Zealot of sonic arts in public spaces
composer of multi-phonic electroacoustic music
for live performance in free spaces,
Stéphane Marin has been involved since 2003 in site specific artistic adventures
which seek out atypical spaces to be discovered and listened to.
On the border between listening to the soundscape and "in situ" compositions,
in the porosity proposed by a work who rubs the real,
Stéphane MARIN's artistic, ecological and spiritual paths
approching each day a little closer to the silence.
After studying philosophy with Daniel Charles and Clément Rosset, and having abandoned his thesis on the theme of encounters, Stéphane Marin started to take a passionate interest in the new possibilities of expression offered by computer-assisted music (C.A.M.). He began to compose music with a strong narrative and dramatic charge at the beginning of the new millennium, a “filmic”, “cinematic” music.
Initiated into the specific techniques of Music of the City projects and of sonic art in public spaces, through his meetings with Pierre Sauvageot in 2003 (Lieux Publics, C.N.C.A.R., Marseille), Michel Risse (Décor Sonore - Paris), and Eryck Abecassis, he explored from this time on sonic forms related to places, to buildings, and to public spaces. He then encountered Serge Delaubier (Studios Puce Muse, Rungis) who trained him in the techniques of gestural spatialization of sound (Méta-Instrument), skills which he further enhanced through a course at the GMEM (Centre National de Création Musicale, Marseille) on the "Holophon" spatializer (Max/MSP).
He then decided to leave his personal studio projects to one side to dedicate himself to “ multi-channel” city-scale projects.
Following many collaborations with street art companies (Allegro Barbaro / Le Phun / Osmosis Cie / 2ème Groupe d'Intervention / Décor Sonore) on projects performed in the six corners of the French hexagon, and in international festivals held in cities such as Suwon, Beirut, Poznan, Grätz, Valladolid, Manchester, Saarbrüken, … Stéphane MARIN created ESPACES SONORES, a company dedicated to contextual sound creation and art of listening.
The award of a grant in Oct 2008 by the DMDTS/SACD in the category “Écrire pour la Rue” (“Writing for the Street “) validated and encouraged his work as an author: an author whose material is public and, of course, sonic, spaces.
Since 2008, His work includes " UN PÉPIN POUR 2 " (An Umbrella For 2) audio walks to be shared by two people under an umbrella which was created for the Saint Charles train station in Marseille (Lieux Publics - Street Arts Creation National Center) and the streets and underpasses of Singapore (Singapore Arts Festival - National Arts Council); "ÉLÉMENTAIRE " an ecological and landscaping sound nap ; listening walks, " ÉCOUTES D'ESPACES / ESPACES D'ÉCOUTES "; sessions of yoga for the ears; sound mapping @ Radio Aporee; and and finally… phonography ("MINGALABAR ! " - Arte Radio - Paris / "L'OREILLE NOMADE #1 - Myanmar " - Kinokophonography @ New York Public Library for Performing Arts, British Library...)
The purely technical aspects of creating and diffusing sound shouldn’t overshadow the potential for vibrancy and subtlety, which in the artistic work of Stéphane MARIN is always linked to the poetic dimension. These technical media serve the sonic qualities of the space they set in resonance, which they highlight and reveal.
Whether through using multi-diffusion of sound (octophonic, surrounding the audience through 360°, or hexaphonic, through levels at different depths with lateral transmission, or at different heights…), or original means of sound diffusion (parasons, amplified acoustic earmuffs, moving speakers…) or by exploring the possibilities of field recording (choreographed sound recording, non-conventional microphones, recording in a sewer drain, or in a gutter, or up against a wall, or inside an acoustic earmuffs…), or by using original techniques of live and in situ mixing and re-composition of the soudscape (digital audio workstation: ("re_COMPOSED re_ALITY"), all these different means are used to confront, inhabit and facilitate the collective listening to these transfigured sonic spaces.
As a central aspect of his approach, composition is intimately linked, mixed with and always responsive to the particularities of a place or site.
He offers a process of listening, reflecting and reacting which is inextricably rooted in the physical context.
« The art of sound is an art of space"
His journey to Burma (March 2013) allowed him to re-engage with field recording.
His path has always been avowedly non-academic, taking shape through artistic encounters. The self-taught way, without any set framework, has led to his sonic explorations, the ultimate aim always being to make a sound piece in the form of live performance in outdoor public spaces.
With L'Oreille Nomade (The Nomadic Ear) and its 28 binaural sonic postcards, he discovered the pleasures of “pure “ phonographic writing…
to hear : "free of any space or context in its creation and execution". He performed a long version of this, "Mingalabar !" à Arte Radio in May 2014.
The " ÉLÉMENTAIRE ", binaural project, which reveals the indigenous musicality of the sounds of the 4 natural elements through a field-recording composition, really brought this practice to fruition and it soon became a compulsive passion! What happened was that, drawn to re-write the soundtrack of this sonorous and ecological siesta, after a methodical auscultation of the subtle natural terrain, Stéphane MARIN, after years in the service of street arts, rediscovered the winding paths and their bucolic listening pleasures…
From these auscultations of various terrains (Île de Raymond, Île de Ré, Prade de Canohès...) were born different phonographies, released on different on-line labels and/or geotagged on sonic cards on Radio Aporee.
Finally, his most recent listening walks :" Écoutes d'EspaceS / EspaceS d'ÉcouteS ", (Listening to spaces / Spaces of listening), and " Les Marches Inouïes ", (Unheard Walks) are new ways (and material) for Stéphane Marin to combine sauntering, environmental listening and sonic creation into sensitive auscultations of new terrains, new architecture and new soundscapes, always, and above all, shared.