JULIE SEMOROZ
Electronics
JULIE SEMOROZ
Julie Semoroz is singer, sound artist and head of artistic projects. Semoroz shapes sound using several sources such as field recordings, live microphones and her own voice with software and hardware. She offers sound pieces like inner journeys into the subconscious that penetrate into the darkness. Her work focuses on people’s individual relationship with mechanical and organic time. Her creations address new technologies and our post-industrial consumerist society. In her ecology-based research, in the sense of “habitat”, Julie Semoroz raises the question of how to experience our bodies and lives in the society.
JULIE SEMOROZ
Julie Semoroz est chanteuse, artiste sonore et directrice de projets artistiques. Elle sculpte le son à l’aide de plusieurs sources telles que du field recordings, des micros en direct ainsi que sa voix avec des éléments software et hardware. Elle propose des pièces sonores comme des voyages intérieurs dans l’inconscient où l’on pénètre des zones d’ombres. Son travail interroge le rapport de l’individu au temps mécanique et organique dans ses pratiques corporels et questionne la société postindustrielle consumériste et les nouvelles technologies. Dans une recherche d’écologie au sens de « l’habitat », Julie Semoroz pose la question de comment habiter nos corps et nos vies dans la société.
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Julie Semoroz has worked or shared the stage with the following artists: Emma Souharce, Sandrine Pelletier, Anne Rochat, Maya Rochat, Jasmine Morand, Marthe Krummenacher, Cyril Bon- di, Joke Lanz, Pierre Pontvianne, Fabrice Mazliah, Sophie Le Meillour, Erika Nieva da Cunha, Jérémy Chevalier, Thomas Perrodin, Luisa Lemgruber, Mena Elshazli, Fabio Bergamaschi, Martina Sofie Wildberger, Rafael Smadja, Cédric Gagneur, Laurent Bruttin, Ariel Garcia, Thierry Debons, Stephan Wirth, Akiko Ahrendt, Zuzana Kakalikova, Yann Marussich, Chris- tophe Calpini,..
She performed in: Switzerland, France, Italy, Poland, Germany, Austria, Slovenia, UK, Denmark, Russia, China, Chili, Argentina, Uruguay, Colombia…
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Compositions
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HAI (HUMAN-ANIMAL INTERACTION)
POUR UNE VOIX, CORDES, PERCUSSION ET ÉLECTRONIQUE COMMANDE DE L’ENSEMBLE CONTRECHAMPS
HAI is the abbreviation for «human-animal interaction». Julie Semoroz presents a composition for voice, strings, percussion and electronics, which is the result of reflections and field research related to vocalisation and animal cognition. Julie Semoroz’s research has led to several art-science projects in the framework of two research centres - the Centre interfacultaire en sciences affectives (CISA) and the Pôle de Recherche National (PRN) Evolving Language. Since 2020 she has also received support from the SNSF Swiss National Science Foundation in collaboration with CISA Unige, research grants from the city and state of Geneva as well as support from Pro Helvetia for research (Work In Progress). Thanks to the support and encourage- ment of Serge Vuille and other composers with whom the artist regularly exchanges, Julie Semoroz has been developing since 2019 with the ensemble Contrechamps, a new type of experimental writing for instrumental ensemble. In contrast to her usual work, here she offers the public the first work in which she does not play herself.
In the winter of 2021, Julie Semoroz accompanied Dr. Jörg Rychen, a researcher at the ETHZ and the NCCR Evolving Language, to Norway to develop a pilot project in the study of orca vocalization. Ella has contributed directly to the research results, and a scientific publication is currently being developed. It is planned that the artist will return to Norway to continue her research in this area.
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Composition commission for Sébastien Pluot, Exhibition Time Capsule 2045, MAH, Geneva, Switzerland
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Reflections on human and animal vocalization and the transmission of neuronal information. Neurons, of which there are 100 billion in the human brain, have the role of circulating information between the environment and the organism, able to receive, analyse and produce information. The function of myelin is to considerably increase the speed of message conduction (nerve impulses, or action potentials).
Created in 2021, created for the live in 2023 in Geneva, Switzerland
Composition: Julie Semoroz
Sound sources: EEG Unige Cisa, piezo, voice, viola, percussion, synth
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Originally conceived for the WE NEED SPACE performance, BALEINA is a sound composition addressing extreme underwater noise resulting from human industrial activity in the seas and oceans. With the help of Cesar Villaroe, professional diver in Chile at ExploraSub, she reco- vers underwater recordings from 2017, underwater explosions, dol- phin and whale sonar and mixes them with urban elements captured between Beijing and Shanghai.
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Astral Disaster is a commissioned sound piece for a book published by Hécatombe. This work approaches the idea of astral disorder in- voking the passage from microcosm to macrocosm. This composition is made with sound elements from the surrounding world (digestion, electrical world) as well as radio signals freely available on the NASA website. Thus, the organ and the parasitic current coexist, from the inside to the outside, becoming transfers of living worlds passing from fragile states to astral nebulae
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JMO offers sound naps from recordings gleaned from around the world inviting a horizontal sound journey.
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Commissioned piece, CACY Yverdon, Julie Semoroz takes the audience on a «sonic drift» from field recordings, gleaned in particular in China, from which emerge images of an architecture on an inordinate scale. Voices, instruments and various objects still resonate in the perfor- mance, which juxtaposes natural and industrial atmospheres.
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«You should take a break and breathe, maybe be hypnotized by a swing» JMO
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KANE 鐘 (2018) - 45MIN
Commissioned piece for the exhibition DOJO temple de l’abstraction by Sébastien Leseigneur, August 18, 2018
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HF (High Frequencies)
Using a high-frequency detector, Semoroz extracts the electromagnetic waves of the surrounding networks and antennas. The result is raw sound material, which is then shaped, controlled and broadcast again. The endless interference which contemporary mankind is subjected to is thus made perceptible.
