Sound of the falaises

Reflection on two performances from Soundwich VI at the Conservatoire de musique du Québec à Montréal:

Samuel Béland created movement via encapsulation and the converse. He presented an acousmatic piece filled with air, glass, vapour, emptiness, and momentum. I envisioned rooms rushing past me, as well as moving through the rooms themselves. Water and glass morphed without pause from one into the other. The listener who received the piece would have been weightless, carried through states of matter and moving from the experience of an observer versus a feeler.

The final performance, both digital and acousmatic was entitled Falaises by Guillaume Côté, Alexei Kawolski, and Dave Gagnon. The set featured an oblong cube of glass, a large projection screen, and the typical perimeter of speakers used in the "salle de multimédia" of the Conservatoire. At times, the glass pane of the cube mimicked the images presented on the screen. Alternatively, the screen seemed to project images taken within the cube itself.

Falaises was gripping in its ability to hold the listener/viewer in a base of abstract sound, which undulated like the projected waves. The beginning of the piece carried the viewer into whirring static creating a small amount of tension. The dark waves were pierced by glitchy pulses on the screen, mirrored within the glass cube. There were shifts between footage seemingly taken within the cube (vibrant and alight), multiple returns to dark waves, an array of lines ascending and descending on the screen. The lines appeared to extend beyond their frame, however. They were complemented by the superimposition of footage showing the artists perform the piece in realtime with timecodes. The last two aspects nearly lent a metaphysical quality, as though the images and sounds experienced by the viewer were part of a previous, concrete experience.

Overall, Falaises was a continuous shift from the natural to the digital/artificial. These aspects were constantly in flux, like the graphic hand twisting on the screen about halfway through the piece. Gestures of “update,” “refresh,””process.” Scintillation, static, digital/elemental void alive and dynamic.