Sound installation
music & Light
Commission by Happy New Ears Festival
Kortrijk . Belgium

The first time I entered this tunnel intending to create 2 sound pieces, almost immediatly, Hieronymus Bosch’s
painting came to my mind, mostly with the second panel of his series « visions of after life », Ascent of the blessed.

At this very moment, a car passed by with extremely loud speakers and made the space resound with heroic Metal music.
The Metal music and its related social and cultural codes, partly rooted in religious worlds, have always been funny
to me (Judgement day, and so on).
Certain elements from NDE accounts (Near Death Experience) are perceptible in this tunnel :

• The passage from one space to another
• the light
• The shifting colours of the architecture
• The meetings
• The spiral

In this transcient space, I felt like working for the citizens who are used to walk through this tunnel
as they are significantly exposed to the same noise pollution that, alas, also exists in so many public places.

Music : erikm
Voice : Wendy van Wynsberghe & An Mertens

Video installation, Quadris-phonie

From a picture of him taken on the Web, eRikm shatters himself to be reincarnated into time and space decentered zones. The original picture, sifted through the ASCII code (American Standard Code for Information Interchange), turns into a series of numbers.
Read by a digital voice, it turns into a sound poem spread from the center of the acoustic space. Then injected in a Doppler, the series is randomly read again, and finally resets the original portrait in the video virtual space.
Through this boomerang system, the installation expresses this ubiquity relation to the art piece : the gift of being here and there at the same time, symptom of an “X” generation called “digital migrants”.

// “X’ generation refers to those who were born between the 60’s and the 80’s, stuck in between two times. X for anonymous and nomad, like this generation conscious of its burst.
A generation of “digital migrants”, caught between the last analogical reflexes and the adaptation to the new technology evolutions.

Audio installation and performance inclu in the spectacle of dance “deroutes” of Mathilde Monnier

Audio installation & Live act / Aric tube . microphones Stroboscope phase :
Stroboscopes microphones on a audio system by Pierre Berthet

exhibition
2002
Les Chants Mécaniques Lille . France
2002
Limeligth Kortrijk . Belgium

glass bell . microphones . Flies. Natural audioscape
on a audio system by Pierre Berthet

exhibition
2002
Limeligth Kortrijk . Belgium

colored coton threads. Sub Bass . sine wave generator
exhibition
2002
Les Chants Mécaniques Lille . France

Loudspeaker. Amplifier. Steel tube. Parametric equaliser.
Ground element : 130,5 cm
High element : adaptable to the space

Sound in itself having rarely been worked on in the field of design, the
idea was to construct an object that might be included in our daily
space, our "home sweet home", as for instance halogen floor-lamps
transformed the nocturnal atmosphere of our homes in the mid-eighties.

The device is the following : two loudspeakers, mounted on tubes, like
halogen floor-lamps, are fixed vertically opposite each other. One to
the ceiling , and the other rests on the floor. One loudspeaker is used
as such, the other is used as a microphone.
The distance between the two loudspeakers varies according to the
acoustic space in which they are placed. “Y” +/- audible may be hidden,
allowing the freeest possible interpretation of the object’s
auto-generated sound by the user.
The amplification of the acoustic space and it’s interior and exterior
artefacts is modified by the phenomenon of feedback generated by the
opposition of the two membranes.
The space is acoustically modified by the variation of a frequency, or
note "Y", that will be more or less audible depending on the atmospheric
pressure and natural decibel level of this space. By approaching one’s
hands, or objects that may reflect or absorb the sound emitted by the
loudspeaker, a psycho-acoustic game is created (in the low-medium
frequency range). Sound shapes and masses become apparent.

Following on from the work of such composers as Erik Satie ("Musique
D’Ameublement"), or Brian Eno ("Music for Airports"), “Y” +/- audible is
part of a reflexion on the relationships that exist between sound and
the social space, to which each historical period supplies a different
context. Although the phenomenon of feedback is inscribed in a technical
and aesthetical dimension that was born in the technology of the
twentieth century, the project was inspired by a process dating back to
the Middle Ages, called the "wind harp".
The Wind Harp was found in houses in the form of strings of animal gut
tautened between the two vertical elements of a window frame. These
strings were tuned, and vibrated in reaction to the quantity of air that
moved between the inside and outside of the room. This would generate a
note "Y" or a chord "X" (a "drone"). The space was thus bathed in a
sonic variation, whose use might be compared by analogy to the use of
scents and incense.

exhibition
2002
LMX phase *3* School of Fine-Arts Le Mans . France
2001
LMX phase *2* Frac Paca Marseille . France

Pillow serigraphy

exhibition & perform
le grim / la compagnie Marseille . France