scientific research centres such as PRISM (Perception, Representation, Image, Sound, Music) and ISM (Institute of Sciences of Movement) has enabled us to develop thinking and research in fields such as sonification of the gesture, the implementation of a new urban and industrial sound aesthetic, or the recomposition of a silence as a listening envelope. Many thanks to Richard Kronland, director of PRISM, and his team for all the fruitful and jubilant exchanges that have allowed these conversations, events and performances to be organized.

Each movement of bodies and objects has its own signature which is revealed, measured and appreciated in variable and relative silences. This quality defines real-time writing that is updated by each event. This is true for dance, but not only dance. SILENT PARTY is taking place during Actoral festival of contemporary writings, and Claude Régy is featured in both events. During the meetings with Hubert Colas some propositions have been crossed in their format and presentation

SILENT PARTY received the listening and the attention of Angelin Preljocaj which welcomes us in the pavillon Noir for the day of October 13th. This partnership expresses a relation in the shape of happy trade guilds which we pursue with the National Ballet according to the years and the cases of projects, as the expression free of flow between Aix and Marseille.

To be silent is not to say nothing.


n + n Corsino

SILENCE[S]is a national programme proposed by the National Theatre of Chaillot at the initiative of Domimique Dupuy.


PRISM: Perception, Representation, Image, Sound, Music, CNRS - AMU

ISM: Institute of Sciences of Movement, Etienne-Jules Marey, CNRS - AMU

Actoral, Festival des Arts et des Ecritures Contemporaines

Ballet Preljocaj - The Pavillon Noir

AMU: Aix-Marseille University

UFR ALLSH : University department Arts, Letters, Languages(Tongues) and Human sciences

With the support of:

IRCAM: Institut de Recherche et  Coordination Acoustique / Musique 

LNC : Laboratoire des Neurosciences Cognitives

SCENE44 . n + n Corsino

European stage for choreographic creation and digital innovation, Art Factory is funded by:

City of Marseille, FEDER (European Regional Development Fund), French Ministry of Culture - DRAC PACA, 

the PACA Regional Council, the departmentalCouncil of the Bouches-du-Rhône area.

With the support of the Institut Français for its work abroad.

photo credits: © cie Dodescaden, © cie Eléphante - visuel : Romain Giquel, © Daïna Ashbee, © cie Pulso, © Syneline 

visuel : Nicolas Patrix


Thursday 12 October 2017 

SCENE44 . n + n Corsino 

Pôle Media Belle-de-Mai

37 rue Guibal 13003 Marseille


9:00 Reception

9:30 OpeningRichard Kronland,  PRISM  / Nicole Corsino, Norbert Corsino,  SCENE44

10:00 - 13:00 session 1: conversations about silence 

Dominique Dupuy / Daniel Deshays: As with some animals...

Mitsuko Aramaki (PRISM): Silence and perception

Jérémy Danna (LNC): When writing resounds, sonify writing to perceive beyond the written trace

Richard Kronland (PRISM): Silence in noise? Spectral silence

Solvi Ystad (PRISM): The sounds of silence from an acoustic point of view

Vincent Roussarie (Groupe Peugeot-Citroën): Automotive silence, industrial grail or paradigm error?

Christophe Bourdin (ISM): Silence and noises of the body

14:30 – 18:00 session 2: performances / events

Greg Beller (IRCAM) / Richard Dubelski: The Palace of Memory

Rocio Berenguer / Marja Christians  (C° Pulso): Stethoscopes

Laurence Maillot (C° Dodescaden):

Karoshi, excerpt

Daïna Ashbee: On Pour: silent pains

Sandra Français (C° Elephante): ONKALO solo # 1 The Guardian

Nicolas Villodre: The unheard image

Pascale Houbin (C° Non de Nom):Today with two hands

20:30 In partnership with Actoral / Claude Régy: Rêve et Folie, Théâtre Joliette 



Friday 13 October  2017

Ballet Preljocaj - Le Pavillon Noir

530 avenue W.A. Mozart

13627 Aix-en-provence


9:00  Reception

9:30 Opening, Christine Esclapez, PRISM / Angelin Preljocaj,  Pavillon Noir / Nicole Corsino, Norbert Corsino, SCENE44 

10:00 - 13:00 session 3conversations about silence 

Angelin Preljocaj: L’Anoure, from La Voix Perdue by Pascal Quignard

Solvi Ystad (PRISM): The sounds of silence from an acoustic point of view

Richard Kronland (PRISM): Silence in noise? Spectral silence

Mitsuko Aramaki (PRISM): Silence and perception

Sylvain Brétéché (PRISM): Look at these hands singing

Vincent Roussarie (Groupe Peugeot-Citroën): 

Automotive silence, industrial grail or paradigm error?

Christophe Bourdin (ISM): Silence and noises of the body

14:30 - 18:00 session 4: performances / events

Daïna Ashbee: On Pour: silent pains

Laurence Maillot (C° Dodescaden): Karoshi, excerpt

Greg Beller (IRCAM) / Richard Dubelski: Shhh!!

Rocio Berenguer / Marja Christians (C° Pulso): Stethoscopes

Julien Ferrando / Jonathan Bell / Tom Mebarki: 

On the subject of tacets

Sandra Français, (C° Elephante): ONKALO solo #1 The Guardian

Pascale Houbin, (C° Non de Nom): Today with two hands

Nicolas Darbon (PRISM) /Alain Berlaud: 

In the silence of darkness

Nicolas Villodre: The unheard image


20:30 In partnership with Actoral / Claude Régy: Rêve et Folie, Théâtre Joliette 




only by reservation


06 75 80 51 51


Mitsuko Arakami

Silence and Perception

The question of silence will be approached from the viewpoint of sonification. Some avenues of research will be discussed, notably concerning new forms of virtual perceptions augmented through emerging technologies.

Mitsuko Aramaki received his PhD in Acoustics from Aix-Marseille Université II in 2003. He is currently a CNRS researcher in the PRISM (Perception, Representations, Image, Sound, Music) research centre in Marseille, working on the «Engineering of Perception». His research activities are in sound sciences and address fundamental issues related to the relationship between sound and humans in a multimodal context. His research has benefited from numerous interdisciplinary collaborations, and their applications are related to industrial issues (automobiles and video games) as well as social and clinical issues (learning, remedial work and psychiatry). 

Daïna Ashbee

On Pour: silent pains

Pour explores the complex relationship of women with their menstrual cycle. By removing the taboo concerning these intimate pains and the emotional resonances they arouse, this work, which combines strength and vulnerability, exposes different facets of the feminine relationship with illness and proposes a metamorphosis of this energy into movement and performance.

With Pour, as in her previous works, Ashbee creates a dark, disturbing and provocative piece. The use of repetition evokes the notion of transformation and suggests different possible outcomes, while maintaining an intense vulnerability between the artist and the public.

Artist, performer and choreographer from Montreal, known for her radical works, on the border between dance and performance, which intelligently approach complex subjects or taboos such as feminine sexuality, Métis mixed-race identity, and climate change. Artist in residence at the Agora de la Danse in Montreal until 2020, she will perform at the Rencontres Chorégraphiques Internationales in Seine-Saint-Denis, Munich and Potsdam, at the National Arts Center in Ottawa, the Festival TransAmériques (FTA), and the Venice Biennial, among others.

Greg Beller & Richard Dubelski


In this performance, Greg Beller and Richard Dubelski speak to you about silence(s), playing with the talkative processes of improvisation and their sound capture machines

The Palace of Memory

Described by Frances Yates in 1966 in “Ars Memoria”, Le Palais de la Mémoire is a memory-jogging technique which was used since ancient times, and then disappeared during the Renaissance. It enabled an orator to quickly memorize a speech.

This metaphorical installation transforms the place where it is exhibited into a collective sound sculpture. The physical space is empty, but it resounds with the various memories expressed by the participants in a temporal polyphony.

Greg Beller 

Sound, voice, gesture, movement, expressiveness, emotion: Greg Beller is an artist and researcher in the digital arts, music and live performance. A graduate of the École Normale Supérieure and author of a doctoral thesis on expressiveness in speech and music, he founded the Synekine company of which he is the artistic director. Director of IRCAM’s Interfaces Recherche et Création department, he collaborates with artists and researchers in the design, creation and performance of artistic moments.

Richard Dubelski

Born in the wings of the Alcazar theatre in Marseille, he studied music (winning first prize in percussion at Rueil-Malmaison Conservatory of Music) and theatre (in Betty Rafaelli’s workshop), enabling him to embrace the occupations of musician, actor, composer and director. In 1987 he met Georges Aperghis, whose works he performed in various shows and with whom he worked closely until 1992, and then again since 2011. Recently, he created Fissures ou le délabrement de la mémoire with Greg Beller. He also conducts various musical theatre workshops and workshops in national theatre schools (E.R.A.C, the Ecole de la Comédie in St Etienne, Atelier volant T.N.T., etc.) and National Drama Centres. In 2009 and 2010, he is musical artistic director and composer of Kaleidoscope 2, a performance in Lyon Opera House with 350 amateurs, orchestra and the Maîtrise choir of Lyon Opera House, and works regularly with the Orchestre Symphonique de Bretagne. 

Rocio Berenguer & Marja Christians 


Stethoscope captures the body’s music in real time, going across the organic border of matter and inviting us to go to the other side of the skin. Pulsation as conversation, the voice of the heart and soul, the song of a viewpoint. Inside out. It is a performance which, through an individual concert protocol, involves the voice and the spectator’s viewpoint while engaging the spectator individually.

Rocio Berenguer

In 2010, the Spanish actress, director, author and choreographer Rocio Berenguer created the Pulso company dedicated to the dramaturgy of the body and new media. Influenced by the theatre of the invisible, she conceives her choreographic pieces within a transdisciplinary perspective where new technologies and dance mix. For Rocio, winner of the 8th Enghien-les-Bains International Biennial, the dramaturgy of the body allows her to move from the collective to the intimate and to approach political questions with poetry.

Marja Christians

Singer, performer, DIY body researcher, collective director works out and performs feminist theater and dance performances collectively with Isabel Schwenk, as well as in collaboration with the choreographer Rocío Berenguer and the artist Ayélen Cantini. Marja is a cobra member of the artists’ network cobratheater.cobra.com and works regularly in different artistic collaborations, currently with  dancer Viktorija Ilioska (Skopje) the queer artist Julian Meding (Berlin) and visual artist Burçak Konukman (Istanbul). She studied cultural sciences and aesthetic practice at Hildesheim University and 2010-2011 Physical Theater in Barcelona. She is currently researching master choreography and performance at the University of Giessen. In her performances, she aims to deconstruct structural violence by challenging current conventions, using humorous strategies and the audience’s physical response. She plays at the border of the human body through the environment of posthuman sounds and visions of cyborgs. (Jurypreis of the Sophiensaele, Körber Studio Junge Regie and Radikal Jung Festival).

Christophe Bourdin

Silence and noises of the body
Even in complete silence, dancers who express their art continue to listen. In fact, when they produce their performance, even if it is produced without music, professional dancers base themselves on a large number of sensory signals that enable them to perfectly execute the choreography that they have learned. Therefore, even when deprived of the major sensorial source for the act of dance, the central nervous system is based on a score of various sensory signals (visual, vestibular and proprioceptive signals), which enable it to organise its expert movement and to execute the performance in accordance with the timing that it has learned.

After a PhD in Movement Sciences at Université Joseph Fourier in Grenoble under the direction of Professor Vincent Nougier, he joined the Faculté des Sciences du Sport and the Institut des Sciences of Movement (Aix-Marseille University and CNRS) in 1998 to work on the detailed ways and means of movement control by the central nervous system. Since then, he has been conducting research projects on the issue of movement learning and its adaptation to environmental changes, with a major interest in the role of multi-sensory integration. He works particularly on the contributions of auditory, vestibular and visual information to the capacities of control of movement. He’s currently Scientific Officer of the Automotive Motion Lab OpenLab, a joint research centre between Aix-Marseille University and the PSA company that deals with issues involving human factors in the automotive field. During the 2001-2005 period, and from 2010 to 2014, he was vice-Dean of the Faculty of Sport Sciences. I am currently Research Officer at Aix-Marseille University, working with the Vice-President for Innovation and Economic Development.

Sylvain Brétéché

Look at these hands singing

De la vusique au chansigne [From “vusic” to “sign-song”]: silent dimensions of the music of the deaf.

To talk about music, the “ordinary” person makes use of sounds and the experiences of the ear. 

But what happens when music does not fulfil its function and silence seems to be imposed? 

Does music disappear, just as colours fade away in darkness ? 

Going beyond the opaque veil of the ear, the musical practices of deaf people are fundamentally detached from the sense of hearing. They tend to reveal a singular facet of music which, in the supposed silence, shows itself to be a product of the eye and a reality that is incarnate, soundless, visual and moving. 

A Doctor of Musicology, with a Master Degree in Education Sciences, and a professional speaker in the world of deafness. His work is part of a necessary transdisciplinarity that combines musicology, phenomenology, cultural anthropology and social psychology, focusing primarily on the place of the body in the musical experience, the musical practices of the deaf, and adapted forms of music. His approach to the notion of silence goes beyond musicological observation. In his works, he views silence within phenomenological perspectives, anthropological perspectives or aesthetic perspectives.

Jérémy Danna

When writing resounds

Sonify writing to perceive beyond the written trace. 

By “sonifying” the writing movement (i.e., transforming it into perceived sounds and silences), the writer can pierce the vision focused on the trace that it forms and "perce-voir” ("pierce-see" or perceive) other hidden information. The underlying idea is, for example, to associate a melodious, flowing sound with a fluid gesture of writing, and to associate a discordant, cracking sound with a gesture of disjointed writing. This method literally transforms the pen into an orchestra conductor's baton, which shapes and deforms a music of writing, in order to make the writing movement more melodious.

2015: CNRS researcher in the Cognitive Neurosciences Research Centre in Marseille (Aix-Marseille Université).

2011 - 2015: Research Postdoctorates and CNRS fixed term research contract, mainly on the topic of the sonification of handwriting.

2011: Doctorate with distinction on "Performance Motrice, Adaptations et Sport" at PRISSMH (Interdisciplinary Research Centre for Sport Sciences and Human Movement): thesis on the dynamics of coordination in the formation of written traces in adults and children.

Nicolas Darbon / Alain Berlaud

In the silence of darkness excerpt
This dance, which lasts about 10 minutes, is based on the Popul Vuh (the story of the Maya "Genesis"). The question of the choice between sound and silence, mobility and immobility, light and darkness, is played out between the musician and the dancer: through simultaneous improvisation, the genesis of the creative gesture is in play. Create, act, or do nothing; give to the world or fade away.

Nicolas Darbon

Musicologist, composer, and president of Millénaire III Editions, Nicolas Darbon is an HDR lecturer at Aix-Marseille Université, and a member of the PRISM (Perception Représentation Image Son Musique) research centre.

Alain Berlaud

A composer born in 1971, Alain Berlaud studied at CNSM Paris and IRCAM, before teaching in Guyana. His creative approach is deliberately oriented towards musical anthropology and spirituality. He currently teaches in Aix-en-Provence and Marseille.

Dominique Dupuy & Daniel Deshays

As with some animals...

Unlike in the case of some animals, whose ears move to indicate the beginning of their attention, no clue allows to say for sure that a person is listening. If a person’s attentive look may suggest that they are listening, we do not know when they stop listening. Only the blinking eyelids indicate the existence of interruptions and the person’s withdrawals into themself. It is an indication of our inability to continuously focus our attention on events, and the same applies to listening. Thus, it is we who organize the interruptions, opening silences in the noise. Sudden appearances and disappearances alternate. Silence is therefore one of the constituent elements of this complexity; it is the other side or component of sound, like its anti-matter, that which allows sounds to be articulated.

Dominique Dupuy is a dancer.

If the title of dance man were a customary term, it would probably be more in relation to what he does, what he is, what he has become.It is as a dance man that he dances, teaches dance, directs dance on stage, and writes. He performs dance, he talks about it, and he writes it. He is passionate about its various forms, its memory, its heritage, and therefore for its research and its transmission; for its relationship with the other theatrical forms with which he himself has mixed since his training and in his works.

Daniel Deshays

Sound director, university professor, research director, essayist and lecturer. For more than forty years, he has been writing sound for the theatre, music and cinema. He has worked with Chantal Akerman, François Caillat, Jean Michel Carré, Henri Colomer, Richard Coppans, Philippe Garrel, Robert Kramer, Yann Lemasson and Tariq Teguia.

 He founded the Department of Sound Design at the ENSATT National School of Arts and Techniques of the Theatre, teaches regularly at Fémis, is a member of Ateliers Varan and of G.R.E.C.. He also taught at ENSAD, Sciences Po and for ten years at the Ecole des Beaux Arts in Paris where he developed an approach to the plasticity of sound. He is the author of two essays: Pour une écriture du son (2006) and Entendre le cinéma (2010), published by Klincksieck, Paris.

Julien Ferrando, Jonathan Bell, Tom Mebarki

On the subject of tacets

Summary: This presentation questions the relationships between music and silence during periods that are far apart in time. From these observations came the notion of silence as a gesture by musicians in the Middle Ages, and the idea of silence as a sonic experience, by John Cage and Morton Feldman. These concepts are finally used as a starting point for a contemporary reinterpretation of pieces from the Chantilly Codex.

Jonathan Bell, a composer, is a graduate of the Conservatoire National Supérieur de Music, Paris (where he won 4 prizes) and of the Guildhall School of Music and Drama (obtaining a Doctorate in Musical Composition). In 2014-16, he followed the IRCAM curriculum. His music bears influences of Franco-Flemish polyphonists, American minimalism, and spectral music. He currently teaches at Aix-Marseille Université (AMU).He currently teaches at Aix-Marseille Université (AMU).

Julien Ferrando is a lecturer in Early Music and New Technologies in the music and music sciences department of Aix-Marseille Université, a member of the FRE PRISM (AMU / CNRS) research centre, and head of music and music sciences. He is also a musician and a member of the Diabolus in Musica ensemble and artistic director of the Mescolanza early music ensemble. Artist in residency at the Fondation Royaumont from 2002 to 2005. He also founded the Meditrio in collaboration with Jean-Marc Montera and Jean-Michel Robert, whose purpose is the encounter between improvisations in contemporary, Mediterranean and early musics.


Tom Mebarki: Ph.D. candidate in music and musicology at Aix-Marseille University (AMU), Tom Mégarki sings as a counter-tenor and performs in France and abroad, being noticed by personalities such as tenor Jean-Paul Fouchécourt, the artistic adviser of the Aix-en-Provence Festival Alain Perroux, and the vocal coach of the Rome Opera Sergio La Stella. His practice as singer informs his musicological research on opera and voice.

Sandra Français

ONKALO solo # 1 The Guardian

Sandra Français wants to stage a theory of information that would be applicable to choreographic art. She draws her inspiration from the context of the film "Into Eternity" by Mr Madsen: "In 2020, on a peninsula in Finland, thousands of tons of nuclear waste will be stored in a hole dug by the hand of Man. It is estimated that this waste will remain radioactive for 100,000 years. In 100,000 years’ time, who will remember ?"

She invents a language of the body, a choreography based firstly on a collection of gestures that signal danger. In this first solo, the Onkalo Guardian is responsible for conveying the message on which the survival of future generations will depend.

Born in France in 1987, Sandra Français began dancing with the choreographer Josette Baïz, firstly in the Grenade Group, then at the age of 19 in her professional company. In 2010, she took part in the Arsenal Della Danza line-up in Italy at the Danza Biennale. She danced under the direction of Ismael Ivo for the opening of the Seventh International Contemporary Dance Festival of the Venice Biennial. In 2011, she joined AVA in Spain and worked under the direction of Avatara Ayuso. In 2013, she created the Éléphante company with the Alpha project, which won an award at the Biennial of Young Designers of Europe and the Mediterranean, a formal and conceptual phase through which she returned to improvisation and performance. The diptych version of ONKALO will be presented in 2018.

Pascale Houbin

Today with two hands

A collection of portraits of gestures produced since 2002 : seamstress, farrier, blacksmith, Base 112 Pilots, croupier.

Gestures of people at work are filmed in mimed “virtual action”. Craft workers and tradesmen mime their working gestures and actions, without their materials or tools. Their minor and major gestures are crucibles of individual and collective humanities. They are signs of life and represent the implied experience of each person.

Pascale Houbin founded her company Non de Nom in 1987.

Her first original creative works Nota Bene (1987) and Chants (1989) include French sign language in the choreography. This experience has allowed her to explore the resonances linking text and movement.

In 1999, she was involved in a series of creative works with other authors: Abbi Patrix (storyteller), Levent Beskardes (deaf actor), Georges Appaix (choreographer), Dominique Boivin (choreographer), Patrick Bonté (stage director), Daniel Larrieu and Dominique Boivin (choreographers).

In 2015, she directed the film Le geste exilé [The exiled gesture] in response to a commission from the Travesias association in Rennes, as part of the Nouveaux Commanditaires / New Sponsors programme supported by the Fondation de France. 

She has been teaching choreographic art at the Sciences Po school of political science, Paris, since 2013.

Richard Kronland

Silence in noise? Spectral silence

The sounds of our environment constantly inform us. We can close our eyes but not our ears, but is this proof that we need sounds continually?

Sounds are an implicit language that guides us and helps us to understand our environment. Yet sounds often include much more silence than one thinks. A spectral silence, from which the beauty of sound emerges.

Director of research at the CNRS [French National Centre for Scientific Research]. His scientific activity concerns the sciences of sound in the interdisciplinary sense of the term. His research work focuses on the synthesis of sounds. However, his interest in the perceptual and cognitive aspects of listening has recently led him to undertake interdisciplinary research on the intuitive control of sounds and processes that are capable of reproducing perceptive effects corresponding to high-level attributes. He currently leads the PRISM (Perception, Représentations, Image, Son, Musique) CNRS / AMU research centre in Marseille.

Laurence Maillot

Karoshi, a silent burn-out.

In Japan, the word Karoshi refers to people who suddenly die from exhaustion at work.

The determination to produce under the orders of a higher structure only allows the bodies in question to become strangers to themselves until they reach a point of disintegration, in a futile race towards the absence of self.

The filtered and raw sounds provide rhythm of the performer’s climactic states in a random or controlled manner.

Choreographer & dancer, joint artistic director of the Dodescaden company together with Jeremy Demesmaeker (2009). 

She develops research work on the notions of the body and the unconscious.

After obtaining a Master's degree in biochemistry, she changed to psychology and trained in psychoanalysis at the École de la Cause Freudienne in Marseille.

She combines practice and thought, conscious and unconscious body, and her research work is marked by key artistic encounters, such as those with Julie Stanzak, Julyen Hamilton and German Jauregui. In 2017, the company’s original new work, Les Maitres Fous, is inspired by the ceremonies of possession and trance phenomena interpreted through the new figures of the power of contemporary society.

Angelin Preljocaj

L'Anoure and the Lost Voice from La Voix Perdue by Pascal Quignard.

Choreographer, director of Ballet Preljocaj.

Born in France of Albanian parents in 1957, Angelin Preljocaj began classical dance studies before turning to contemporary dance with Karin Waehner. In 1980, he left for New York to work with Zena Rommett and Merce Cunningham, then continued his studies in France with the American choreographer Viola Farber and the Frenchman Quentin Rouillier. He then joined Dominique Bagouet until he founded his own company in December 1984. Since then, he has choreographed 50 works, from solo pieces to major forms. His original creations are included in the repertoire of many companies, and he also receives commissions from bodies such as La Scala, Milan, the New York City Ballet and the Ballet de l'Opéra National, Paris.

In 2016, together with Valérie Müller, he directed his first feature film, Polina, an autobiographical dance work adapted from Bastien Vivès's strip cartoon book.

Vincent Roussarie

Automotive silence, industrial grail or paradigm error?

In practice, an object in motion will never be perfectly silent, and so much the better. Total silence would make our vehicles unreliable, dangerous to the vulnerable, and distressing to their occupants. Nevertheless, the promise of silence of electric vehicles creates expectations, and so manufacturers are working on a new paradigm, with the goal of mastered, controlled and designated sounds, eliminating meaningless nuisance sounds as much as possible. New digital audio technologies have already enabled us to prototype vehicles that go in this direction, particularly through active control and sonification. At the dawn of the age of augmented machines, it is not by making our objects mute that we will improve their use.

He is a Doctor of Psychoacoustics and a sound and vibration perception consultant for the PSA Group. As scientific director, he leads innovative projects, scientific partnerships and the implementation of proof of concept in new digital audio technologies, in particular for sonification and sound design. Since 2015, he is in charge of the Cognitive Sciences and Human Factors section of the scientific department.

Nicolas Villodre

The unheard image

Just like concepts, visual or other finds are very few and far between. The paradox of the title of Paul Claudel’s thoughts on art, L'Œil écoute [The Eye Listens], already seems to be in King Lear’s instruction to the blind Gloucester: "Look with thine ears" (Act IV, Scene 6). So what would be original in dance? The unsaid or non-perceived in cinedance? Topicality of supposedly burning importance? The exclusivity of a new technical process? These questions will be approached through a few examples from the field of experimental cinema.

1983: Postgraduate studies in Avant-garde Photography, Université Paris-I 

1977-1983: Coopérative des Cinéastes, Collectif Jeune cinéma, Ciné-club St-Charles, Salon Écritures founded by Maurice Lemaître, ARCEF founded by Dominique Noguez.

1984-2013: Cinémathèque de la Danse founded by Patrick Bensard.

2013-2017: Centre National de la Danse, Pantin.

Writings for Pariscope, La Cinémathèque Française, La Revue d’Esthétique, Photographies, Pour la Danse, CinémAction, Cent Ans de Danse in France/Japan, ReelDance/Australia, Dictionnaire Larousse de la Danse, Jeune Dure et Pure, Journal de l’ADC, DanceArt/Tokyo, catalogue L’Art vidéo de N+N Corsino, Dictionnaire des Femmes Créatrices, Jeune Cinéma, Mouvement, Ballroom.


Solvi Ystad

The sounds of silence from an acoustic point of view

Sounds inform us continually about our environment. For decades, acoustics specialists have been looking for different ways of dampening harmful noise, either by using absorbent materials or by active absorption methods (with "anti-noise"). Other acoustics specialists seek to create sounds and associate them with silent events to augment our perceptions of the world and improve our daily life. During this contribution, the various different facets of silence will be approached from an acoustic point of view.

Director of research at the CNRS [French National Centre for Scientific Research]. She conducts her research on the links between sounds and human behaviour in the PRISM (Perception, Representations, Image, Sound, Music) AMU – CNRS research centre, Marseille.