groult

“Depuis quand ne m'étais-je plus promenée sur les bords de la Seine ? Le calcul me fit peur. Ces choses toutes simples que l'on laisse se perdre… Tenir une main au cinéma, ne pouvoir quitter des yeux une bouche qui vous parle”…

La part des choses, Benoîte Groult.

Quais de Seine, Paris.

Argentine electroacoustic composer Beatriz Ferreyra describes each of the pieces included on GRM Works: Demeures aquatiques (1967): “This electroacoustic piece, articulated into two clearly distinct parts, draws its sound source from the classical and unorthodox instruments – metal sheets, glass rods, etc. – invented by the Baschet brothers. I wanted to show the contrast between the rhythmic repetition of a sounding object, which gives out a feeling of fixity, an electroacoustic flavour and the continuous re-creation of the same sensation through similar yet not identical sounds.” Un fil invisible (2009) For Christine Groult: “This piece was inspired by the various stages of Medieval Alchemy. The alchemical process is one of transformation, whose actual subject is the alchemist himself. Here, the process is inextricably tangled with the transformation of sounds and the very structure of the piece.” Médisances (1968/69): “This electroacoustic piece for 4 channels was produced by manipulating such items as orchestral instruments, a mouth bow, breath and some unexpected technical defects.” Les Larmes de l'inconnu (2011): “This is the first part of a work inspired by the Qabalists Carlos Suares (consciousness-energy), Rivka Cremici (charm of the mystic energy) and Shinta Zenke (dazzling Hebrew calligraphy) to whom I dedicate this music. Through its letters-numbers, the Qabalah expresses three different levels of ‘primordial equation of the universe’: the level of the archetype, that of the event and the incarnation, and the universal and cosmic level… I would like to thank the wonderful flutist Hernan Gomez for his kindness and his musicality during the recording.” “The music of Beatriz Ferreyra bears a magnetic force, which generates a truly recognisable style that could be defined as a unique sense and intuition for sound. Whether in her early works ('Médisances,’ 'Demeures aquatiques’) or in the more recent ones featured here, one can easily perceive a freedom-loving musical personality. A pioneer alongside Pierre Schaeffer, in the '50s and '60s, she worked on the development of the famous Solfège de l'Objet Sonore (Music Theory of the Sounding Object) before freeing herself from the institution to focus on creating a challenging and independent music.” –Christian Zanési and François Bonnet, Paris, 2015.

“Elle rentra à contre-coeur boucler ses valises, envahie de cette nostalgie fumeuse qui fondait sur elle chaque année au moment d'abandonner ce pays. Rester ici saison après saison, y subir l'hiver au lieu de s'en aller comme une cigogne, (…) lire beaucoup, prendre le temps de s'ennuyer…rêve impossible qu'elle caressait régulièrement.

On passe aujourd'hui sa vie à quitter ce qu'on aime pour ce qu'on ne connaît pas…”

La part des choses, Benoîte Groult.

Sacré-Coeur, Montmartre, Paris.

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coimbra street art
paremos o terrorismo machista: stop machista/chauvanistic terrorism
o feminismo nunca matou ninguém, o machismo mata todos os dias : male chauvinism kills every day, feminism has never killed anyone (a quote from french journalist and feminist benoîte groult)

vimeo

Aux Confins de la Côte d'Albâtre - Timelapse Hyperlapse from Geoffroy GROULT on Vimeo.

Timelapses / Hyperlapses de la côte Normande, avec le Tréport et Mers-les-Bains.
9700 Photos, ont été prises pour réaliser ce film. Le tout sur 4 jours de tournage.
Film en 2K

Réalisation : Geoffroy GROULT
Musique : Mayerhuber - « Sunray Society »
Assistant Image : Gino GROULT
Remerciement : Roland CLEDE - Armelle GROULT

Shooté au 5D Mark II et à la Blackmagic 4K avec un 24-105mm.
Utilisation également du « SliderPlus Pro » et de « l’action Module » de chez Edelkrone (edelkrone.com)

Pour me contacter : groultfamilybx@hotmail.com