Fluxus, pas trop haut dans le ciel

(2017)
for 16 channels in a dome distribution. 


Commissioned within the frame of the project “The Soundscape we live in”, an European Project organized in collaboration with GMVL, Tempo Reale, Amici della musica de Cagliari, AFEA and Ionian University.
The main electronic realization was made in a residency at the Studios of Musiques & Recherches (Belgium, Brussels, Ohain).
Selected as finalist work for the 10th biennal acousmatic composition competition Métamorphoses (Belgium).

This piece belongs to the cycle Fluxus, whose pieces are inspired by elements of physics and in which musical elements that relate to certain physical phenomena related to fluid mechanics are developed. Other pieces of this cycle are Fluxus, Dimensionless sound for flute and electronics (commissioned by Festival for the Liberation of Sound and Image, Paris, 2012), Fluxus, Transitional Flow (commissioned by Festival Primavera, Portugal, 2013), Fluxus, Lift (premiered at the Festival Monaco Électroacoustique 2013), among other compositions in progress. 
This particular piece is centered in ideas related to what I have called "aerial" soundscapes. The formal development is based on 3 pillars that were inspired Bernie Krause's concepts geophony, biophony, and anthropophony (géophonie, biophonie, anthropophonie). The sections are interconnected through specific spacial movements that show our hide their own paths, recognition of sound sources and other events in order to create moments that are more or less clear in the perception of themselves. 

The sound spacialization acts as a central musical parameter, where the distribution of sound within the loudspeakers is related not only to different kinds of movements and spacial "shapes", but related and associated to spectral changes, different speeds and other parameters that make the spacial movements (paths) to be more, less and even unrecognizable. Some spacial "shapes" or "paths" relate different parameters in order to create movements that I have called "elliptical rotations", "spirals", "rotations", "spectral explosions" related to upwards or downward movements of sound or into "sound suctions", "walls of sound", "points", "geometrical shapes", "lissajous curves", "sound swarms", and others. Such "shapes" / "paths" aren't intended to be listened as a catalogue os movements, but they are relate formal aspects of the macro structure, but also from the "energy flow" that is present in each of the used sound worlds.

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