Any attempt to describe what now is comes revealing the limits of our intellect. The closest we can get to it is to merely define it as chaos, absolute randomness, unknown, disorganization, or disorder. These definitions are the reflection of the impossibility for logic to formulate eternity. Each instant holds in fact the most perfect order from nature itself.
Sound can serve as the doorway to remember that this “chaos” is our natural state. By engaging our bodies, it connects us to the sensorial dimension of our beings and quiets our minds for an instant.
In this sense, what sounds actually creates is silence.
This Research is about seeking for this silence
“Everything begins with the rebound - in the sense in which it was once said of a musical instrument that it bounds or rebounds - that is, springs back and sounds in one way or another. A bound through the open is reprised or recovers itself, returns under its own momentum as it responds to itself and thus forms its own reality, its resonance”
Jean-Luc Nancy, Resonance of Sense, 2020
..using a combination of Eurorack Modular Synthesizers and ambisonics technologies to create movement in 3D Spaces.
This research will lead to the development of a method to use CV as a movement trigger leading to the composition of an album as a reflective study on different textures and spatial behaviours.
This album will be released on quadraphonic vinyl and will be the start of a record label focused on the release of 3D audio on vinyl.
more info here
“This is not a study. It is a manifesto for a peculiar conviction: that music remains to be discovered, that it is still hidden. That, nonetheless, it does sometimes appear, but most often incompletely and unevenly. And that what we have hitherto referred to as “music” is in fact only a preliminary, a prodrome. That all musics produced up until now have been nothing but simulacra, rituals to call music forth. This may sound crazy, and indeed unwelcome. But the sole concern of the following text will be to make this statement legible, understandable, and perhaps even to some extent acceptable. Its hope is that, setting out from a few intuitions, the possibility of a music to come can be formulated. That this obscure becoming will emerge, one trait at a time; that the shape of this music to come will reveal itself, gradually, by way of a cluster of assumptions, the reading of a multiple history, and the examination of damaging paradigms that have taken music far from itself. That the subjectivity of a writing, with all of its beliefs, its errors, its biases, its injustices and its shaky certainties, may yet manage to cast a singular and inspiring light upon the idea of music—this, ultimately, is the ambition of the lines to come.”
François J. Bonnet, The Music to Come, 2020