sound installation / sound and participation (in collaboration with Daniele Balit)
This work was part of a project called L’Usage du Terrain by Rémi Héritier and Léa Bosshard
In 2016, as a fellow at the French Academy in Rome, I became interested in the anamorphoses in frescoes found in Rome, such as those in Trinita dei Monti and San Ignazio. Seeing these works, I was inspired by this perspectual distortion, where the viewer must adjust their viewpoint in order to experience the full effect of the image. How could I imagine a sonic equivalent to this phenomenon, where the listener explores their changing perceptions within the sound field? This is the question that led to the creation of a series of sonic anamorphosis.
Anamorphoses #12 to #15 were created during a residency at Stade Sadi Carnot in Pantin.
The audience was invited to explore the space to find the locations of 4 successive anamorphoses.
For each piece, the visitors were given a card.
On the front of the card, a few hints to help the visitor locating the anamorphose.
At the back, a map with the location.
Anamorphose #12 is based on the same principle as Anamorphoses #1, #2, #3 and #5. As Pierre Schaeffer stated : the nature of an instrument can only be guessed from its timbre AND dynamics. For instance, if you take a piano sound, remove the attack, and slowly fade it in, the listener will have a hard time finding the nature of that sound.
One loudspeaker (the right arrow) was placed on the roof a small building, playing a piano sound without attack. The sound could be heard from any position in the field.
To figure the nature of the sound they were listening to, the spectators had to find a specific location. At that position, another loudspeaker played the attack of the piano sound.
The visitors were invited to collect texts and pictures along the field. These were written and collected by curator and art historian Daniele Balit.
→ Article (in French) describing this work in details