(64) L'espace composé dans l'acousmatique multicanal
(81) L’espace dans Ether dans la perspective des quatre conduites d’écoute
Sonic properties
(82) Bien que l’espace spectral du flux sonore du début d’Ether soit homogène, le flux lui-même est plus saillant dans certaines parties de l’espace tridimensionnel que dans d’autres, ce qui donne l’impression que l’espace tridimensionnel est ‘maintenu’ ou ‘orienté’ par ces différentes intensités.
Although the spectral space in the sounding flow at the beginning of Ether is homogenous, the flow itself is more emphasized in certain parts of three-dimensional space than others, which gives the impression that three-dimensional space is ‘held’ and ‘directed’ by these different intensities. (82) The pitched percussion resonance at the beginning of the work possesses an ample, internal spatial topology, and gives way to a series of harmonic relationships that are faintly orchestral. The subtle orchestral quality is imparted by sounds that convey pitches and quasi-instrumental timbres in discrete parts of spectral space, albeit over a fairly large register. However, these sounds also possess varying degrees and types of inharmonicity and therefore, relate, organically, to the low-pitched inharmonic pedal and high-pitched, transparent canopy.
Structural attributes
(83) Alors que l’espace tridimensionnel est utilisé en tant que processus structurel tout au long d’Ether, la structure au début de l’œuvre relève d’une double spirale imaginaire, qui débute par une attaque glissée lors de la percussion-résonance initiale, et dont la délimitation est réalisée par la répartition variable du flux sonore entre les paires stéréophoniques.
While three-dimensional space is used as a structuring process throughout Ether, the structure at the beginning of the work is driven by an imaginary double spiral, which begins with the attack-glissando in the opening percussion/resonance and is delineated through varying intensities of the sounding flow as delivered by different stereo pairs. (83) As the double spiral shape develops in space, the sounding flow diversifies into contrasting spectromorphologies. Some of them have incisive forms that recall the initial attack-glissando, and others, like IIa, support such sounds by creating an aura around them, as well as supporting three-dimensional space in general.
Self-orientation
(84) La réponse vers le soi émane de la sensation. L’auditeur est baigné dans un ensemble de sons inharmoniques aigus qui l’enveloppent et caressent son corps.
The self-oriented response arises through sensation. The listener is bathed with transparent swathes of high-pitched inharmonic sounds that envelope and caress the body. (84) However, the listener may also feel physically supported by the low pitches and rich timbres in the percussion resonances. From another perspective, the expansive register of spectral space in Ether can echo the Body-Mind relationship, where the dense, low-pitched pedal and percussion resonances function as the listener’s solid body, and the high-pitched inharmonic sounds function as the mind.
Imaginary realms
(85) Quand j’écoute cette première section d’Ether, une image surréelle se déploie en un écosystème terrestre vaste, maintenu par des milliers de circuits électroniques intégrés, qui décolle, se stabilise en position verticale dans la basse atmosphère et, à 40”, traverse la stratosphère et se propulse dans l’espace sidéral.
When I listen to this first section of Ether, a surreal image unfolds of a vast terrestrial ecosystem supported by thousands of integrated electronic circuits that lifts off from Earth, stabilises its vertical position in the Earth’s lower atmosphere and, at 40”, flings itself upwards through the stratosphere and into outer space. (85)