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ARDEN DAY & WYSOZKY are associates in Paris since 2010. They designed the music for
KOPFSCHLAG the anonymous internet-based project (Berlin 2007) by Wolfgang Natlacen &
Primavera De Filippi presented at the Gaîté Lyrique in 2013 as well as the Forum des Images for the
Mashup Filmfestival. They also scored the film of Sarah Arnold, TOTEMS that won the Golden
Leopard at the 67Th Locarno Film Festival 2014.
DAY & WYSOZKY are currently publishing their first LP UNBEHAGEN in which the piece MUSICAL
BANKS was presented for the Luc Ferrari « Presque Rien » contest and broadcasted on the
Klangkunst slot of the Deutschlandradio Kultur, it won the 2011 SUAL Award for composition in
Vienna.
Inspired by Juliette Vocler’s essay « Le son comme arme », their compositions explore new forms of
domination and exclusion in society using sound environments, inner piano (played with E-Bows and
other tools) and live processing. They are notorious for the use of motorised hurdy gurdies like the
Hurgy Toy and Boîte à Bourdon (BAB) that emulate voices, sirens and warfare sounds.
Their live performances are exploring new encounters of both written and improvised works.
ARDEN DAY (GB/F)
http://www.ardenday.com/
Arden Day is a composer/ director with a diverse
background in music who works also in video, web
activism and books. Originally a jazz pianist, Day has a
long-standing interest in improvised music, he studied
composition in Brussels with Mal Waldron before
becoming a session musician for various ensembles. He
is credited for his piano work on the LP Mani (fatcat
Records) and Dolce (Plop) by Julien Loquet (aka Gel : &
Dorine Muraille). Arden Day’s pieces emphasise on inner
piano and additive synthesis techniques. Arden Day
collaborates regularly with the artist Wolfgang Natlacen
and is involved in cross-disciplinary projects. As Adrian
Smith he edited the periodical EvidenZ and
published Schreber President with Pacôme Thiellement.
He is part of the Sycomore Films collective where he
made the acclaimed film The Immature. He also teaches
in Paris with Michel Chion. He is currently preparing a
high-tech fiction based on Arnold Schœnberg’s first opera
Erwartung op.17.
WYSOZKY (A/F/CZ)
Born Jan Vysocky in Czech Rep., lives in Paris and
Vienna, where he took classes at the electroacoustic
institute ELAK, Wolfgang Musil (MAX/MSP) and at the
institute of transmedia-art at dieAngewandte, Thomas
Grill (LFO). He worked for years with the Central
European Chamber Orchestra MKO, creating concert
cycles of new and contemporary music, promoting
works of Aperghis, Murail, Romitelli and composers of
the new generation in central Europe. In his composition
and live work he collaborates with musicians and sound
artists with backgrounds in the symbiosis of computers
and acoustic instruments, like with Davor Mikan
(Chronica) or Ha-Yang Kim (Tzadik). Multiple
performances integrating sound, vision and as well the
human body. As a composer and sound designer, he
works regularly for film, art installation and with
performance artists like Fernando Cabral (BR) or Milos
Sofrenovic (GB/SRB).
http://www.wysozky.com/