Samuel Bianchini and Thierry Fournier
with the voice of Maryseult Wieczoreck
A white dot on a black screen is following the spectator movements while he/she is using a computer mouse in front of it. Without activity, the installation diffuses the sound of human breath, barely audible. When the dot moves, the voice of a woman appears: static, then beginning to grow and increasing rapidly with the hand actioning the mouse. As the spectator’s gesture develops or focuses on a point, speeding up or slowing down, the sound unfolds and develops itself. The voice shifts from breathing to whispering, from singing to shouting, from the tiniest details to burgeoning vocals. The voice is reacting to the gesture and requests it. The sound gradually gives a shape to an acoustic body that reveals itself through the tactile exploration – although its interpretation remains offered to the audience.
Sound installation, 2004
Objects design: Zarko
Landscape design: Pascale Langrand and François Schelameur
The Garden of the Navel is a collective project based on an imaginary mythology that ironically names Pougne-Hérisson (a hamlet of 200 inhabitants) as the homeland of tales, where “all stories come from, and where they should come back”. The Stories Machine is an interactive sound installation which composes a soundscape with the stories that the visitors leave themselves. Several microphones are placed in the garden, in which visitors are invited to leave a story of their own, lasting anything from a few seconds to a few minutes, that will then be stored by the installation. As soon as it has been recorded, each story lives its own life and occupies the space. The lifetime of a story is unlimited: it is always heard immediately after it has been recorded, but it may reappear weeks or months later. The space of the Garden develops and grows with time: it is nurtured, visited and searched by the visitors themselves, like a talking landscape, organic and unpredictable.
music piece and performance, 2004
Duration 12′. With the voices of Hiromi Asaï and Véronique Gens.
Performed as a solo piece on laptop, To Agrippine is based on the very beginning of Handel’s opera Agrippina. It experiments a situation of time depth: a real time navigation through the temporality of music. An extremely slow gesture produces a simultaneous navigation through three musical layers: the first orchestral part of the opera overture, the first spoken sentence in the recitatives, and the first soprano aria. This slow-motion movement within the musical materials reveals their lines of forces and details, as the aerial approach to a landscape.