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Drip

HD video & stereo audio

An introspection, with a plant on a drip as base, leads to flashes.
How does what we create and materialize around us define us? Colors, commitments, forms, neologisms, sexualities, modi operandi, obsessions.
Creating our box instead of conforming to one. Or destroying them all, carefully.

Art direction, original music, performance, text: Cara Arndt

DURATION 30:00 YEAR 2017

Drip

HD video & stereo audio

Cetraria Islandica

electronics

Grave intersect regularity, disrupted extremes connected in a multiple layers structure, soundwaves extracted from sonic dust, soft yet resilient.

DURATION 09:12 YEAR 2017

Cetraria Islandica

electronics

Porträten tvō

electronics

Following Porträten, Porträten tvō is a second book, a second series of vignette portraits.
Six new lesbian portraits. And a clotted blood insert.
Served as gelly, in negative, as a cupcake, in exacerbated colors, phosphorescent, as reflections, leveraged, or unflaggingly tracing its route.

Are you depicted in Porträten?

DURATION 12:15 YEAR 2015

Porträten tvō

electronics

Dominances

small ensemble

Does the matter of this piece deal with social classes, sexes, identities, races, cultures, orientations, human/animal or gelatin/agar-agar relationships… or all of them at once?
A fact is unquestionable, what stands as forte won’t become strong as well as what stands piano won’t be characterized by discretion. In this piece where the maximal musical dynamic is in fact piano, the (hi)story – as long as the recent past could hypothetically be rewritten – gets constructed in the infra.
The essence is not there.

DURATION 6:30 YEAR 2015

Dominances

small ensemble

Laster

electronics

The absolute last occurence or appearance. A load or burden.

(Part of a collective project about circus, without a circus.)

DURATION 5:00 YEAR 2015

Laster

electronics

Porträten

electronics

An album of six lesbian portraits as fleeting intimate vignettes. And a dried-out blood insert.
Presented without frosting, dissimilar, these profiles are redrawn, recounted ou decorously eluded, arranged face to face or side by side. Punchlines, gentiana, facets, multiplicity, ethanol, feelings, ascorbic acid, ambiguities, cyprine, plasma, features, perceptions, glazes.

Is your soul depicted in Porträten?

DURATION 12:19 YEAR 2014

Porträten

electronics

Avec la brume, je pourrais tomber.

electronics

(I could fall, due to the haze.) Waves of imbricated memories, hints of stillborn imminences… Flimsy standpoint facing the desire of abandon driven by the strained dereliction of the desire.

DURATION 03:00 YEAR 2014

Avec la brume, je pourrais tomber.

electronics

Inflexions

female voice and percussion, electronics

(Inflections, shifts)

In a sceptic, cold indifference and circumventing narration, Inflexions plays with the falsified emotion, the denied protection, the assumed masks, in a balanced control between the feeling and the observation of the feeling, by us as well as by the other.
Inflecting the expectations, anticipating the probability of it's own surprise, projecting, tinging meaning onto the seemingly banal.
Everything is looping up, transforming itself, rounding off and tangling up perpetually.
The three musicians are part of a whole whose each of them possesses only one of the three keys. The electronics projects the possibles and their unfolding paths neglected to abandon. An abandon flexing, tearing apart the concrete of the present.

DURATION 05:00 YEAR 2014

Inflexions

female voice and percussion, electronics

Passages

small ensemble, electronics

Passages plays on the constant relativity, the relativity lead by instinct and pushed forward by a slightly subdued abandon.
Nothing leads to an end because everything was already in place and only waiting to be caught up.
A sway between individuality and observation, multiplicity and anticipation.
These passages can depict more, or be simplified. The only signs of the presence of the passages are these entrances that we caught up glimpsing within this already present reality and that are bound to survive. They will, solely because the diminution of interest we take interest in them individually, end up evanescent.
 « I wouldn’t have done so if I didn’t hate balls so. »

DURATION 06:00 YEAR 2014

Passages

small ensemble, electronics

Seul le (6) que...

electronics

(Only the (6) that…)

Rushed (1), (2) reinitialized her (3). (2) forgot. The first (4) in such a while.
It was (5) who advised it to her. In order to take in account the (6) she used instead of persisting to incense herself on a (6) who flew without any (7). Only the (6) that (2) could take in account was important. Only the (6) that (2) controlled was important.

DURATION 08:01 YEAR 2014

Seul le (6) que...

electronics

j

female voice

j suggests what could have been or what we could have been, a few decisions or small understandings apart… and their sink into oblivion. This miniature piece is the place of a performance act where the expression overplays the minimal aspect of the text.

DURATION 03:40 YEAR 2013

j

female voice

(S)

electronics

Antithesis of the silence, (S) is a parenthesis where gleams a common hell. Orpheus begs the god of the deads to give him Eurydice back.

DURATION 03:00 YEAR 2013

(S)

electronics

Dress, impress

piano, violin, cello and electronics

Dress, impress dresses, presents, treats the portrayal of an organism and delivers its impressions: The abandon of roots erecting the "trunk" as a new origin and absolute reference point ; evolution and mutations, energy pathes redrawn a posteriori.

DURATION 07:00 YEAR 2013

Dress, impress

piano, violin, cello and electronics

s… i.t.p.

flute trio, electronics

The observation of the change of state of a precise arbitrary chosen element in a mass that follows an external process that it's not master of is the subject of s… i.t.p.. Without isolating this element, it is extremely difficult to be witness of its subtle mutations that will lead to the global metamorphosis.

DURATION 100 seconds YEAR 2013

s… i.t.p.

flute trio, electronics

La remise en forme de l'arbitraire du signe

flute, electronics

La remise en forme de l'arbitraire du signe (= the reshaping of the arbitrary nature of the sign) is a new, reshaped, version with electronics of La remise en cause de l'arbitraire du signe  (= the questioning of the arbitrary nature of the sign) for solo flute.
Both deal about our approach to the linguistic sign and the meaning : how is the written form of a word connected to the sense that is given to it in our western languages?
Is the sign/sense relation independent, arbitrary? Does it suggest sound or sense?
Or are we just too much impregnated by our culture to have a neutral judgment on this question?

The architecture of the piece is based on the formalization of the language :
• The melodic system reproduces the statistic scheme of chances that a letter Y would be juxtaposed to a letter X in a given text. After the evaluation of several fragments of text, I built an independent nodal melodic network in order to master all of its parameters and not be the slave of a closed arbitrary system.
• The phrasing of this piece is inherited from the construction of our language: in a sentence, the relation of one word to the other is not always the strongest in the linear succession of the sentence but often becomes a sense by "skipping" words in this succession. For example, in a sentence "A-B-C-D-E-F", C-D will perhaps have a juxtaposition relation while the link created between A and C will really create the sense and the unity of the sentence.

In opposition of La remise en cause de l'arbitraire du signe  which temporal structure was built like an discussion about that question, La remise en forme de l'arbitraire du signe focusses on the taste, the intuition that brings us to blindly defend an idea, a choice, an error.

DURATION 07:00 YEAR 2013

La remise en forme de l'arbitraire du signe

flute, electronics

More...

2012

Then, anew

 electronics

Then, anew describes void and revival, solely based on symbolism.
This piece grew out of my love for isolated objects that are apparently disconnected from each other: they allow everyone to recreate a reality from scratch.
The narrative aspect is kept only in a few fragments alike vacuum capsules saving cultural marks of a civilization.
These objects build progressively a sense for the listener and anchor him in turn into the (hi)story as he becomes aware of it. A reflection on the insignificant details, which make us appear, and define us.

DURATION 6:37 YEAR 2012


Acetariae, Sons de la forêt

 electronics

(Acetariae, Sounds Of The Forest)

Salads are here again confusing. They give to the piece their form as representative for ordered mixtures intended for swift sequences. In this (paradoxically) organic form, there is no other hierarchy than the contact of each leaf with the next one like the contact of polystyrene beads with the next ones.

All the cultural samples are connected to the idea of destruction, idea that can also be associated with a kind of purification.
We are confronted with the presence of an absent forest or, better, with the absence of a present forest, the marks of which have been annihilated under the weight of heritage.

"Acetariae, Sons de la forêt" is to be considered from the opposite perspective: Acetariae does not contain any sound of natural origin. Everything that is resonating here has thus been man-made and is toxic.
Thus there is no sound of the forest, of salads, of plants or of living creatures … thus we are moving in a post-apocalyptic space, could we be witnesses thereof...

DURATION 12:00 YEAR 2012


g*

 cor, 2 violins, live electronics

g* describes the inextricable character of situations mixing {template, murky, embarrassing, growling, scale, slush, gender, gaffe, glove, guard, earns, cheerfulness, guarantee, galley, garage, glamour, global, glory, guts, embarrassment, genius} 1 where we are prisoners of {template, murky, embarrassing, growling, …} without which...

Inexpressible and manipulations are key players of the piece, which comes across as a "study for a decor and interactions”: the public is the decor; the manipulation is played out before the public, through the public and on the public.

DURATION 10:30 YEAR 2012

  1. All those words begin with the letter G in french, hence the title. 



Fragments de traverse

electronics

Fragments de traverse has been composed for the common project "Esplanade des nuées" as tribute to Xenakis, directed by Denis Dufour.

This work uses formal elements and motives of Xekanis' Nomos Alpha, and is an "excercice de genre" where each duration, density, intensity, type of sound as been planned beforehand in order to produce a coherent and unified macrostructure.

DURÉE 3:00 ANNÉE 2012


Dispositions

violin, electronics

This violin piece was written as a pedagogic challenge: the goal for the violinist is to let his listening of the electronics guide him thru a short piece that multiplies tempo changes.
The violin part uses a number of extended techniques and has to played exclusively on the D string.

Level: Bachelor

DURATION 3:00 YEAR 2012


La remise en cause de l'arbitraire du signe

flute

La remise en cause de l'arbitraire du signe (= the questioning of the arbitrary nature of the sign) deals with the relation between the linguistic sign and the sense: how is the written form of a word connected to the sense that is given to it in our western languages?
Is the relation sign/sense independent, arbitrary? Does it suggest sound or sense? (To pronounce an "O", we do form the character on our mouth.)
Or are we just too much impregnated by our culture to have a neutral judgment on this question?

The phrasing of this piece is inherited from the construction of our language: in a sentence, the relation of one word to the other is not always the strongest in the linear succession of the sentence but often becomes a sense by "skipping" words in this succession. For example, in a sentence "A-B-C-D-E-F", C-D will perhaps have a juxtaposition relation while the link created between A and C will really create the sense and the unity of the sentence.

Rather virtuosic, La remise en cause de l'arbitraire du signe uses assemblies of whistled and blown sounds in order to create morphologies within an objective frame.
The use of a very strict melodic system confronted to the sound reality dialectically guides us in this reflection.

DURATION 6'-7' YEAR 2012


2011

Perspectives en cours

electronics

Perspectives en cours (=Ongoing perspectives) suggests a space in which we will take over elements in order to form out of them our own representation. Elements which occur, for some of them, by chance, some of them being extracted from the manipulation of an independent coherence and other being shams...

By the way, is language not a representation of a system of correlations/links frozen at a given time? 1 Would grammar not be itself a symptomatic representation of our cerebral representation? 2 This would be equivalent to presenting the dialectic way as an index for an activity rather than a whole governed by laws.

Our activity. Sent back into its own perspective. A mise en abîme now without any risk thanks to our own marked indicators upstream.

DURÉE 8'01" ANNÉE 2011

  1. see St Augustine of Hippo (Vth cent.) 

  2. see the Port-Royal philosophers (end of XVIIth cent.) 


…skimming places.

clarinet, piano, violin, cello

Skimming consist of holding over elements from a space for their value but it is also a speed reading technique consisting in focusing on a few words in order to reconstruct the meaning of the text which has been very quickly skimmed through. These few words then form a heterogeneous set of keywords and of fragments of different significance but which have in common their origin and unavoidable dependence from each other.

As you would do by diagonally reading a book …skimming places. suggest to skim with half-closed eyes places (exhibitions, towns…) by recalling only a few emotions and event fragments. The subconscious makes its choices and reconstructs an image, works its way up for a unique reading of the memories.

DURATION 7 YEAR 2011


Le Maufé

electronics

Variation on a theme by Denis Dufour for the project « variations diaboliques».

DURATION 1'06" YEAR 2011


Temps relatifs (in 444.444)

violin, electronics

For the third iteration of 444.444, Temps relatifs gives us a new angle of view on the Object which reveals itself by facets, the further this series of pieces is progressing.
This time, importance is given to the microscopic scale in a form composed of successive corollaries.
As under the effect of a magnifying glass, the least change of duration, nuance and striking fully transfigures the sound and reinforces by hundred the slightest usually perceived variations of tone. A ray of sunshine threatens the Object.
Although these changes are relative, the evolution is marked by constants.

The evolution is not, here again, on the level of the Object but on that of the containing sounds: the piece is not a description or a representation thereof but a kind of mould on which it left an imprint. The new moulding element which the violin proposes here becomes the base of a later condition to come.
More technically, the intention brings us back to a questioning about the relation form/format.

DURATION 7'25" YEAR 2011


Un impossible parallèle (in 444.444)

support audio

In Un impossible parallèle, I explore the links that form between persons as well as the objects or machines which surround them. Independently from the fact that these links are conscious or intuitive, they are all defined by their causes.
I took Aristotle’s theory of the four causes as a base; it defines causality not as a preliminary fatality but as a vision of which we are the actors.
Rather than cataloging these 4 causes, here is an evolution of the link between them, their non-parallelism being a synonym for their differentiation.
The objective parallel can be defined in its fragility.

I used in this piece a multitude of sentences in English, French and German which I wrote or which I took over while reading. All these sentences are connected with contexts which further creation where the déjà-vu defines the rules. The sense of a work is defined by the distance which differentiates it from the others…

The second piece of my series 444.444 is an impossible parallel dealing with what is possible and its interpretation by different symbolic meanings and applications of number 4. Each piece of the series lasts 444,444 seconds (7’24″444).

Many thanks to the 15 persons who gave me their voice!

DURATION 7'25" YEAR 2011


Éléments base 5 (in 444.444)

flute, saxophone, live electronic w/ sensors

Éléments base 5 comes from where the squares are pentagons, where the chairs have 5 legs and the stars have 4 vertices.
Let us consider what some of us take for granted and let us model it, shape it to form it into a mould where 5+1=11 and 41-2=34, where 444,444 is the symbolic element of the new established structural logic. In our western global culture, some of us consider the “4 elements” as an established overall structure, let us hit them to show them the perspectives of a 5th element. Aristotle suggested aether as titleholder, certain oriental cultures define this 5th constituting element as being space1.

Beyond the ideological questions, Éléments base 5 pragmatically puts forward the problems of the introduction and integration of an unrelated element in what did constitute our life balance.
A collision of the constitutions initiated by the saxophone creates a window to this new possible constituent.
Paradoxically, three keys will half-open it and will let shimmer the unknown.

Éléments base 5 is the first of a series of pieces of 444,444 seconds, each one (7’24’444) dealing with the possible and its interpretation by the different symbolism interpretations of the number 4.
We should not forget that in numerology the number 4 stands for realization...

DURATION 7'25" YEAR 2011

  1. See Mahābhūta or the five dhātu (buddhism), Tatva (hinduism) and the traditional Japanese culture which also proposes the “hereafter” as one of the interpretations. 


2010

Tension d'éVide (in Es)

cello, live electronics w/ sensors

Tension d’éVide is the last part of Es in which I deal with the metaphor of roles which void plays for me, in particular in architecture.
After real or psychological conditions and feelings, the stress is again on the question of control.
It is a new synthesis by hollowing out memory where the control of details changes everything, the angle as well as its perception.
The hollowing out of expected remains alternates with negative things, fragments, snatches and memories.
And the indeterminate gets back to primitive while keeping the memory of the knowledge of feelings.

There is a control, sure but a controlled one.
The piece is based on a half open form where each passage, each turn is a decision and makes sense. This will which is irresistible at first sight cools out and becomes eroded, becomes more and more difficult to control.
This open form is guided by an analysis of interpretation and wills over a system of sensors which makes from each performance a recreation.

Experience the transfer of control to indeterminate where the abs-tr-action of a higher logic betrays the sense of the direction of the senses.
In an implacable and non reasonable logic, it is swallowed up by void.

DURATION 14'45" (max) YEAR 2010


Abs… fie

flute, vibraphone, violin and cello

Abs…fie is a representation of the possible. In this short form, I represent and define abstraction as means of simplification, means of logical understanding in order to better touch and make our own what makes up our surroundings and our environment. A nonlinear time perception and a development through inlays becomes form architecture.

DURATION 4'05" YEAR 2010


Tension du Vide (in Es)

electronics

Tension du Vide is the third part of Es in which I deal with the dramaturgy created by emptiness by several approaches. I leant on the methaphor of the parts which emptiness plays for me namely in architecture, either internal or external.

In this acousmatic piece, we are confronted with a narrative like development which relates the experience lived in Tension sur Vide and Tension sous vide (for cello and live electronic). Indirect narrativity of the sensations, feelings and wills. Between materials which can be spotted by entity and globality of the textures we are placed on a polarized course where the rupture of the established reference marks creates and becomes a structure.

DURATION 6' YEAR 2010


Tension sous Vide (in Es)

cello, electronics

Tension sous Vide is the second part of Es in which I deal with different approaches of dramaturgy created by void.
Tension sur Vide and Tension sous Vide, both for cello and electronic have in common an assimilation to the first person and suggest respectively a semantic guiding line transfigured by a different look and approach. I leaned on the metaphor of the parts which void plays for me namely in architecture, either or external.

Submersion from outwards. "sous vide" also means here vacuum, absence of air. The cellist is living in this tension and saves its strength by being in a quasi apnea condition in order to better control the more and more low and grave situation, the unavoidable release is all the more intense, disrupted and uncontrolled. Sequences with various tensions with respect to their sense and condition follow one another in a cyclic manner. The experience is played on a simple material (system of corpus of height levels playing on the shrinking of the melodic possibilities by manipulating the significance of the intervals of the height levels)  based on three first degree parameters: velocity, accuracy tolerance and inclination of the bow.

DURATION 5' YEAR 2010



Tension sur Vide (in Es)

cello, electronics

Tension sur Vide is the first part of Es in which I deal with different approaches of dramaturgy created by void.
Tension sur Vide and Tension sous Vide, both for cello and electronic have in common an assimilation to the first person and suggest respectively a semantic guiding line transfigured by a different look and approach.
I leaned on the metaphor of the parts which void plays for me namely in architecture, either or external.

In Tension sur Vide, the first person has an almost dominating position while being marked by the characteristics of inner tension: apparent confidence, uncertainty, loss of reference marks and clinging back to them. An apparently motive-based playing makes use of expectation, memory and overall identification of the material. The course causes a rupture of reference marks, thus misleading the first listening in favour of a melodic and harmonic upheaval which highlights lightly brushed sounds and pizzicati.

DURATION 4'16" YEAR 2010



2009, 2008, 2007


Static Escapes

alto electronics

Static Escapes plays with metaphors of flight according to a vision suggested by JMG Le Clézio in his book Livre des fuites. Each decision can be considered as being a flight. Each second, each gesture, each look is a flight. But this vision finally offers a projection to depth, another flight?
After having become aware of this angle of view, everything becomes a flight.
Through four parts, four "toporamas", I suggest different "points of view" where the flights do exist with respect to the materials as well as in a formal manner and at the eventual intermediate levels.
In this piece I wanted to talk about our relation to emotions and feelings with a globalizing vision.

  • Toporama I is a prologue.
    Disconcerted and disconcerting, the viola is alone without predictable orientation. Flights of an exposition. In the spirit of ancient music preludes, toporama I will allow it to find out the lie by remaining in a relative neutrality.
    It prepares more than it announces the continuation, it is its temporary representative.
  • Toporama II, stressed by the coming of the electronics, is the concentrate of virtuosity of the viola player. This flight through dizziness consists of two monologues (a solist one by the viola and a secondary one fixed on the support) which influence one another in points of reference.
  • Toporama III : The form of the fixed sounds part is changing while extending so as present only simple carriers to which the viola mingles in a flight - a rather vain one - upwards, developing in three height scales with meeting points, falling back lower in these spots.
  • Toporama IV proposes a rhythmic play of pulses on attraction/repulsion relations. The viola which plays sustained notes like the support in toporama III tries to escape to meet the support but disrupts it and comes back to it.
    There is no leading part any more, everything lies in observing.

(1'20"+2'28"+1'06"+1'45")

DURATION 7' YEAR 2009




© Cara Arndt 2014-17