THROUGH THE PRISM OF SOUND CORAL NIETO IN CONVERSATION WITH THE COMPOSERS CLÉMENT ÉDOUARD AND OKTO
With the development of Sound Studies during the 1990s, the question has been raised of radical change in the way of conceiving, working and perceiving sound. A sensitive territory and field of research, sound will be the prism from which to establish any object to be studied. From the visible to the audible sphere, this shift in speed makes it possible to reconsider the nature of sound by focusing both on its physical and sensitive character, but also on the figure of the listener and the listening point. From this perspective, it is about rethinking the way we approach the sound and sensory environment, while affecting ourselves and in turn affecting it. It is thus fundamental for researchers, but also for composers, sound artists, etc., to start from a double questioning: on the one hand, how we approach reality, that is to say, the way in which we make the world out of sound and, on the other hand, how we grasp the sound sensitive to produce new meanings. Affiliated to the electronic and electroacoustic music, composers Okto and Clément Édouard share a performative and sensitive approach to 66
sound and voice. Starting from an interrogation on the perception of reality and its representation, they use a mix of sound universes launching new senses and sensations. On the one hand, Okto, a young composer based in Paris, is carrying out an investigation of the “minor” sound universes resulting from the transfer of symbols of our time. His research results in sound images, namely mental images that are both sound, visual and bodily between reality and fiction. In this perspective, Okto designs spaces-times from common and audible imaginaries as a reminder of the relational modes and rhythms of society. Then, he delivers the listener to an off-camera where a whole rhizomatic system