")) sounding archi_teXtures (("

architectural soundscapes

'Listen to a building devoid of any human presence. It breathes. It has its own life.

The floorboards, the beams creak, the radiators crackle, the boilers groan, etc.'


R. Murray Schafer - The Tuning of the World - 1977
 

Intentions :

I love nothing more than listening

and share listenings outdoor.

I like to roam free spaces

by the look and the ears,

those ears that also have toes.

Listening to territory by walking,

to walk with my ears (then those of an audience)

in every corner of the landscape,

to look for specific listening points,

unheard of,

or even to grasp the banality

and its trivial poetics in unexpected dimensions,

because still unheard,

or simply given to hear,

differently.

 

However, I would like here to come and examine a closed space,

an edifice, its constituent elements, its frame.

To offers a performed installation.

A concert of spaces giving to listen

to a moving audience

the native - or reinvented - acoustics 

of a place designed as much as a landscape

as an instrument

as an accomplice

whom I would perform with

and with whom I would improvise as a duet,

with it alone,

and listen deeply to it.

Listen to this architecture

as we would listen to any other sound environment

open,

with extra walls…

 

Think of these walls as walls which,

instead of trapping sounds,

would only be there to let them breathe better,

resonate, echo.

 

Also to reveal the (almost) silences

who live there, sheltered.

 

And

- everyone experiences it every day -

since there is no wall that is not porous,

open to the outside, beyond its function,

listen through them,

the vibrations of a world

who gives himself

-always-

to hear

behind,

through,

beyond the walls.

To make the organicity heard,

the sound vitality,

the vibration of the building which,

like any larger ecosystem

is inhabited by many species that struggle,

in symbiosis, in balance:

flux,

fluids,

currents,

waves,

corps,

materials...

 

In a framing game,

and reframing,

perspectives

and change of perspective,

through the route of new leak lines

but also the opening onto invisible horizons,

gradually show this place

like a landscape:

an architectural soundscape.

 

Then re-compose this landscape

through resonances,

the breakaways that the different rooms will offer,

in their row,

their overlap,

their proximity,

their remoteness.

Ultimately our purpose could be summed up as

deconstruct this building through an original sound plan,

and,

without pushing (physically) the walls,

and without removing the roof,

 

to hear the rustling life

hosted in any confined space

but always

in intimate connection with the environment that surrounds it,

crosses it,

meets it. 

 

 

'From completely common resources,

that everyone has more or less in their habitat,

Stéphane Marin managed to compose a rich work

and certain sound complexity.

It longed for quiet moments and others more boisterous of the place, it called its nights and its days,

it mobilized its past and its present,

it also invited its surroundings.

By this composition of "infrared materials" made united,

the proposal was in dialogue with the writings of Junichirô Tanizaki.

While the latter thought with subtlety

the importance of the weakly perceptible in spaces,

Stéphane Marin testified, by sound,

of the 'thickness of silence' of a place '

 

Paul de Sorbier (Maison Salvan's curator)

Partners

Co-production / Artistic residencies :

>> April 2017

Maison Salvan - Espace d'Art contemporain - Labège

>> Nov 2017 -  June 2018 -Sept 2018

L'Usine - Centre National des Arts de la Rue et de l'Espace Public - Tournefeuille

 

 

'The places where sounds are produced are not neutral;

if they are resonators that mark matter, they are also social places,

and their degree of silence or the nature of their background noise

expresses a social particularity, from calm to overload, to violence.'

."
Daniel Deshays - Pour une écriture du son

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