Part 1

Name: France Jobin
Nationality: Canadian
Occupation: Sound artist, composer
Current Release: France Jobin's Infinite Probabilities (Particle 2) is out via  Room40 on May 10th 2024.
Recommendations:
1- Watch or rewatch Apocalypse now. Keep in mind that Walter Murch, who coined term sound design, created the soundtrack with four modular composers, Nöle Steiner, Pat Gleeson, Bernie Krause, Don Preston. Shirley Walker, pianist was tasked with notation of the soundtrack with modular synthesizers.
2- Atom TM - HD - the epitome of perfection in humour and precision. Listen here.
 
[Read our Atom TM interview]

If you enjoyed this France Jobin interview and would like to find out more about her music, visit her official homepage. She is also on Instagram, Soundcloud, tiktok, and Facebook.



Where does the impulse to create something come from for you? What role do often-quoted sources of inspiration like dreams, other forms of art, personal relationships, politics etc play?

Personally, the impulse to create is deeply intertwined with the fascinating concepts of quantum physics. The idea that at the quantum level, possibilities are infinite and reality is shaped by observation inspires me to explore the boundless potential of creativity.

Often-quoted sources of inspiration, such as other art forms, personal relationships, and even politics, may serve as catalysts that interact with this quantum realm of possibilities.

For you to get started, do there need to be concrete ideas – or what some have called a 'visualisation' of the finished work? What does the balance between planning and chance look like for you?

I often find myself anchored in a conceptual framework borrowed from quantum physics, unless the task demands a more site-specific approach. This grounding in quantum concepts infuses my creative process with a sense of fluidity and unpredictability, much like the probabilistic nature of particles at the quantum level, illuminating the path forward and providing clarity amidst the creative chaos.

However, the balance between planning and chance is crucial. While I start with a clear concept, I also embrace the serendipity of the creative process. This balance allows for both structured exploration and spontaneous discovery, akin to the dance between determinism and uncertainty in quantum mechanics.

It's a delicate dance between organization and spontaneity, blending meticulous preparation with unexpected twists, resulting in a seamless integration of intention and intuition in the final creation.



Is there a preparation phase for your process? Do you require your tools to be laid out in a particular way, for example, do you need to do 'research' or create 'early versions'?

Yes, there is indeed a preparation phase in my process. As a sound designer, I meticulously build sound banks, curating a diverse array of sonic elements that serve as my palette for creation.

Before diving into a project, I ensure that my tools are organized in a way that facilitates seamless exploration and experimentation, this often involves extensive research, sound design and, daydreaming. This preparatory stage lays the foundation for the creative journey ahead, providing me with the resources and insights necessary to bring my vision to life.

In terms of composition, I rely heavily on instinct; the sounds themselves often dictate their own placement within the piece. I would like draw a parallel here which may better explain my process. An architect creates works that occupy a space, I would say I create sculptures that fit in the flow of time and perception. The environment architecturally shapes the pieces and how they will be heard.

Site specific installation - INTER/SPERSE - Italy 2017

Do you have certain rituals to get you into the right mindset for creating? What role do certain foods or stimulants like coffee, lighting, scents, exercise or reading poetry play?

As someone who values discipline but shies away from routine, my creative process is characterized by a flexible approach. I work diligently every day, but never at the same time or on the same project.

Rather than rituals, I embrace spontaneity, allowing my creative energy to ebb and flow naturally.

What do you start with? How difficult is that first line of text, the first note?

It’s a leap into the void in order to find that first sound and then, I'm good.

To quote a question by the great Bruce Duffie: When you come up with a musical idea, have you created the idea or have you discovered the idea?

I'm not particularly concerned about whether I've created or discovered a musical idea. My focus lies more in interpreting concepts from quantum physics into my music.

From your experience, are there things you're doing differently than most or many other artists when it comes to writing music?

I can only speak from one particular experience I had at Empac in 2015. Mark Fell's observation certainly resonates, he felt my session at Empac was very complicated.

[Read our Mark Fell interview]

Personally, I never saw it that way since it is my MO. I do find myself approaching music composition in ways that might be perceived as unconventional. I tend to thrive on complexity, intricacy, and pushing the boundaries of traditional composition techniques to reach a minimal aesthetics. While some may find it challenging to decipher, it's all part of my artistic expression.

So, yes, perhaps my methods differ from those of many other artists, but it's this divergence that fuels my creativity and keeps my musical journey vibrant and exciting.

4.35 - R0 - 413 - Site specific performance- installation

Many writers have claimed that as soon as they enter into the process, certain aspects of the narrative are out of their hands. Do you like to keep strict control or is there a sense of following things where they lead you?

It's a bit of both for me. While I enjoy maintaining control over the compositional aspect, I also enjoy remaining open to where the sounds can lead me …

Remaining open to probabilities allows for a dynamic and fluid creative process, where unexpected possibilities can lead to exciting discoveries and innovative compositions.



Often, while writing, new ideas and alternative roads will open themselves up, pulling and pushing the creator in a different direction. Does this happen to you, too, and how do you deal with it? What do you do with these ideas?

When it happens, I usually go for a run. When I return, things are usually clearer and I go from there.

There are many descriptions of the creative state. How would you describe it for you personally? Is there an element of spirituality to what you do?

For me, the creative state transcends the romanticized notions of inspiration and flashes of genius. It's about disciplined dedication, a relentless pursuit of refining one's craft day in and day out. Instead of waiting for elusive moments of inspiration, I believe in cultivating creativity through disciplined practice and unwavering commitment to the work.

In this sense, there's a profound spirituality in the act of creation—it's a deeply introspective journey, a connection to something greater than oneself, a transcendent experience where the boundaries between the artist and the art dissolve into the infinite flow of creation.