dreamachine
film - a/v performance, 2025
16 min 16 s
dreamachine emerged from the collaboration between sound artist Estelle Schorpp and video artist Charline Dally. Created from archival footage recorded on DV cassettes in the Shinkansen and Hong Kong trains, the film brings together images that become fluid, blending with analog video feedback and shimmering textures. Musically, synthesized sounds and field recordings, modulated by algorithmic processes, compose a hybrid soundscape with brilliant and enveloping textures. The project seeks to transpose the sensation of looking out of a train window, and the way in which the mind can escape and float away in a dreamlike state.
Credits :
music : Estelle Schorpp
image : Charline Dally
produced by Cymatiques III, Centre PHI
curated by Kohlenstoff records
Shows and screening
29.08.26
16.07.26
16.03.26
24.01-13.02.26
15.02.25
16.07.26
16.03.26
24.01-13.02.26
15.02.25
MUTEK, Montréal, CA.
(screening) tba
(sreening) FIFA, Montréal, CA.
(screening) dreamachine, Chapelle IV ,Paris, FR.
(live performance) CYMATIQUES III, Centre PHI, Montréal, CA.
(screening) tba
(sreening) FIFA, Montréal, CA.
(screening) dreamachine, Chapelle IV ,Paris, FR.
(live performance) CYMATIQUES III, Centre PHI, Montréal, CA.
In My Ears (for Maryanne)
Solo album, 2024Released on LINE, Oct 4 2024
In My Ears (for Maryanne) is the album version of the performance Maryanne Inside My Ears, that was commissioned by Le Mans Sonore and premiered as a 35 minute performance in the anechoic chamber of the CTTM Le Mans in January 2024.
Most of the sounds and algorithms were conceived during a residency at Sporobole in Sherbrooke, Canada, during fall 2023.
In My Ears (for Maryanne) is a tribute to the work of American composer and sound artist Maryanne Amacher. Algorithmically composed using SuperCollider, the album highlights several aspects of her work: amplitude dynamics, sound-walk-inspired temporal structure and, above all, the musical exploration of distortion product otoacoustic emissions*. The composition encourages the creation of “perceptual geographies,” to use Amacher’s terms, by making space, body and ear resonate at the same time. Thus, by alternating scales of perception within the temporality of an unfolding landscape, In My Ears (for Maryanne) is a sound experience that is both delicate and visceral, essentially physical.
* Distortion product otoacoustic emissions are sounds emitted by the inner ear when it is stimulated by two pure tones of close frequencies, generally between 1000 hz and 4000 hz at a certain amplitude. In response, the inner ear produces harmonic artifacts, resulting in a buzzing effect in the auditory canal.
Credits
Composition, programming, mastering : Estelle Schorpp
Album cover : Juliette Francine Frenay
Production and financial support : MITACS, Sporobole, Le Mans Sonore
shows :
03.06.26
12.07.25
06.12.24
06.04.24
14.03.24
02.03.24
20.02.24
02.02.24
20-21-22.01.24
12.07.25
06.12.24
06.04.24
14.03.24
02.03.24
20.02.24
02.02.24
20-21-22.01.24
KM28, Berlin, DE.
Norberg Festival, Norberg, SE.
Recombinant Festival, Gray Area Grand Theater, San Fransisco, USA.
Point d’ouïe #3, SPOROBOLE, Sherbrooke, CA.
Électrochoc#4 — AKOUSMA, Conservatoire de musique de Montréal, CA.
Eastern Bloc X Ateliers Belleville, Nuit Blanche Montréal, CA.Acousmodromes, Vidéodrome II, Marseille, FR.
Unit 44, Dublin, IE.
BIENNALE DU SON — LE MANS SONORE, CTTM, Le Mans, FR.
Norberg Festival, Norberg, SE.
Recombinant Festival, Gray Area Grand Theater, San Fransisco, USA.
Point d’ouïe #3, SPOROBOLE, Sherbrooke, CA.
Électrochoc#4 — AKOUSMA, Conservatoire de musique de Montréal, CA.
Eastern Bloc X Ateliers Belleville, Nuit Blanche Montréal, CA.Acousmodromes, Vidéodrome II, Marseille, FR.
Unit 44, Dublin, IE.
BIENNALE DU SON — LE MANS SONORE, CTTM, Le Mans, FR.
A Conversation Between a Partially Educated Parrot and a Machine
A performance for augmented gramophone and computer,
2023
Through the use of both original and digitalized birds’ recordings archives from the 1930’s, this performance explores the historical and sonic relationships between birds, humans and sound reproduction technologies. In the late 19th century, Eldridge Johnson, head of Victor Records, said about the phonograph that it “sounded much like a partially educated parrot with a sore throat and a cold in the head” (Johnson, quoted in Kenney, Recorded Music, 47). This is the same phonograph that Ludwig Koch used in 1889 to make the first recording of a white-rumped shama in a zoo in Frankfurt. This comparison gave rise to the idea of establishing a creative dialogue between sound technologies (old and new) and birdsongs.
The performance recontextualizes the history of birdsong’s recordings by blending documentary archives, shellac records, gramophone and contemporary interactive algorithmic technologies. The project emphasizes a dynamic back-and-forth between several types of discourse (documentary and fictional), technology (computer and gramophone), gesture and sound (bird song and technological artifacts). In so doing, A Conversation Between a Partially Educated Parrot and a Machine offers an immersive sound experience in which birds, machines and humans make music together.
Credits :
Research, Conception, Composition, Programming and Performance : Estelle Schorpp
Production and financial support : La Biennale di Venezia - CIMM, Centro Informatico Musicale Multimedia, Conseil des Arts et des Lettres du Québec (CALQ)
Main mentor : Miller Puckette
Mentors : Kyoka, Brigitta Muntendorf, Thiery Coduys, Oscar Pizzo, Gerfried Stocker, Ali Nikrang, Yoko Shimizu
Sound archives : BBC
Shows :
SIGHT + SOUND, Eastern Bloc, Montréal, CA.
live@cirmmt, MMR, Montréal, CA.
Substrat, SAT, Montréal, CA.
AKOUSMA, Usine C, Montréal, CA.
BIENNALE MUSICA 2023, Teatro Piccolo Arsenale, Venice, IT.
live@cirmmt, MMR, Montréal, CA.
Substrat, SAT, Montréal, CA.
AKOUSMA, Usine C, Montréal, CA.
BIENNALE MUSICA 2023, Teatro Piccolo Arsenale, Venice, IT.
ANÉMOCHORIES
A series of wind-generated compositions
2021
Anémochories are a series of generative and/or interactive
compositions controlled by the wind. Algorithmically conceived, the
compositions unfold and adapt to different situations, places, devices,
temporalities and formats of diffusion such as installation, acousmatic
concert, or performance.
Wind is a meteorological phenomenon that plays several important roles in ecosystems. The one that interests me in particular is the phenomenon of anemochory, which is the dispersion of diaspores. This is the main mode of dispersal for about 90% of plant species. The wind disperses life.
Anémochories#1, the first iteration of the series was specifically conceived for the outdoor multichannel sound system of Art Center Sporobole, Sherbrooke, Canada. The generative composition uses wind force data to subtly vary sounds, structures and space. The overall aesthetic of this piece is an aesthetic of the "near-inaudible", thought for the transient place that is the street. The sound materials are subtly and plausibly integrated into the sound environment of the street and the structure slowly unfolds in time and space, playing with the threshold of perception. Like the wind that spreads the living without our knowledge, I propose a work that unfolds with or without us. Anémochories#1 was inspired by soundwalks around the city, and was meant to be a point of listening to an elusive landscape in its entirety.
Wind is a meteorological phenomenon that plays several important roles in ecosystems. The one that interests me in particular is the phenomenon of anemochory, which is the dispersion of diaspores. This is the main mode of dispersal for about 90% of plant species. The wind disperses life.
Anémochories#1, the first iteration of the series was specifically conceived for the outdoor multichannel sound system of Art Center Sporobole, Sherbrooke, Canada. The generative composition uses wind force data to subtly vary sounds, structures and space. The overall aesthetic of this piece is an aesthetic of the "near-inaudible", thought for the transient place that is the street. The sound materials are subtly and plausibly integrated into the sound environment of the street and the structure slowly unfolds in time and space, playing with the threshold of perception. Like the wind that spreads the living without our knowledge, I propose a work that unfolds with or without us. Anémochories#1 was inspired by soundwalks around the city, and was meant to be a point of listening to an elusive landscape in its entirety.
Credits :
Research, Conception, Composition, Programming : Estelle Schorpp
Production and financial support : Sporobole, Hexagram
Exhibited
2021Anémochories#1 was specifically created in June 2021 for the multiphonic sound system of La Vitrine of Art Center Sporobole in Sherbrooke, Canada.
It was also adapted to be streamed on the sound immersion platform “Déjà-vu”.
2021Anémochories#1 was specifically created in June 2021 for the multiphonic sound system of La Vitrine of Art Center Sporobole in Sherbrooke, Canada.
It was also adapted to be streamed on the sound immersion platform “Déjà-vu”.
2022
It was also played in April 2022 for PULS III: Ljudbänken @ Skeppsholmen, Audiorama, Stokholm, SE.
It was also played in April 2022 for PULS III: Ljudbänken @ Skeppsholmen, Audiorama, Stokholm, SE.
ÉCOSYSTÈME(S)
self-interactive sound installation2019
Écosystème(s) is a self-interactive sound installation inspired by the communication techniques of orthopteran insects. Placed
on a listening desk, about twenty speakers of different models
broadcast sound samples whose spectra and behaviours are inspired by bug
songs. This device allows a global listening point of a sound
microcosm. Thanks to two listening microphones and a trigger and
threshold algorithmic system, each sample enters or disappears, depending on the
« sonic space » it can occupy. The audience is thus taken into
consideration and its sound presence modifies the behaviour of the
environment that tries to find a balance. The form is vivid and
unpredictable, in a hesitation between naturalist and artificial
landscape, between chaotic sound swarms and formed patterns. It invites attentive listening and silence.
Credits :
Research, Conception, Composition, Programming : Estelle Schorpp
Device’s conception and realisation : Estelle Schorpp, Alexandre Mantha
Exhibited :
2021 :
FIMAV Edition 38, Sound Installations, Victoriaville, CA.
MUTEK Forum Edition 7. Forum on current practices in digital creation, Hexagram Network, CA, MX, JP, AR.
Festival Ars Electronica Garden 2021, EMERGENC/Y Les Rencontres Interdisciplinaires d’Hexagram édition 21-22, AT.
2020 : “Formes d’ondes”, Gallery of the University of Montreal, CA.
2019 : Ultrasons Festival, Faculty of Music of Université de Montréal.
Credits :
Research, Conception, Composition, Programming : Estelle Schorpp
Device’s conception and realisation : Estelle Schorpp, Alexandre Mantha
Exhibited :
2021 :
FIMAV Edition 38, Sound Installations, Victoriaville, CA.
MUTEK Forum Edition 7. Forum on current practices in digital creation, Hexagram Network, CA, MX, JP, AR.
Festival Ars Electronica Garden 2021, EMERGENC/Y Les Rencontres Interdisciplinaires d’Hexagram édition 21-22, AT.
2020 : “Formes d’ondes”, Gallery of the University of Montreal, CA.
2019 : Ultrasons Festival, Faculty of Music of Université de Montréal.
