School Of Architecture, Plan & Env Pol
Richview Sch of Architecture
Tel: +353 1 7162736
Pierre Jolivet (born Paris, France 1964) is an artist who's currently based in Dublin. Pierre started in the early eighties to perform as a French pioneer under the moniker of Pacific 231, in the industrial and power electronics musical fields before moving into more ambient and abstract electronic sounds. His works now explores the very limit of sound and space, especially through his past and present multimedia performances and installations: Stif(f)le, Im¿shi and Espace Altéré presented in numerous countries as well as his recent audiovisual production: Micromega. His discography now exceed twenty albums with more than eight collaborations. In 2010, he became part of the Luigi Russolo jury, a prestigious international award in acousmatic music created in 1979 by Gian Franco Maffina and Rossana Maggia with the original participation of François Bayle and Pierre Schaeffer. He's currently teaching photography and multimedia at University College Dublin and graduated from an MFA in the Digital World with First Class Honours at the National College of Art and Design where he now gives workshops in Art and Technology. In 2016, he won an IRC award and just started a PhD in Sonic Art and Sensorial Perception.
Sensorial Perception applied to Sound Art
My investigation will put forward a new research method incorporating sound art practice to engage a sensory dimension of understanding new form of composition. Using visualisation technologies, the research engages with audience perception with experience design and acoustic inputs. Tools to be utilised include bio-sensor technologies (brainwave et al) to visualise auditory processes and interactions with sound art. Using such tools that help to visualise the impact of sound art on the frontal lobe of the cerebral cortex - as the two hemispheres which are thought to represent human sentient and subconscious cognition- can be helpful in making 'observable' certain types of responses by audiences to sound art as a form of artistic sensory design. These brainwave sensors will not be studied in terms of their scientific value as indicators of sensory perception, but rather will be employed as part of a set of artistic tools to engage with the larger question of the aesthetics of engagement. As part of the quantitative part of the analysis, a data set based on a comprehensive creative sequence of events will have to be generated. It is to form the context for an analysis of a cluster of case studies from audience members experiencing specific original sound art scores. The intended outcome of the qualitative analysis is to develop a new method for compositional and perceptual processing. The compositional aspect delivers a new and novel set of techniques for audio-visual artists to induce an advanced sensorial dimension. The perceptual process introduces an educational framework and a new basis for research and design in such fields as sound design, acoustics and architecture.