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Program:
I. There is a Quiet | 2005 (5:57) by Fortner Anderson and Chantal Dumas
Fortner Anderson, poet about six silk purses

I approached six composers and asked them each to interpret one of my poems. Each was provided with a recording of my reading of a poem. They were given the proverbial carte blanche to do whatever they pleased with the recording. The results of their work are contained here. Each artist transformed the material with their own genius, hence the title. I asked them to provide a few words to situate their work; how they approached the composition. These introduce each poem.

Chantal Dumas, composer

I chose the poem because of one phrase: “there is a false quiet in the place where we have come to rest.” It evokes a world of sound-content at once saturated but which paradoxically finds a resolution in silence. I chose the text because of the physical, psychological and temporal spaces which are contained in it.

There is a place; an apartment with a kitchen, living room and hallway.
There is a mental space built upon a schizophrenic state where reality constructs and deconstructs itself with scraps of sound and bits of daily life (noises, voices, electrical noise).
There is time measured in tiny fragments, second by second, all identical and without distinction. Interchangeable time, time ignorant of its own duration. Yesterday, today and tomorrow, the same continuity and immobility.

There is a quiet is a stifled interior cry, a subterranean reality.
II. in between | 2014 (7 :09) Premiere by Magali Babin
I am interested in space exploration as sound material. Natural and architectural spaces that have a different acoustic reality then their environment particularly interests me, they are what I call in between-spaces, which provide a filtered soundscape. When Stéphane Gilot asked me to add sound to his installation entitled Piece for five interpreters, pink light and silence, I spent long hours recording the empty gallery space where the structure would be built. I let myself slip into the «entr'entendu» as described by Michel Chion. "we assume that much of what has been glimpsed continues to exist, while under its sound aspect the entre'entendu has already completely disappeared, perhaps never to present itself ever again as it is". In Between is a reinterpretation of these present-past moments on which there is an atmosphere of small coincidence.

Version Française
Je m’intéresse à l’exploration de l’espace comme matière sonore. Les espaces naturels ou architecturaux qui ont une réalité acoustique différente de celle de leur environnement m’intéressent particulièrement, ils sont ce que j’appelle des entre-espaces, qui offrent un paysage sonore filtré. Lorsque Stéphane Gilot m'a demandé de sonoriser son installation intitulée: Pièce pour cinq interprètes, lumière rose et silence, j'ai passé de longues heures à enregistrer l'espace vide de la galerie où serait construite la structure. Je me suis laissée glisser dans l'entr'entendu tel que le décrit Michel Chion. "...nous postulons qu'une bonne part de ce qui n'a été qu'entrevu continue d'exister, tandis que sous son aspect sonore l'entre'entendu a déjà complètement disparu, ne se représentera peut-être plus jamais tel quel..."
In Between est une réinterprétation de ces moments présents-passés sur lesquels plane une petite coïncidence.
III. Concertina (Site Operations) REMIX | 2014 (13 :00) by Steve Bates
Curated by Eric Mattson as part of Suoni per il Popolo?Fonderie Darling?June 15, 2012 performance
Concertina (Site Operations) considers the site of urban fencing and re-imagines these as antennas for low-power radio transmissions. Presented here as an audio performance featuring collections of on-site performances.
http://www.stevebates.info/project/concertina/
IV. CarTone_10102013-9:52 | 2014 Première (7 :01) by Christian Bouchard
This slice of time is from the first 10 minutes of a sound recording session in Montreal on October 10, 2013. «CarTone» starts at 9h52AM. It is taken from inside and outside my Dodge Caravan on an 8 track recording session in Reaper. The track list is as follows:

1- Microphone Shotgun Sanken CS-3e, set outside on the rooftop facing backwards.
2- Microphone Hyper cardioid Sennheiser MKH-8050, set inside on the dashboard.
3- Fire station frequencies taken by internet.
4- Police station frequencies taken by internet.
5-6- FM radio one.
7-8- FM radio two.
 
I chose the recording location for its potential for a diversity of sounds: on one side there are three-storey houses (reverberation) and the other side is open to the Vieux-Port de Montreal (sidewalk, birds, trucks, boats…). The street is cobblestone, so the sound of cars driving is naturally transformed and enhanced. There were also some deliveries made nearby. I have added a bit of reverb on the master but have not transformed any of the source material. It is a montage, using automation of volume, pan, mute and solo to reveal the musical potential of this «portrait sonore».
V. 63 apparitions no2 & no7 | 2004 (3:06) by Michel F Côté
Cannibal music, socratic glances.

In a line that goes from John Cage to Érik Satie, Michel F Côté has created a collection of fifteen inter-related situations. Vacant lots, a nostalgia for clockwork, lost eras, outmoded machinery, redundant melodies, the yellow smiles of faded images: 63 apparitions is a catalogue of spectral compositions. These things happen.
VI. 63 apparitions no7 | 2004 (3:06) by Michel F Côté
Cannibal music, socratic glances.

In a line that goes from John Cage to Érik Satie, Michel F Côté has created a collection of fifteen inter-related situations. Vacant lots, a nostalgia for clockwork, lost eras, outmoded machinery, redundant melodies, the yellow smiles of faded images: 63 apparitions is a catalogue of spectral compositions. These things happen.
VII. Givre | 2011 (17:28) by Monique Jean
To Tedi Tafel

The month is March, and we are in a white, iridescent, timeless place. It could be the centre of an ice mass through which rays of sunlight run, gradually warming it up. Slowness, whiteness, the creaking sounds of thawing, the cracks. Givre came out of the Calendar project (www.calendarproject.ca), a collaboration with choreographer Tedi Tafel. This series of 12 site-specific performances spread across one year, were inspired by the passing of seasons and the cycles of nature as they are experienced in the heart of the city. Each event was intimately related to the time of the year in which it was presented.

The sound aspect of the whole project tries to bring forward different aspects of the act of listening. The intent was to create new contexts of perception through the transformation of what is familiar to us and to provide listeners with a new auditory experience, through actions that was at times minimal, at times immersive, and at times an unusual blend of concrete and abstract sounds — though always following an approach that focused on presence, length, and the act of listening. The artistic process consisted of stripping out and purifying, in order to get to what is essential.
[English translation: François Couture, vi-12]

Givre was realized in 2011 in the composer’s studio and premiered on November 17, 2011 during the Immerson 2 concert at Laboratoire des nouveaux médias of Oboro in Montréal (Québec). The piece was commissioned by France Jobin (i8u), curator of the concert.
VIII. Objets (re)trouvés – Room Tone | 2009 (4: 14) by Mario Gauthier
Origin: a "Roomtone", ie the ambient sound of a room where a film is running.

At the time I made this piece, I worked in the sound archives domain. In this context, I was listening to a lot of old things and I often found sounds left behind. End of tapes unrecorded or which were improperly erased, bits of the sounds left inadvertently, defaults, unsuccessful attempts, errors were such lucky finds for me that I restored or digitized the tapes or audio artifacts for myself.

Objets (re)trouvés is a series of short pieces that have as a common denominator to have been made from some of these "lost" objects. Moreover, at most they were "lost" for a while. Because, as Valéry says "It is difficult to find an example of something forgotten, this is contradictory because remember, we remember" (Book II, P. 57). So I chose to remember these specific objects, perhaps because they had awakened in me some remembrance, sympathy or reminiscence.

Thanks to all the Avatar team and Jocelyn Robert. Context of production: Sound Excavation – Avatar

Version Française
À l’époque où j’ai réalisé cette pièce, je travaillais dans le domaine des archives sonores. Dans ce contexte, j’écoutais énormément de choses anciennes et j’y trouvais très souvent des sons laissés pour compte. Fin de bandes magnétiques non enregistrées ou qui avaient été mal effacées, petits bouts de son laissés par mégarde, défauts, essais infructueux, erreurs étaient autant de trouvailles que me réservaient les bandes ou artefacts sonores que je restaurais ou digitalisais.
Objets (re)trouvés est une série de courtes pièces qui possèdent comme dénominateur commun d’avoir été composées à partir de certains de ces objets « perdus ». D’ailleurs, tout au plus furent-ils « perdus » pendant un temps. Car, comme le souligne Valéry, « Il est malaisé de chercher un exemple de chose oubliée, c’est contradictoire puisqu’on se rappelle qu’on se rappelle » (Cahier II, P. 57). J’avais donc choisi de me souvenir de ces objets spécifiques, peut-être parce qu’ils avaient éveillé en moi quelques souvenirs, sympathie ou réminiscence.
Je remercie toute l’équipe d’Avatar ainsi que Jocelyn Robert.
Contexte de production : Excavation sonore - Avatar

IX. Rictus Parasol | 2014 (14 :00) Premiere by André Éric létouRneau
Rictus Parasol is a theater version of Room tone in Mashteuiatsh, April 29 2014, 6.19 PM and is part of what I would call a microvariant stretchable sound experience. It is produced with a Critter & Guitari sequencer processed with a CV spring reverb and a CV Polyvoks filter. The spring activities and the filter is modulated by the transformation of the room tone characteristics at the moment of the recording.

Rictus Parasol is a theater version of Room tone in Mashteuiatsh, April 29 2014, 6.19 PM. This version is to be read along with a text that suggests how to fill the gap between the two men's voice. This third (inaudible) voice is female (their mother's voice). The listener is invited to download the text and read it while listening to the piece. So he can hear the mother's voice inside his/her head.

Credits:
Thanks to Chaire de recherche en dramaturgie sonore au théâtre, the Fondation Diane Robertson, L'École des médias de l'UQAM and the GRMS
Voices: Santiago Sepùlveda and André Éric Létourneau

Credits PHOTO:
Auberge Maison Robertson, Mashteuiatsh, Qc.Chambre où la musique a été j'ai réalisé.

RICTUS PARASOL Text


RICTUS PARASOL ( co-translator Alain Calefas)

Characters:
Tripp (the third of the three)
Alexandre (the brother of the brother)
Sète Seth VII (the mother)

(The text is adjustable with Room tone in Mashteuiatsh, April 29 2014, 6.19 PM)


Scene 1
Tripp and Alexandre

Voice-over Tripp
I have in front of me a foil, a sword and a sabre.

Voice-over Alexandre
You will have to choose which to pierce me in the heart with.

Tripp
I have an overabundance of choices.

Voice-over Alexandre I am beginning to be afraid.

Tripp
You are my brother, have confidence.

Voice-over
My heart opens to your sword, your sabre, your foil.

Tripp
Your garment is well fitted.

Alexandre
Go ahead, I am ready.

Tripp
You are afraid...

Alexandre
No, I am now in a bit of a hurry.

Tripp
I take the sword and insert it into your body. I take the sabre and I cut your head off.

Alexandre
I do not know any more if it is pleasant or not.

Tripp
I placed the foil in the hands of your future corpse.

Alexandre groans gently Tripp
The pleasure is all mine.

Alexandre
From the depth of my vanishing gaze, I see you smiling. You seem… delighted.

Tripp (voice-over)
Your mouth is opening; I see your teeth. You do not breathe any more. You see red. Increasingly dark, then the red changes to black. Quietly. The sounds start to die out...

Alexandre
Is it because our mother is alone in the next room?

Tripp
Yes, she is in the dark. She is waiting... I think there will be an inquiry into my happiness. Then, I will feel that I will be able to reproduce myself... finally ...
(pause) Are you there?

Alexandre
Hardly. I'm almost gone. I will return… Goodbye.

Tripp
Remain like that. If you like.

Alexandre
I am burning.

Scene 2
Tripp, Alexandre and Sète Seth VII

Sète Seth VII
Your father created Happiness. It is indelible, it exists only in co-creation in organisational initiatives, like an anthill...
(sound: she drinks something)

Tripp
What are you drinking, Mom?

Sète Seth VII
(pause) ... A Coke!! I love the bubbles...

Tripp
What is a Coke?

Sète Seth VII
It is a way to pass the time by handling an object of thick glass which contains a brownish and syrupy liquid having foam that lures the eye.

Tripp
And one drinks it?

Sète Seth VII
In principle yes, this is what I am drinking.

Alexandre (under the ground)
You look like you're really enjoying this!

Sète Seth VII
I love it.

Tripp
Where does it come from?

Sète Seth VII
I found it shortly after the full moon in a boat. The boat was empty. I looked at the label, it was already opened and I drank it. That immediately made me happy. Since then, I cannot do without it.

Tripp
I read the label:
" He was coming from another place. He wanted to have... money. A lot of money. A ton with money. A lot of money? A lot of money. He gets hired in a cafeteria. The cafeteria of a secondary school. As a manager. After a few months he leaves. Takes all the cash in the register. Pilfers even the food storage. He hides. Has wild sex, enjoys it like an animal and is bitten by a bed-bug at the time of his orgasm. He crosses the border unnoticed. In the trunk of the car."

Sète Seth VII
I drink to his health. He went through the looking glass!

Scene III
Tripp, Alexandre and Sète Seth VII

Sète Seth VII
I felt the presence of your brother. Come here and see.

Tripp
He is preparing the meal.

Sète Seth VII
... in front of a darkend window.

Tripp
Have you finished your coke Mom?

Sète Seth VII
I took off the label: look.

Tripp
It is an empty label.

Sète Seth VII
Like the bottle.

Tripp
Permit me to dispose of it, for my pleasure.

Sète Seth VII
It is an ephemeral but real pleasurable happiness, to see my sons busy providing me food and drink.

Alexandre
Madame is served!

Scene IV
Tripp, Alexandre and Sète Seth VII

Alexandre
Here are the dishes Mama

Tripp
I love reading the labels on the jars while eating!

Sète Seth VII
There are many jars on the table, opened, with a spoon that reaches the bottom. Between us, there are no complications.

Tripp
I am looking at the spoon of the third jar.

Alexandre
I am taking the third jar; I read the label:
“ Ingenuity my secret rival. Fly, fly, and I am waiting. She said, he said. Just somebody, and. “

Sète Seth VII
Wait, please repeat what you said please!

Alexandre
“But it slowly turns around. Continue to listen: every sound. Running through mines and fire. Laughing at the situation. Like spies. Like spies in a line. Sombre eyes in the line. Like spies in the line.”

Tripp
Wait, please repeat what you said please!

Alexandre
Look at the work! The lines dance. Like a mirror, it grows without a face. Find a way: the special agency. Repress them, keep them harmless. Like spies. Like spies in the line. Like sombre eyes in the line. Like spies in the line.

Sète Seth VII
Wait, please repeat what you said please!

Alexandre
“Ingenuity finds the secret rival. Fight against the fire: I'll wait. She said, he said. Just start... that heart”

Tripp
One last time, please!

Alexandre
“Like spies. Like spies in the line. Sombre eyes in the line. Like spies in the line. Like spies in the line.”

Tripp
Sombre eyes! I love it! I love it! Sombre like...

Sète Seth VII
The colour of coke!
They start laughing, continue and don't stop while their mother reads the following label

Sète Seth VII
My turn.
Audio guide of a museum: " What is particularly remarkable here, is the handle of the jar. Here, we see the animal delicately press his nose on the edge of the jar, as though he was trying to inhale the vapours of the liquid, the phallic God Mihn, which escapes through a hole at the bottom of the vase.

(The two boys stop laughing at the same time. Some time goes by. Pause.)

Alexandre, grabbing another pot
“Sombre eyes wait for a woman that never comes...”

Tripp
Wait, we are not yet reunited.

Alexandre
Enter by this orifice left open on the surface of my body, since you cut my head off at the start of the program.

Tripp
Ah yes! Wait!

Alexandre
I feel you coming, entering me.

Tripp
I settle down.

Alexandre
Fusing with me.

Tripp
The phallic god...Mihn

Alexandre
Do not make me laugh ... Ah ... I’m shuddering ...

Sète Seth VII
I am smiling ... Looking makes me happy ... I am your mother, I love you. At last!

Alexandre
Are you there yet?

Tripp
Not yet, I’m missing some parts. Either way it’s good.

Alexandre
Mom, you can read us the label of a third jar in the meantime?

Sète Seth VII
I'll first pour myself another drink.

Tripp
I can read through your eyes.

Alexandre
It’s True

Tripp
"Sombre eyes await a woman who never comes ... She writes to him. He writes back. She knows nothing of the person who wrote to her. She is his wife. She knows him. She loves him. But she knows nothing of the person who wrote to her. She writes without knowing who will read her. A guard opens the cell, sombre eyes come out ... ".

Alexandre
There is, is. There we are. We are one. I am one.

Tripp
Me too.

Seth
Finally here you are! I was waiting for you. Come. Take my hand.

Alexandre/Tripp, en un seul
I love you Mom.

Sète Seth VII
Have a gulp my son my love. It's sweet and pleasant.

Alexandre/Tripp, en un seul (boit)

Sète Seth VII
I see you smiling softly.

Alexandre/Tripp, en un seul
Thank you Mom.

Scene V
Tripp, Alexandre and Sète Seth VII

Sète Seth VII
Come. Come into this obscure chamber, colour of darkness.

Alexandre/Tripp, as one
Your heat, your power...

Sète Seth VII
I train you, much like Eve, she could be... many things... a union leader in a factory where they fill bottles.

Alexandre/Tripp, en un seul
We now cross the threshold of the room.

Sète Seth VII
You have seduced me.

Alexandre/Tripp, as one
I love you.

Sète Seth VII
I feel beautiful. I give birth again!

Alexandre/Tripp, as one
I will read you the label to divert you during the birthing pains. “During this shadowless night, I come out endlessly. I rub and clean the window of the world. Behind, opacity. Then, the union.”

Sète Seth VII
There are trees. A park. A forest. I think you can get rid of that bottle now. I am burning. The genie of the area can escape, even from a bottle as common as this. Never would I have believed it.

Alexandre/Tripp, as one
In the heart of darkness, we have subjected ourselves to beauty. In the heart of the night, we will find ourselves. Just start, that heart.





RICTUS PARASOL Texte Française


RICTUS PARASOL

Personnages:

Tripp (le troisième du troisième)
Alexandre (le frère du frère)
Sète Seth VII (la mère)

(Le texte est modulable avec Room tone in Mashteuiatsh, April 29 2014, 6.19 PM)

Scène 1
Tripp et Alexandre

Voix-off Tripp
J'ai devant moi un fleuret, une épée et un sabre.

Voix-off Alexandre
Tu devras choisir laquelle me rentrera dans le cœur.

Tripp
J'ai l'embarras du choix. _ Voix-off Alexandre Je commence à avoir peur.

Tripp
Tu es mon frère, aie confiance.

Voix-off
Mon cœur s'ouvre à ton épée, ton sabre, ton fleuret.

Tripp
Ta combinaison est bien ajustée.

Alexandre
Vas-y, je suis prêt.

Tripp
Tu as peur...

Alexandre
Non, je commence à avoir hâte.

Tripp
Je prends l'épée et l'enfonce dans ton corps. Je prends le sabre et je te coupe la tête.

Alexandre
Je ne sais plus si c'est agréable ou pas.

Tripp
J'ai placé le fleuret entre les mains de ton futur cadavre.

Alexandre gémit doucement Tripp
Tout le plaisir est pour moi.

Alexandre
Du fond de mon regard qui s'éteint, je te vois sourire. Tu semble ... ravi.

Tripp (voix-off)
Ta bouche est entreouverte, je vois tes dents. Tu ne respires plus. Tu vois rouge. De plus en plus foncé, puis ce rouge vire au noir. Tranquillement. Les sons commencent à s'éteindre...

Alexandre
C'est parce que notre mère est seule dans la pièce d'à côté?

Tripp
Oui, elle est dans le noir. Elle attend.... Je crois qu'on va faire enquête sur mon bonheur. Puis, je sentirai que je pourrai me reproduire... enfin ...
(un temps) Tu es là? Alexandre Presque plus. Je suis presque parti. Je reviendrai ... Adieu.

Tripp
Reste comme ça. S'il-te-plaît.

Alexandre
J'arde.


Scène II
Tripp, Alexandre et Sète Seth VII

Sète Seth VII
Ton père a créé le bonheur il est inneffacable il n'existe qu'en cocréation en initiatives organisationnelles, comme une fourmillière...
(son : elle boit quelque chose)

Tripp
Qu'est-ce que tu bois maman?

Sète Seth VII
(un temps) ... Un coke!! J'adore les bulles ...

Tripp
C'est quoi un coke?

Sète Seth VII
C'est une façon de passer le temps en manipulant un objet de verre épais qui renferme un liquide sirupeux et brunâtre dont la mousse séduit le regard.

Tripp
Et ça se boit?

Sète Seth VII
En principe oui, c'est ça que je suis en train de boire.

Alexandre (du dessous de la terre)
T'as l'air vraiment bien!

Sète Seth VII
J'adore ça.

Tripp
Ça vient d'où?

Sète Seth VII
Je l'ai trouvé un lendemain de plaine lune dans une barque. La barque était vide. J'ai regardé l'étiquette, c'était déjà ouvert et je l'ai bu. Ça m'a tout de suite rendue heureuse. Depuis, je ne peux plus m'en passer.

Tripp
Je lis l'étiquette :
" Il arrivait d'ailleurs. Il voulait avoir... de l'argent. Beaucoup d'argent. Plein d'argent. Beaucoup d'argent? Beaucoup d'argent. Il se fait engager dans une cafétéria. La cafétéria d'une école secondaire. Comme gérant. Après quelques mois il quitte. Prend toute la caisse. Vide même la réserve de nourriture. Se cache. Baise sauvagement, jouit comme une bête et se fait piquer par une punaise au moment de l'orgasme. Il traverse la frontière en cachette. Dans le coffre de la voiture."

Sète Seth VII
Je bois à sa santé. Il a traversé le miroir!


Scène III
Tripp, Alexandre et Sète Seth VII

Sète Seth VII
J'ai senti la présence de ton frère. Viens voir.

Tripp
Il prépare le repas.

Sète Seth VII
... en face d'une fenêtre obscure

Tripp
Tu as terminé ton coke, Maman?

Sète Seth VII
J'ai décollé l'étiquette : regarde.

Tripp
C'est une étiquette vide.

Sète Seth VII
Comme la bouteille.

Tripp
Permets-moi d'en disposer, pour me faire plaisir.

Sète Seth VII
C'est un bonheur éphémère, mais réel, que de voir mes fils s'occuper de me faire manger et boire.

Alexandre
Madame est servie!


Scène IV
Tripp, Alexandre et Sète Seth VII

Alexandre
Voici les plats maman.

Tripp
Moi, j'adore lire les étiquettes sur les pots, tout en mangeant!

Sète Seth VII
Il y a plusieurs pots sur la table, ouverts, avec une cuillère qui trempe au fond. Entre nous, c'est pas compliqué.

Tripp
Je regarde la cuillère du troisième pot.

Alexandre
Je prends le troisième pot : je lis l'étiquette : «Ingéniosité mon rival secret. Vole, vole et j'attends. Elle dit, il dit. Juste quelqu'un, et.»

Sète Seth VII
Attends, répète-moi cela s'il-te-plaît!

Alexandre
«Mais ça tourne lentement autour. Vous continuez à entendre : chaque son. Courant à travers mines et feux. Rire de la situation. Comme des espions. Comme des espions dans le fil. Des yeux sombres dans le fil. Comme des espions dans le fil.»

Tripp
Attends, répète-moi cela s'il-te-plaît!

Alexandre
«Attrape au travail! Les lignes dansent. Tel un miroir, il grandit sans visage. Trouvez un moyen : l'agence spéciale. Réprimez-le, gardez-le inoffensif. Comme des espions. Comme des espions dans le fil. Comme des yeux sombres dans le fil. Comme des espions dans le fil.»

Sète Seth VII
Attends, répète-moi cela s'il-te-plaît!

Alexandre
«L'ingéniosité trouve le rival secret. Bats-toi contre le feu : j'attends. Elle a dit, il a dit. Juste commence ... ce coeur.»

Tripp
Une dernière fois s'il-te-plaît!

Alexandre
«Comme espions. Des espions dans le fil. Yeux sombres dans le fil. Comme des espions dans le fil. Comme des espions dans le fil.»

Tripp
Yeux sombres! J'adore! J'adore! Sombre comme...

Sète Seth VII
La couleur du coke!

Tripp et Alexandre commencent à rire, continuent et n'arrêtent plus tandis que leur mère lit l'étiquette suivante

Sète Seth VII
À mon tour.
Audioguide d'un musée : «Ce que est remarquable ici c'est particulièrement l'anse du pot. Ici voit délicatement l'animal appuyer son museau sur le rebord du pot, comme s'il s'apprêtait humer les vapeurs du liquide, le dieu Phallique Mihn, qui s'échappe grâce à une perforation pratiquée dans le fond du vase.»

Les deux garçons cessent de rire en même temps de manière abrupte. Un temps.

Alexandre, qui saisit un autre pot
«Yeux-sombres attends une femme qui ne vient jamais...»

Tripp
Attends, nous ne sommes pas encore réunis.

Alexandre
Entre alors par cet orifice laissé ouvert sur le dessus de mon corps, puisque que tu m'a coupé la tête au début de l'émission.

Tripp
Ah oui! Attends!

Alexandre
Je te sens venir, entrer en moi

Tripp
Je m'installe

Alexandre
Te fusionner en moi

Tripp
Le dieu phallique Mihn...

Alexandre
Ne me fait pas rire... Ah... Je frémis...

Sète Seth VII
Sourire... Je vous regarde avec bonheur... Je suis votre mère, je vous aime. Enfin!

Alexandre
Tu y es?

Tripp
Pas encore, il manque des morceaux. Mais c'est bon quand même.

Alexandre
Maman tu peux nous lire l'étiquette d'un troisième pot en attendant?

Sète Seth VII
Attends, je vais d'abord me verser une autre liqueur.

Tripp
Moi je peux lire, à travers tes yeux.

Alexandre
C'est vrai.

Tripp
«Yeux-sombres attends une femme qui ne vient jamais... Elle lui écrit. Il lui écrit. Elle ne sait rien de la personne qui lui écrit. Elle est sa femme. Elle le connaît. Elle l'aime. Mais elle ne sait rien de la personne qui lui écrit. Elle écrit, sans savoir qui va la lire. Un gardien ouvre la cellule, fait sortir Yeux- sombres...».

Alexandre
Ça y est, On y est. Nous y sommes. Je suis un.

Tripp
Moi aussi.

Seth
Ah enfin, te voilà! Je t'attendais. Viens. Prends ma main.

Alexandre/Tripp, en un seul
Je t'aime maman.

Sète Seth VII
Bois une gorgée mon fils, mon amour. C'est sucré et agréable.

Alexandre/Tripp, en un seul (boit)

Sète Seth VII
Je te vois sourire doucement.

Alexandre/Tripp, en un seul
Merci maman.

Scène V
Tripp, Alexandre et Sète Seth VII

Sète Seth VII
Viens. Viens dans la chambre obscure, couleur de ténèbres.

Alexandre/Tripp, en un seul
Ta chaleur, ta force...

Sète Seth VII
Je t'entraîne, comme Ève, elle pourrait être... bien des choses... une chef syndicale dans une usine où l'on remplit des bouteilles.

Alexandre/Tripp, en un seul
Nous franchissons le seuil de la chambre.

Sète Seth VII
Tu m'as séduite.

Alexandre/Tripp, en un seul
Je t'aime.

Sète Seth VII
Je me sens belle. J'enfante de nouveau.

Alexandre/Tripp, en un seul
Je lis l'étiquette pour te divertir pendant les douleurs de l'enfantement. «De cette nuit sans ombre, je ressors sans fin. Je frotte et nettoie la fenêtre du monde. Derrière, l'opacité. Puis l'union.»

Sète Seth VII
Il y a des arbres. Un parc. Une forêt. Je pense que tu peux disposer de cette bouteille maintenant. J'arde. Le génie du lieu peut sortir, même d'une bouteille aussi vulgaire. Jamais je n'aurais cru.

Alexandre/Tripp, en un seul
Au coeur des ténèbres, nous nous sommes assujettis à la beauté. Au coeur de la nuit, nous nous retrouverons. Juste, commence ce coeur.



X. Ovicorcupueeleetiheearn | 2014 (20 :00) performance Premiere by ALEXANDRE ST-ONGE
Ovicorcupueeleetiheearn is a sound performance generated by various tactics of pragmatic approach of the ungraspable that testify on the emergence of monstrous voices and hermetic entities through the creative process and improvisation. Ovicorcupueeleetiheearn is a heterogenous creature adapting itself to its environment by using the acoustic properties of the room and the psychic space of the performer to recontextualize multiple sound spectres. Ovicorcupueeleetiheearn
XI. Worm | 2005 (13:26) RE-MIX dumas 2014 by Martin Tétreault
Worm is an excerpt from an improvisation that took place in the studio October 20, 2005 in Rotterdam Worm radio. This performance is part of a current reductionist. The device used is minimal: cd player, record player-radio, a small motor, a computer microphone, handset.
The location of the microphones and the choice of associations provide different views on the internal chamber of the turntable and the sound generation of this device.
> http://www.worm.org

Version Française
Worm est extrait d’une improvisation qui s’est déroulée en studio le 20 octobre 2005 à la radio Worm de Rotterdam. Cette performance s’inscrit dans un courant réductionniste. Le dispositif utilisé est minimal: un lecteur cd, un tourne-disque-radio, un petit moteur, un micro d’ordinateur, un microtéléphone. L’emplacement des microphones et le choix de leur association donnent différents points de vue sur la chambre interne du tourne-disque et de la génération sonore de cet appareil.
> http://www.worm.org

XII. DelayToys-04 | 2009 (16: 37) by Nancy Tobin
Delay Toys is a sound composition project based on childhood and memory, produced between 2004 - 2009. The entire instrumentation is based on a series of toys from the 1970 - 80s, contained in two suitcases. The recordings of the toys were conducted in two different contexts: with an interpreter in a field environment, and by myself in an isolated sound booth at OBORO New Media Art Lab, in Montreal (Canada).

NANCY TOBIN Toy improvisation, voice, field recording, composition, editing, mixing. Martin Tétreault Toy improvisation, voice. With the participation of: Nathalie Derome, Anna Friz, Hélène Prévost, Paul Tobin, Carl Trahan, Siôned Watkins, Stéphane Claude: Studio recording, mastering.

The artist wishes to thank: The Canada Council for the Arts for its generous support. OBORO, Residency Program, New Media Art Lab. Claude La Haye, Éric Prévost.
made in Montreal (º) nt 2009
Delay Toys was made with: Lexicon Digital Delay PCM42 Electro-Harmonix Deluxe Memory Man Analog Delay pedal Clavia Nordlead 3 performance synthesizer RME FireFace 400 sound card Edirol R-09 sound recorder Digidesign Pro Tools editing software Magix Samplitude editing software Ableton Live performance software Neumann M149 Microphone Rode NT4 Stereo Microphone Royer SF-24 Active Stereo coincident Dynamic Ribbon Microphone (my favorite) Schertler double bass transducer Schoeps X/Y Stereo CMXY-4V Microphone Schoeps CCM41 Microphone Soundfield ST-250 Microphone system