Second part of the residency

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terrir

Yannick Guédon – conception, voice, composition
d’incise – flutes, objects, composition

With terrir, we want to explore certain modes of attention to the environment and context in which a sound situation takes place. The aim is to create a flexible device that will allow us to apprehend different environments and contexts, in order to approach them in their diversity. It will be based on the use of voice, flutes and sound objects made by us.

This sound experimentation will take place outdoors and will activate the question of stalking. It will take the form of a walk that will lead us to the said lookout. From there, musical scores will aim to make us aware of everything around us, to make us sensitive to the environment. A time to make “perceptible, sensitive, active, operative, things that exist but were not perceived before”.
We like to think that the hunt is certainly one of these ancestral activities that inspired the forms of concerts or listening situations that we are now familiar with.
For example, we will experiment with the following protocol: a moment of welcome to explain the processes involved, and the way in which we can sometimes become involved collectively, followed by a silent walk that will take us to the lookout post, and the return will be more free.

Inspired by the different ways of listening implemented by Deborah Hay and Pauline Oliveiros, we will invent forms of relating to what surrounds us in the moment of the performance. The central idea is to share our ways of listening. We wish to defuse the notion of concert to open up other forms of listening situations: from the environment, from the group of spectators themselves, via collective or individual practices, and via our own sound performances.

With Terrir, we wish to develop the potential of a sound situation in that it allows us to listen to an environment, to the sounds that inhabit it, and to make its sonic imprint perceptible in another way. A music that would allow us to sharpen our perception of the surrounding environment, of the living and the different elements present. Our compositions are then no longer necessarily what we should listen to specifically, but supports to better hear, feel and see what surrounds us. They invent standards of comparison with other sound phenomena, and create benchmarks and indicators that allow us to share a listening experience. They invite one to refine one’s perception of the context, whatever the meaning called for.

We will take advantage of this time at q-o2 to invite Lucie Périneau, a research artist and cartoonist who is currently working on comics as soundscapes, as well as on the idea of ecology as resonance or “co-sounding” …. We will discuss with her listening practices and the different ways of transcribing them.