Second electroacoustic piece co-composed with regard to Henri Olivier's exhibition "Shadow course" at the Marc Chagall National Museum in Nice, "Poro" questions the perception of spaces through the relationships of density, texture and sound interruption. Conceived as a linear color chart around the notions of horizontality, spectrum and duality, it is made up of a series of sound blocks of different acoustic contents which are juxtaposed, interfere and combine in the duration of listening. All are from recordings made in and around the museum during the preparation of the exhibition. Envelopes of spatiality, heights of frequencies, durations of noises and silences, voices and human presences mark a fragmented but continuous line of 13'42. It is in the moments of interruption of sounds, in the infinitesimal times of readjustment of a sensory comfort specific to each, that the impressions of compression and aspiration are lodged: intimate process of an imaginary continuity. These turbulences, in the simultaneous contrasts which they cause, leave a place for the recreation of a spontaneous balance, compensation for the vacuum and drawing of a stability which is consolidated, as the course unfolds, as the notion of a line and the foundation of a horizon.
Henri Olivier says, about his "lead wall", that visitors can recreate their own horizon lines by walking among the brilliant patterns that dot the large matt surface. Immersion in the material, from the front, and displacement from the side by the shape. I find here the tension of forces similar to that of my founding uncertainty in the face of synapses. I find myself physically confronted with a question of meaning and gravitation of which only my movements will be the keys.
At the same time, listening to Pierre Boulez's "Dialogue of the shadow double" by Alain Damiens solicits my ear by the multiplicity of registers. The dialogue between the clarinet voices and the electronic device weaves exchanges for which I must constantly readjust my listening and my memory. Duality, symmetry and division, I have to choose a frame to follow a thread, until the breath breaks and the sound goes out. Pause. Tape recording symmetrically deflects listening. It ensures a transition to another acoustic architecture, a mutation of the original source with its simultaneous loss in resonance and echo: autonomous life of the double in the disturbances of what would be a reflection of the original. The reverberation places the musical source at a distance, the harmonics extend the field of my relation to the timbre and a continuo settles in the background to become, in the end, immersive.
In Ryoji Ikeda's "Zero Degrees", I receive multidirectional samples of computer sounds pushed sometimes to the discomfort to stimulate my senses in reaction with an alienation of the sound nature. There too, it would be a question of repositioning oneself in listening to a divergent spatiality; much more by the relationships to the nature of the textures of sounds than by their positions. The version presented here, enriched from a real perception of the exhibition and the spaces of the Chagall Museum, is the ninth among those which followed the first feature suggested to Henri Olivier