{"id":2049,"date":"2015-06-24T13:40:19","date_gmt":"2015-06-24T12:40:19","guid":{"rendered":"http:\/\/robinmeier.net\/?p=2049"},"modified":"2026-03-24T22:04:50","modified_gmt":"2026-03-24T21:04:50","slug":"fossil-records-2015","status":"publish","type":"post","link":"https:\/\/robinmeier.net\/?p=2049","title":{"rendered":"Fossil Records"},"content":{"rendered":"\n
\n

Infos<\/h2>\n
\n
\n

2015<\/p>

Galerie Laurent Mueller<\/a>
Curated by\u00a0Marguerite Pilven<\/a><\/p>\n <\/div>\n

Steel and copper audio record disk, 30cm diameter,
33rpm, 10 minutes 8 seconds.<\/p><\/div>\n <\/div>\n <\/section>\n \n\n\n

Fossil Records is a reconstruction of the sounds emitted by a fossilised insect. By creating a digital model of a highly detailed fossil’s stridulatory file its sound was made to come alive again and was then printed on a playable steel\/copper disk in reference to the Golden Record on NASA’s voyager space probe: A record playing sounds from millions of years ago – in symmetry to a future civilisation discovering the Voyager space probe millions of years from now.<\/p>\n\n\n\n

\n

Robin Meier is a trained musician who since several years has been conducting ethological research based on intelligence and its capacity to interact with the environment. For example he creates devices allowing him to establish communication with the animal kingdom through sound signals, but also to simulate or alter its behaviour.<\/p>\n\n\n\n

Although traditionally the world of signs and artifice does distinguish man from animals, Robin Meier revisits this evolution criterion in order to explore and examine it. In his setups, animals become this \u201cother\u201d with whom he establishes an exchange via the study of their behaviours and language.<\/p>\n\n\n\n

In this respect the fact that Robin Meier uses the Golden Record\u2019s<\/a> sound bank within the framework of some of his research is highly significant. This record taken by NASA onboard the Voyager II space probe contains sounds recorded on Earth and chosen for their \u201cuniversal\u201d characteristics. Aimed at possible forms of extra-terrestrial consciousness, it is above all an invitation to question our anthropocentric vision of the world by broadening the spectrum of our relationship to the Other and the unknown.<\/p>\n\n\n\n

The \u201cpaleo-acoustic\u201d research that he creates for the Studio borrows from it the utopian characteristic based on a possible encounter that defies space and time. Robin Meier musically analyses and interprets the stridulation of a prehistorical insect from the visible veins of a fossil.<\/p>\n\n\n\n

\u201cThe first possibility for Voyager to pass by a potentially inhabited planet wouldn\u2019t be until several million years from now \u2013 a time after which a substantial part of the sounds contained on the record will have disappeared from Earth, like the sounds of the insects that I have ben recreating. It is somehow a situation where aliens would find Voyager! Besides, the method of sound production of these insects is called stridulation and in principle really resembles what a record player sounds like when its grooves start making the needle vibrate. I like this double parallel and I want to implement it for the physical incarnation of this project\u201d.<\/p>\n\n\n\n

Marguerite Pilven, 2015<\/p>\n<\/blockquote>\n\n\n\n

\n

Fossil Records est une reconstitution des sons \u00e9mis par un insecte fossilis\u00e9. En cr\u00e9ant un mod\u00e8le num\u00e9rique de l’organe stridulatoire d\u2019un fossile extr\u00eamement d\u00e9taill\u00e9, son chant a pu \u00eatre recr\u00e9\u00e9, puis grav\u00e9 sur un disque m\u00e9tallique jouable, en acier et cuivre, con\u00e7u comme un vinyle, en r\u00e9f\u00e9rence au Golden Record de la sonde Voyager de la NASA : un disque diffusant des sons vieux de millions d\u2019ann\u00e9es \u2014 en sym\u00e9trie avec une \u00e9ventuelle civilisation future d\u00e9couvrant la sonde Voyager des millions d\u2019ann\u00e9es plus tard.<\/p>\n\n\n\n

\n

Musicien de formation, Robin Meier m\u00e8ne depuis plusieurs ann\u00e9es une recherche de nature \u00e9thologique ax\u00e9e sur l\u2019intelligence comme capacit\u00e9 d\u2019interagir avec l\u2019environnement. Il cr\u00e9e notamment des dispositifs lui permettant d\u2019\u00e9tablir une communication avec le r\u00e8gne animal par l\u2019adresse de signaux sonores, mais aussi de simuler ou de modifier son comportement.<\/p>\n\n\n\n

Si le monde du signe et de l\u2019artifice distingue traditionnellement l\u2019homme de l\u2019animal, Robin Meier revient sur ce crit\u00e8re d\u2019\u00e9volution pour l\u2019explorer et l\u2019interroger. Par les dispositifs qu\u2019il met en place, l\u2019animal devient cet \u201cautre\u201d avec lequel il \u00e9tablit un \u00e9change \u00e0 travers l\u2019\u00e9tude de ses comportements et de son langage.<\/p>\n\n\n\n

Il n\u2019est \u00e0 ce titre pas anodin que Robin Meier ait utilis\u00e9 la banque sonore du Golden Record<\/a> dans le cadre de l\u2019une de ses recherches. Ce disque embarqu\u00e9 par laNasa \u00e0 bord des sondes spatiales Voyager contient des sons enregistr\u00e9s sur terre choisis pour leur caract\u00e8re \u201cuniversel\u201d. Destin\u00e9 \u00e0 d\u2019\u00e9ventuelles formes de consciences extra-terrestres, il est surtout une invitation \u00e0 interroger notre vision anthropocentrique du monde en \u00e9largissant le spectre de notre rapport \u00e0 l\u2019Autre, \u00e0 l\u2019inconnu.<\/p>\n\n\n\n

La recherche \u201cpal\u00e9o-acoustique\u201d qu\u2019il r\u00e9alise pour le Studio en emprunte le caract\u00e8re utopique fond\u00e9 sur une possibilit\u00e9 de rencontre d\u00e9fiant l\u2019espace et le temps. Robin Meier analyse et interpr\u00e8te musicalement la stridulation d\u2019un insecte d\u2019\u00e9poque pr\u00e9historique \u00e0 partir des nervures de ses ailes visibles sur un fossile.<\/p>\n\n\n\n

\u201cLa premi\u00e8re possibilit\u00e9 pour que Voyager passe par une plan\u00e8te potentiellement habit\u00e9e sera dans plusieurs millions d’ann\u00e9es – un temps apr\u00e8s lequel une bonne partie des sons contenus sur ce disque auront disparus sur terre, comme les sons de l\u2019insecte que je reconstruis. Quelque part on se trouve donc dans la situation des extra-terrestres retrouvant Voyager ! Par ailleurs la m\u00e9thode de production sonore de ces insectes, appel\u00e9e stridulation, ressemble dans le principe tout \u00e0 fait \u00e0 ce que fait un tourne-disque dont l’aiguille est mise en vibration par les sillons du disque. J’aime ce double parall\u00e8le que je voudrais mettre en \u0153uvre pour l’incarnation physique de ce projet.\u201d<\/p>\n\n\n\n

Marguerite Pilven, 2015<\/p>\n<\/blockquote>\n<\/div><\/div>\n\n\n\n

Fossil Records a \u00e9t\u00e9 con\u00e7u avec l’aide de:<\/p>\n\n\n\n

– Stefano Delle Monache, sonic interaction designer and assistant professor at the Department of Architecture and Arts, Iuav University of Venice, Italy
– the skatvg.eu<\/a> project consortium for the Sound Design Toolkit
– Fernando Montealegre Zapata, Lecturer and assistant professor at the Bioacoustics and Sensory Biology lab, Lincoln UK
– Adrian Riffo, mastering
– Anne Becker, production<\/p>\n\n\n\n

Image credit:<\/p>\n\n\n\n

– Olivier B\u00e9thoux, Mus\u00e9e National de l’Histoire Naturelle, Paris, France
– Edmund Jarzembowski, Postgraduate Research Institute for Sedimentology, University of Reading<\/p>\n\n\n

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