François Bayle – curator and performer
L’infini du bruit… The Noise’s infinite…
François Bayle Bâton Rain stick [The empty Hand /1] (1994)
Jean-Claude Risset Elementa (1998)
François Bayle The Noise's infinite [Erosphère /2] (1998)
Rain stick [The empty Hand /1]
Of the gesture-event captured in flight, here the maintained precise trace of its image, easily enlarged, narrowed, multiplied, devised, distributed, that becomes micro cosmos or hyperspace, crossed by multiple relations, instant, ephemeral, phenomenal. The idea becomes clearer when the research work that makes me choose the animated sound material of movements is committed to several listening planes, several temporal calibers, in view of their crossings, collisions, integrations. The empty hand is symbolized par excellence by the mysterious origin of that magical instrument which, in the guise of a simple stick, produces, when we return it slowly, a crystalline fog of fine, entangled high-pitched resonances that ’breathe’. From this slip of forms arises a liberty of association that justifies itself only by the momentum, the progression, the tracks of the “dynamic species”.
A work ordered by Ministry of Culture for the 50th birthday of the music concrete, realized by INA-GRM, Elementa is deliberately electroacoustic. With its use of sampling and mixing, the popular electronic music joins – half a century later – certain approaches originating in the musique concrète. I am neither an expert nor an amateur in techno, but I resume in this piece, here and there, fragments of my very own compositions, especially collected sounds, ’in the bone itself of nature’ – sometimes the simply cased soundscapes, more often spectra, fused impulses, elaborated and embedded in the musical tissue, even woven in figures, phrases, developments and sections: a composition work, but attentive to the autonomy of organic objects and their dynamic of flux, duration and energy.
The Noise’s infinite [Erosphère /2]
The concrete sources wake the animal ear. The electronic trajectories and their analogue heat, the audio digital colors and their moiré reflections, each and every one offers their inimitable qualities.
The surfaces form space. And like mirrors that look at each other, offer at the audition the perspective of their long corridors of infinite bends.
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