Acousma

Initially, several research avenues were developed, such as structural analogies, 

a dialogue between two artistic disciplines through a possible sensory equivalence ( synesthesia ), or the similarities between certain processes inherent in acousmatic 

music and their corresponding graphical techniques.

 

Each creation begins with the line. This line dictates the details of the project as it develops, through a process that combines both deliberate and unexpected compositions.

 

Through meticulous graphic manipulation, the line — or rather these lines — transform into visual material. This material is shaped, transformed, layered, and adjusted through the appropriation of algorithmic tools that craft these works. 

 

The various compositions gradually enrich a library of graphic abstractions, whose elements can serve as material for future creations.

This process is akin to how acousmatic composers « sculpt » sounds from their sound banks to create compositions. Acousmatic music is actually considered a form of “ spatialized music ” because the pieces are created in an electroacoustic studio and fixed on an audio medium, to later be deployed in space using an acousmonium. This deployment aims to enhance the work ; it allows for faithful reproduction or adaptation to space.
Thanks to this sound spatialization work, the composition and sound can then take on a different artistic dimension.

 

Another essential intention of the acousmatic concert is to foster the construction of mental images. Personal experiences seems suggest that the perception of sound is often linked to, or even dominated by, the visual aspect of a musical performance. This project plays with the idea of reversing this mechanism. The spectator is invited to question their ability to develop their sense of listening, their mental perception of sounds from an image, to perhaps detect a “ sonority ”.

 

As is often the case in acousmatic music, the digital environment is also used as the primary medium for creation. This environment represents fertile ground and is the ideal tool for experimentation. The reproducibility of the digital medium is used as an asset, a system that generates both variability and uniqueness, where each creation can be explored from multiple angles.

 

By favoring a digital format that allows adaptability to different mediums, these compositions can evolve beyond the digital sphere, materializing through different production techniques, in various locations and on different surfaces. The same form can then reveal itself differently depending on how it is contextualized, produced, or reproduced. 

 

This variety of possible iterations and their adaptability to space gives birth to the concept of “ modulator reproducibility ”. 

 

This concept plays with our relationship to copies, to replicas, and questions the paradoxical and ambiguous nature of our conception of originality.

 

Since these creations initially exist in digital form, the NFT environment seems ideal for their distribution. Photographic simulations are one of the possible mediums. 

They allow the first phase of this artistic process to be revealed, by contextualizing and showcasing one of its visual possibilities. 

This deployment in the form of NFTs thus offers exclusive access to the creations before their production phase.

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