Lille Renaissance festival, September 26, 2015 to January 17, 2016
In a space similar as a recording studio, the presence of the visitors makes appear, one by one, the sounds of the instruments of a symphony orchestra during its tuning – until a complete reconstitution when a group is present. However, this warm-up never stops: the sound is held in a perpetual suspense, appearing and disappearing according to the visitor’s behaviors.
In French, sous-ensemble means subset. In this mirroring relationship between the visitors and the absent musicians, a collective form arises thru the archetypal form of an orchestra. Other visitors could enter the room, the music could begin, but it still stays at the threshold.
Programming: Mathieu Chamagne, Alexandre Saunier
The installation is based on 24 IR presence sensors installed on microphone stands, triggering 24 sound tracks of orchestra groups during their tuning, that were recorded with the Lille National Symphony Orchestra. The communication between the sensors and the Max program is managed via a network and an Arduino. All the sounds are looped, randomly selected for each of them within a list. They are spatialized within an apparatus of 12 Elipson speakers laying on the ground, allowing each sound to appear very exactly in front of each microphone stand.
A spatialization interface created for the project allowed us to determinate the microphone stands and speakers set-up according to scenographic criteria, and manage the resulting spatialization and filtering parameters in real time. The sensors and their network and communication protocol were programmed by Alexandre Saunier. The sound and spatialization software was programmed by Mathieu Chamagne.