Je pense Ã des artistes-compositeurs qui Ã©crivent des piÃ¨ces Ã partir de relevÃ©s de tempÃ©ratures qui sont convertis en notes de musique.Câ€™est comme Ã§a aussi que peut se transmettre la question du rÃ©chauffement climatique, Ã partir dâ€™une piÃ¨ce jouÃ©e traduisant musicalement un climat stable qui se transforme et vient incarner en musique un dÃ©rÃ¨glement climatique. Câ€™est extraordinaire.Se ressentpar la musique, un fait de composition, quelque chose trÃ¨s abstrait, avec beaucoup de chiffres, des courbes statistiques. On estquotidiennementabreuvÃ© de chiffres et de courbes statistiquesÃ propos du climat.Â« Elles ne nous font plus rien, littÃ©ralement Â». Mais sur le plan sensible,avec la transposition enmusique, si câ€™est jouÃ©, si câ€™est interprÃ©tÃ© ah tout dâ€™un coup, Ã§a nous emmÃ¨ne ailleurs. Et quand je parle de ces travaux-lÃ , parfois des gens plus scientifiques ou des directeurs de musÃ©e accrochent tout de suite, en disant Â« câ€™est extraordinaire avec la musique, on peut faire passer tellement de choses Â».bÃ©nÃ©dicte ramade, balado conscient, 27 avril, 2021
BÃ©nÃ©dicte Ramade est historienne de lâ€™art, critique indÃ©pendante, commissaire dâ€™exposition, experte dans les questions environnementales. Elle est aussi chargÃ©e de cours Ã lâ€™UniversitÃ© de MontrÃ©al. Elle a consacrÃ© son doctorat (soutenu Ã lâ€™UniversitÃ© Paris 1-Sorbonne) Ã la rÃ©habilitation critique de lâ€™art Ã©cologique amÃ©ricain. Elle a commencÃ© ses recherches postdoctorales sur lâ€™anthropocÃ©nisation des savoirs Ã lâ€™UniversitÃ© de MontrÃ©al en 2016. Parmi dâ€™autres, elle a dirigÃ© la rÃ©daction de lâ€™ouvrage The Edge of the Earth, Climate Change in Photography and Video, Toronto, Ryerson Image Centre, 2016.
Jâ€™ai rencontrÃ© BÃ©nÃ©dicte lors du panel sur lâ€™art durable organisÃ© par le dramaturge Daniel Danis lors du festival Mois multi Ã QuÃ©bec le 9 fÃ©vrier 2020. Depuis, je suis ses Ã©crits et jâ€™admire son trÃ¨s grand savoir historique et contemporain sur lâ€™art Ã©cologique.
Je remercie BÃ©nÃ©dicte dâ€™avoir pris le temps dâ€™Ã©changer avec moi et de partager son expertise, sa passion et sa vision pour les enjeux environnementaux et leurs liens avec lâ€™univers artistique.
Vous trouverez de plus amples informations sur BÃ©nÃ©dicte Ã https://www.linkedin.com/in/bÃ©nÃ©dicte-ramade-12884b89/ et https://umontreal.academia.edu/B%C3%A9n%C3%A9dicteRamade
I am thinking of artist-composers who write pieces based on temperature readings that are converted into musical notes. This is also how the issue of global warming can be transmitted, from a piece played musically translating a stable climate that is transformed and that comes to embody in music a climatic disturbance. It is extraordinary. Is felt by the music, a fact of composition, something very abstract, with a lot of figures, statistical curves. We are daily fed with figures and statistical curves about the climate. â€˜They literally do nothing to us anymoreâ€™. But on a more sensitive level, with the transposition into music, if it is played, if it is interpreted, ah, suddenly, it takes us elsewhere. And when I talk about these works, sometimes people who are more scientific or museum directors are immediately hooked, saying â€˜itâ€™s extraordinary with music, you can convey so many thingsâ€™.bÃ©nÃ©dicte ramade, balado conscient, April 27, 2021
BÃ©nÃ©dicte Ramade is an art historian, independent critic, exhibition curator and expert in environmental issues. She is also a lecturer at the University of Montreal. She dedicated her doctorate (defended at the UniversitÃ© Paris 1-Sorbonne) to the critical rehabilitation of American ecological art. She began her postdoctoral research on the anthropocenization of knowledge at the University of Montreal in 2016. Amon others, she edited the book The Edge of the Earth, Climate Change in Photography and Video, Toronto, Ryerson Image Centre, 2016.
I met BÃ©nÃ©dicte at the panel on sustainable art (art durable) organized by playwright Daniel Danis at the Mois multi festival in Quebec City on February 9, 2020. Since then, I have been following her writings and I admire her impressive historical and contemporary knowledge about ecological art.
I would like to thank BÃ©nÃ©dicte for taking the time to exchange with me and to share her expertise, passion and vision for environmental issues and their myriad connections with the artistic universe.
You can find more information about BÃ©nÃ©dicteâ€™s work at https://www.linkedin.com/in/bÃ©nÃ©dicte-ramade-12884b89/ and https://umontreal.academia.edu/B%C3%A9n%C3%A9dicteRamade.
The post Ã©34 ramade appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.
About the Concient Podcast from Claude Schryer
The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.
I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.
The term â€˜conscientâ€™ is defined as â€˜being aware of oneâ€™s surroundings, thoughts and motivationsâ€™. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016â€“2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.
Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julieâ€™s Bicycle). Episode 18 is a compilation of highlights from these conversations.
Season 2 (March 2021 â€“ ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that â€˜I now see, and more importantly, I now feel in my bones, â€˜the state of things as they actually existâ€™, without social filters or unsustainable stories blocking the wayâ€™. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.
my professional services
Iâ€™ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. Iâ€™m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : email@example.com
acknowledgement of eco-responsibility
I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.
a word about privilege and bias
While recording episode 19 â€˜realityâ€™, I heard elements of â€˜privilegeâ€™ in my voice that I had not noticed before. It sounded a bit like â€˜ecological mansplainingâ€™. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.
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