presented by ZKM (Center for Art and Media, Karlsruhe, Germany)

PARIS CONNECTION

Paris Connection is co-produced and co-published by Arteonline.arq.br (Rio), Coriolisweb.org (Toronto), dichtung-digital.org (Berlin), Turbulence.org (New York). It contains introductions to, interviews with, and reviews on: Jean-Jacques Birgé, Nicolaus Clauss, Frédéric Durieu, Jean-Luc Lamarque, Antoine Schmitt, Servovalve. For French, Portuguese and Spanish version see: http://vispo.com/thefrenchartists. The version on dichtung-digitial is made possible by ZKM.


credits
editorial
introduction
digital art

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Birgé
intro
interv.

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Clauss
intro
interv.
review

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Durieu
interv.
review

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Lamarque
intro
interv.

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Schmitt
intro
interv.
review

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Servovalve
intro
interv.
review




INTERVIEW with Jean-Luc Lamarque by Jim Andrews

Intro
Interview

Jim Andrews: I have visited your Pianographique many times, Jean-Luc. Is it a kind of musical instrument?

Jean-Luc Lamarque: It’ s a multimedia instrument. Just like a pianist, you have to practice and learn your score in order to play and have fun.

But it is also a work of art, it seems to me. Do you think it is as good an instrument as it is a work of art?

Each piano is an in-progress environment in which users can play. Though each piano is conceived with an artistic aim, i see it more as an open work rather than a work of art.

Are there any important differences between instruments and works of art?

The instrument belong to the artistic process. When the instrument is mastered it fades away and the work of art emerges.

Are there any important differences between tools and works of art?

Tools just like instruments are creation means.

Is there a tension between the idea of a tool and the idea of a work of art?

The original idea of the pianographique was to mix various graphic and sounds style. Though it is a myth i still dream about a magic tool or a process that would generate works of art.

Have you found yourself before in a situation where, if you wanted to make it a better tool, it would make it less outstanding a work of art?

Of course i always want to add new features to pianos. But i do it gradually to avoid complexity, i want to keep that fresh sensitive feeling.

Do you see yourself working out new forms of music? How would you describe these, if so?

My goal is more to create graphics and sounds that feed each other and see how the user will appropriate this.

"When i created the pianographique in 1992, i was very influenced by Dada, surealists, collage techniques and experimental movie makers like Oscar Fischinger who worked on the synesthesic relation of sound and image. "

Jean-Luc Lamarque


Pianographique


SuddensStories


Little Chicken

Does Pianographique have relation to the "music video"?

When i created the pianographique in 1992, i was very influenced by Dada, surealists, collage techniques and experimental movie makers like Oscar Fischinger who worked on the synesthesic relation of sound and image.

Are you able to make money with Pianographique? I note that you make custom versions of it. Have you been commissioned by musicians to make versions for them?

We did pianos for The Beatles website (comissioned by EMI) and for a " french touch " band Bosco (comissioned by the musicans who enjoyed the pianographique website). In France, the web is unfortunately considered as a tool of promotion and not as an innovation and/or experimental playground.

I see that recently you have added some work by Nicolas Clauss to the Pianographique work. How did that go?

Nicolas sent me an email to collaborate. Since we are/were both painters, the collab was easy. I did the piano engine , Nicolas created the visuals and Jean-Jacques Birgé the sounds. I enjoyed a lot this collaboration. When an artist has already his own universe, the piano is an open and ludic interpretation of his work. That was also the case with Xavier Pehuet (http://seelans.net) who has been working with me for 2 years and did the "Angular Entropy" and "krsh_neige" pianos.

Have you worked with servovalve? If so, what did you do together? Have you worked with Schmitt or Durieu? Do you share interests with them? What are they?

I collaborated with servovalve for the Jean Tinguely CD-Rom. And we meet from time to time when we showcase. I worked with Durieu for an educational CD-rom for kids. We share this desire to explore new forms, each of us in our specific way.

Are you involved in performance with Pianographique? What sort of venues, if so, and how are the performances?

Since many people have contributed to the pianographique’s adventure when we perform there is more than one interpretation. There is always a camera shooting the keyboard so the audience can understand what is going on. Thus people can realize that interpretation is a very important notion in the pianographique’s creative process.

What are you working on now, and what do you want to do in the future?

There will be new collabs with graphists and musicians that enjoy pianographique. There are also new tools in progress: The "pianomixer" that will allow to create your own piano by picking up elements in a database of graphics and sounds The "pianoscripter" that will generate and edit scores.



published on dichtung-digital 2/2003, February 2003