(40) L'espace composé dans l'acousmatique stéréophonique
(59) L’espace dans Chat Noir dans la perspective des quatre conduites d’écoute
Sonic properties
(60) La discussion de cette transition dans Chat Noir va se concentrer sur l’espace spectral et son déploiement dans l’espace tridimensionnel. Comme j’ai suggéré, en analysant ces deux éléments on peut observer comment l’espace spectral s’associe avec l’espace tridimensionnel pour générer un percept. De mon point de vue, l’effet auditif du glissando descendant / de la rotation (IIIa) est créé par son évolution spectrale additionnée de sa trajectoire tridimensionnelle.
Spectral space and its deployment in three-dimensional space is the focus of the discussion regarding this transition in Chat Noir. As I suggested, by analysing these two elements we can observe how spectral space colludes with three-dimensional space to elicit a percept. From my perspective, the aural effect of the downward glissando/rotation (IIIa) is created by its spectral evolution in tandem with its three-dimensional trajectory. (60) A spectrally static sound may be less convincing when heard in the three-dimensional form of a rotation. This may be due to our experience as to how spectra are perceived to change when sounds ‘rush’ or ‘swirl’ past us. Conversely, a downward glissando, while although plausible as a type of distant or close ‘aural comet’, can accrue a different and more powerful significance when its motion-trajectory is aligned with its spectral evolution. The smooth, uniform, downward spectral shift of the sound – a transformation of the source recording of air escaping from a balloon – lends itself to a smooth, uniformly evolving motion-trajectory, such as a rotation.
Structural attributes
(61) L’évolution des spectres sonores au fil du temps dans l’espace vertical semble converger avec leur déploiement dans l’espace tridimensionnel pour créer un contexte d’émergence comprenant des ‘lieux sonores’ tridimensionnels. L’architecture peut être perçue comme émergeant de l’espace vertical et tridimensionnel dans lequel les lieux sonores sont organisés et amenés.
The perception of the evolution of sound spectra over time in vertical space can seem to converge with the perception of their deployment over time in three-dimensional space to create an unfolding context comprising three-dimensional ‘sonic loci’, which, in this discussion, concerns the part of Chat Noir from 3’08” to 3’14”. From a traditional compositional point of view, where sound is structured through spectral and three-dimensional space (which operate as carriers) the sonic loci can be seen to create the architecture (61) of the intersection in this part of Chat Noir. However, if we consider the transition from another perspective, where space is structured through sound, the vertical and three-dimensional space in which the sonic loci are organised and carried can be seen to create the architecture.
Self-orientation
(62) Bien que le segment de Chat Noir de 3’08” à 3’14” soit fugace, la trajectoire du glissando / rotation peut être perçue comme génératrice des attributs sensoriels qui constituent un possible sous-ensemble d’objets dans le domaine de l’orientation vers le soi. Par exemple, pour moi, ce son peut être perçu d’abord comme encerclant l’auditeur, anéantissant l’univers sonore précédent du fait de sa trajectoire imprévue, de sa grande proximité et de son amplitude importante. Le son peut ensuite sembler ‘propulser’ la conscience d’écoute vers le centre du premier plan du champ stéréophonique, la ‘déposer’ dans un nouveau lieu pour se désintégrer ensuite de manière à laisser la place à l’avènement d’un nouvel univers sonore.
As noted earlier, objects such as emotions and evaluations can be perceived to have spatial dimensions, and they can be catalysed by the spatial dimensions in the sounding flow. This is also true for sensations as they are also generated as objects by the listener. Although the segment of Chat Noir from 3’08” to 3’14” is fleeting, the motion-trajectory of the downward glissando/rotation can be seen to generate sensorial attributes as one possible set of objects in the realm of self-orientation. For example, from my perspective, this sound can be perceived, initially, to encircle the listener, thereby extinguishing the previous sonic universe by virtue of its unexpected trajectory, close proximity, and higher amplitude. The sound can then be perceived to ‘propel’ the listening consciousness into the centre-foreground of the stereo field, and ‘deposit’ the listening consciousness at the new location after which it disintegrates to make way for the advent of the new sonic universe. (62)
Although this series of sensorial attributes might seem unremarkable at first glance, a relational shift can occur between the listener and the downward glissando/rotation in three-dimensional space during the sound’s trajectory, which can be noticeable in retrospect. As noted, the sound initially may appear to encircle the listener. However, at some point after the initial 180° part of the 270° trajectory, rather than encircling the listener, the sound may be perceived to ‘carry’ the listener – and the listening consciousness – with it so that the listener has the sensation of having ‘ridden astride’ the sound and arrived, physically, at a different location at the end of the sound’s trajectory. Although it is difficult to pinpoint precisely where this relational shift may occur, it is important to recognise that the spectral and three-dimensional spatial evolution of the sounding flow in an acousmatic work can provoke such sensorial responses. The listener could also observe this phenomenon existing in a prospective image, where in this case, the listener observes the image.[1]
Imaginary realms
(63) La discussion des domaines imaginaires et de l’espace se fonde sur l’idée que l’on expériencie toutes les images de l’esprit comme possédant leur propre identité spatiale. D’un point de vue poïétique, le compositeur (en tant que sujet) expériencie d’abord la présence de l’image dans l’espace psychologique auquel elle s’unit avant de se déployer sous forme sonore.
The discussion about imaginary realms and space is founded on the premise that all images in the mind are experienced as possessing their own spatial identity. From a poietic viewpoint, the composer (as the subject) initially experiences ‘holding’ the psychological space for the image to coalesce before it unfurls in sound. (63) Seeing the need to create a sound that could function as a pivot between the two sonic universes illustrated in Chat Noir, between 3’08” and 3’14”, I created the downward glissando/rotation, based on the rotation energy model. The reasons were two-fold. First, I knew that a rotation, as characterised by my image of a wave crashing ashore, would have sufficient thrust and the appropriate motion-trajectory to eradicate one type of sounding flow and propel the piece into another. Secondly, this energy model had previously been introduced in the piece and would engender spectromorphological cohesion for the listener. Thus, I reworked the spectral and three-dimensional spatial characteristics of the source sound to conform to my image.