Exomène is a France based artist describing himself as a soundsmith and digital apothecary. His work has been recently displayed at the museum of contemporary arts of Chicago and at the Stanford University. Interested in the similarities between human brain and computer, he gave talks about synesthesia in computers in particular at the virtual lab of synestheory and during the festival "Futur en Seine". Both musician and computer artist he takes part in live audiovisual performances on a regular basis and his first album was released in may 2013.
The name Exomène is a contraction of the main concept of the project: mental exodus developed with the help of Dorianne Wotton since 2004.
It would be difficult to summarize the path that led us to define mental exodus. However, let's say that mental exodus is an intellectual process of abandon in the contemplation of the aesthetic of desolation which visual expression can be found in photographies by Dorianne Wotton for example.
I file under the name Exomène two activities: soundsmithing and digital apothecarium.
I used to call that "taylor-made soundscapes" before, but it doesn't reflect how I feel about making sounds.
My approach is very physical. I often start a new track because I felt the urge of transcribing an image or a feeling into sounds. Once the idea is set, I work sounds like a potter with clay, or a blacksmith with metal: hammering, stretching, twisting sounds until they fit all together into a coherent piece of music.
This approach mixes with my musical background mostly made of metal, contemporary and industrial music, resulting in a doom industrial ambient sound, or is it depressive suicidal dark ambient? Who cares? Does it matter?
Anyway, you can make your own opinion by listening to the tracks on the music page.
You can find four sets there:
- Dusk to dawn which has laid the foundations of Exomène's sound atmospheres by depicting slices of life.
- Bedtime stories where I explored the world of dreams, resulting in a darker sound inspired by doom metal, sludge and drone but not forgetting our ambient, progressive and industrial influences. Actually, I worked to define a particular sound to complete the atmospheres developed previously.
- Spoken worms which is a collaborative project still in progress
- Objective tinnitus which is not really a project but... you'll see :)
I also use soundsmithing for my collaboration with videographers, writers, performers, photographers... as you can see on the collabs page.
This latter part of my creative activity goes beyond sound but my approach is quite the same: playing with an abstract material as if it was physical in a more experimental way. The sound in itself is no longer triturated but what generates it through several techniques to do so: databending, generativity, algorithm, glitch...
The synaesizer (aka le Synesth&eagrave;seur) is a result of this approach. This is an audiovisual installation where images are turned into music by a script I wrote. Still images and sounds are then transmitted to a video synthesizer that creates a movie by transforming still images to suit the music they have created. See the synaesizer see at work here: http://youtu.be/IzTgDGohsvY
F#555 still follows this approach but in a more politically engaged way. 555 means no one is allowed to modify. 555 means everyone has a right to read. 555 means everyone has a right to execute. Thus 555 means people are only allowed to consume. 555 means people can't do anything unless authorized. 555 means people's sole purpose is to gorge themselves. This is not science-fiction. Can you still use the files you made 10 years ago? Can you still use your floppy disks? The very first prototype is here: http://youtu.be/DWRzZNzXYFg
The Glitch-O-matiC is the fruit of the observation of the people looking at installations, especially at the synaesizer. I found that the general public is often in demand of understandable interactivity as much as a particular computer æsthetic. That's why I combined photobooth and glitch art in this installation. Some results are here: http://vimeo.com/55225176
I am always willing to collaborate on new projects so feel free to contact me at firstname.lastname@example.org
I'm a victim of the person who first said:
"Hey, let's put pregnant women bellys right in front of loudspeakers. I'm sure their babies will become artists"...
I'm not sure it works, but I've been told I liked Dvoràk in utero and that Mozart already made me angry. Some things never change.
With that background, I was sent to the music school to learn solfege early. When I gained the right to start learning an instrument, I dreamed myself as a skilled harpist. But the harp teacher considered her instrument is for women only. So I started to learn the cello instead. So much for my gender construction.
The fact I was raised in a classical background does not mean I know and like only classical music. Of course I like it (especially from the late 19th century). I also like contemporary music (Ligeti, Xenakis...). I go crazy for metal in all its flavors (doom, black, thrash... I particularly enjoy bands like Slayer or Monarch) and good industrial or noise music (so much people to list: SPK, Throbbing Gristle, Ministry, NIN, Merzbow...) can get me out of my body.
When I left the music school (all work and no play makes Jack a dull boy), I started singing and writing for different small local metal/fusion band and making my own music on a DAW. But singing was not really fun, nor physical or sensual enough. Since I learnt to play the cello, playing bass guitar seemed to be something natural. I did some DJing and played in some pop-rock and metal bands, including an industrial metal band which gave me the will to make my own project and Exomène was born.
First I worked on defining the concept and sounds. That gave "Dawn to dusk".
Then I wanted to do something more substantial with my music which gave "Bedtime stories".
This last set was quite appreciated and made me meet Dorianne Wotton and Marianne Essentialités with whom I work on the "Spoken worms" project.
I'm currently working on the databending technique that I develop in The synaesizer and F#555
I have other projects of my own coming up but I really enjoy collaborating. So if you need music and sound design for your photos, videos, performances, films, exhibitions, websites, whatever let me know at email@example.com.
Georges-Xavier Blary is personnaly and totally responsible for this website but the graphic design. This site is powered by his MySQL database publication program: SQLPlugs. That's why you'd better hire him for your websites and me for your sound design needs.
All complaints must be directed to firstname.lastname@example.org.