Dream Logic is an audiovisual composition for string quartet, electroacoustic components, and video. It exploits a hybrid of obsolete and contemporary visual technologies to create abstract, dreamlike, and retro-futuristic visuals, making use of the string quartet as the breath and beating heart that pushes time forward. This work also uses various experimental sound generation techniques such as no-input, generative sound algorithms, live-sound processing, and synthesis. Sonically, I was interested in creating a work that blurs boundaries in terms of aesthetic codes and acoustic/electroacoustic/electronic sonorities, borrowing elements from minimalist contemporary electronic music, ambient, noise, musique concrète, and various electronic subgenres.
Simon Martin Musique d’art (2015)
Organizational structures hide the phenomena on which they are built. For example, spoken language requires both a certain perception of fundamental elements (phonemes), and a state of transcendence that enables us to forget these very elements. Similarly, in the aural sphere, music is the negation of sound for the benefit of its organization. Nevertheless, a sound that is completely left to its autonomous state (as opposed to it being collected for its potential as a poetic tool) goes back to the hum of nature. Thus, in order for it to be aesthetically perceivable, sound needs music as much as music needs sound. Musique d’art articulates this dialectical tension between sound and music—seeking balance.