Pierre-Alain Jaffrennou

Besançon, France 1939

Pierre-Alain Jaffrennou. Né en 1939 à Besançon.

Études scientifiques universitaires en licences, maîtrise, DEA, et doctorat, dans les disciplines des mathématiques pures et appliquées. Études musicales privées et au conservatoire de Besançon puis dans la classe de musique électroacoustique de Pierre Schaeffer au Conservatoire National Supérieur de Musique de Paris.

De 1963 à 1967 il est chargé de la musique, à la Comédie de Besançon. À la suite de ses études musicales il entre comme chercheur et compositeur au Groupe de Recherche Musicale ORTF-INA où il restera de 1971 à 1977. Dans ce cadre, il fonde avec Francis Regnier le laboratoire de recherche en informatique musicale de ce groupe qui centrera ses travaux sur la synthèse et le traitement des sons. En 1981, avec James Giroudon, à Lyon, il fonde GRAME, association de compositeurs et de chercheurs en musique contemporaine soutenu par la direction de la musique et de la danse et qui devient Centre National de Création Musicale en 1997. Puis il assume la fondation et la responsabilité scientifique, jusqu’en 1985, du laboratoire de recherche en informatique musicale de Grame, spécialisé dans l’étude des systèmes informatiques pour la création musicale. Il fut aussi professeur titulaire en arts et techniques de la représentation à l’école d’architecture de Lyon. En 1989 il fonde ARIA, laboratoire d’applications et de recherches en informatique et architecture, habilité par le ministère de la culture. Jusqu’en 1997 il assure la responsabilité scientifique de ce groupe dont les travaux sont centrés sur la représentation, la simulation et la communication en architecture.

Pierre-Alain Jaffrennou

La Chute de l’Ange
Installation Installation plastique et sonore, eau, vasque de verre, laser, dispositif électronique, son spatialisé

The installation is immersed in the dark. On a rectangular stele made of rusty metal, lays a large basin of glass filled up with red liquid. From the top of space a fine rectilinear laser beam of pure light plunges into the center of the basin.
From time to time, a drop - kind of sparkling ruby - operates a vertiginous fall into the very fine ray of the beam. The installation is only illuminated by the light beam within the liquid. Light steam seems to rise from the basin and glitters at the junction of the beam. A sound environment similar to noises of wings and falls of drops of water crosses the space. At some more musical moments, dark or luminous sequences, disturbed by breaths, come up with the silence revealed by the rare sound environment.
Lastly, at unforeseeable moments, the fall of the drop creates a singular sound event, of strong resonance. Along that path of light, the liquid going from a dark to a bright red, looks like a kind of heart or lung which is back to life again after all these fatal moments. The viewer can remain long minutes in contemplation, listening, waiting for another fatal moment.

Pierre-Alain Jaffrennou

Musica Mobile 1: Seventh Sky
Installation Vidio Installation vidéo et sonore (2010) ; création version pour casques (2015) 16’40”

Musica Mobile is a musical concept implemented from an electro-acoustic diffusion set up of eight loudspeakers surroundingthe public or by a headphone listening reflecting this spatialization. This latest version is presented in Shanghai Minsheng Art Museum. This device brings into play a space-time vision of the sound events which is expressed at the same time by a dynamic in the space generated by the diffusion setup, extreme swiftness in the trajectories of the sound and by amazing effects of sound transmutations.
Musica Mobile1: Seventhsky is incarnated in eight microtonaux virtual pianos, eight virtual pianos microtonal, held by pianists virtua ltoo. These bored playing a somewhat common place as music. For some mysterious reason, gradually, things go wrong and pianists, as if struck madness, engage in an incredible marathon...

Pierre-Alain Jaffrennou

Green Sounds
Installation Installation interactive pour smartphone et multimedia

The project of the GreenSounds installation is to let visual and sonic universe of parks and gardens transparent and to show it through a site of exhibition by means of technological devices.
This artwork is a metaphorical and virtual recreation of natural environment, a kind of relocation and a transfer of audio and visual landscapes: the central motif is Animots, which is a permanent installation that functions in the heart of the park of Gerland in Lyon from December 2000.
Animots consists of a sound diffusion, which comes from multiple points of the green space of the park. At different moments, the realization of acoustic compositions is based on three different typologies of sounds. The first type is characterized by natural mimetic sounds, which can be heard in parks, gardens or in countryside. On the contrary, the second category is based on sounds of cultural nature: the sounds of instruments, voice or synthetic tone. Finally, the third one is shaped of ambiguous sounds of nature and culture that question the listener.
Unlike Animots that exists and lives its life in a micro-world, quite independently from the living creatures in the Park, GreenSounds is an interactive installation influenced by the visitors who can listen and manipulate it. It is his own smartphone that becomes the gestural interface and the device manipulating the installation. From a downloaded application, a visitor can add or replace sound streams, derived from Animots, by the creation of new kinds of sound with his own gesture, varying the interpretation of spatiality and velocity by himself. In parallel, a visual echo of the Gerland Park is proposed in a video form with a colorful atmosphere.