Find out more

Intention

I am sometimes dissatisfied with fragmenting or dividing an approach that involves listening, music, or sound creation, landscape, ecology, or even ecosophy, and forms of sound sociability.
How can we find coherence that serves a purpose by combining practice and reflection with a broad audience, not necessarily initiated?
So, I build a project, a process, an approach that could lead to a PIC (Landscape Improvisation Concert).
Walking, listening, identifying, recording, improvising landscapes live, using sound recordings made in situ, replaying them, discussing them... A contextual project lasting from a few days to a few weeks, which I have experimented with during my recent artistic residencies in Russia, France, and Portugal... A setup that is both well-defined for efficiency and flexible enough to adapt to various geographical spaces.
PICs are in progress and, of course, are ready to be exported...

Project

A listening walker, a sound recordist, working around field recording, soundwalking, and the reading/writing of soundscapes.

Phase 1:

Walking, recorder in hand, ears alert.
Capturing atmospheres, sound samples, the aural essence of places.
Reproducing them during a PIC (Landscape, Improvisation, Concert).

Phase 2:

Improvising, during a concert or live performance, using mixed sound samples collected in situ.
The PIC can be preceded by a PAS (Sensitive Audio Path) and followed by a conference or discussion on the concepts of soundscapes, sound paths, and hearing points, as well as the relationship between aesthetics, ecology, and sound sociability.

timing

• Short cycle: 2 to 3 days of recording, scouting, listening, and editing.
• One day of rehearsal, then the concert.
• Residency over several weeks, to be defined according to the project.

Setup

• Digital recorder and audio software provided by the artist.
• On-site, a stereo or multichannel sound system (octophony) for diffusion and improvisation.