(64) L'espace composé dans l'acousmatique multicanal
(70) Je parle ici de la première des sept sections d’Ether pour lesquelles j’ai réalisé des analyses spatiales et spectrales. Cette section initiale, de 0” à 56” (l’exemple sonore 3 - voir 4.3.1), introduit un ensemble de spectres harmoniques et inharmoniques qui traversent l’œuvre. Ces spectres sont façonnés et augmentés de manière à exister en harmonie avec le déploiement de la trajectoire spatiale tridimensionnelle du flux sonore.
I have chosen to discuss the first of the seven sections in Ether for which I made spectral and three-dimensional spatial analyses. This initial section, from 0” to 56”, audible in sound example 3 (see 4.3.1), introduces a variety of harmonic and inharmonic sound spectra that reappear throughout the work. These spectra are shaped and titrated to function in tandem with the unfolding three-dimensional spatial trajectory of the sounding flow. (70) For example, at the beginning of Ether, the three-dimensional spatial trajectory can be perceived to be spring-loaded and discharged from the centre loudspeakers delivering channels 5 and 6, and then radiate outwards, in a double spiral, to increasingly distant loudspeakers. Once the circumference of the double spiral is established, it can be perceived to be overlaid with, and give way to, spatial trajectories of a polyphonic nature. The discussions, which are based on my own poietico-esthesic analysis, aim to describe the spectral identity of the sounding flow, and suggest that the sounding flow’s spectral character can be perceived to collude with its three-dimensional spatial trajectory to impart contrasting spatial images. They are followed by a discussion of space from the viewpoint of the four reception behaviours.