Garden of Sensations : An immersive experience

It was designed for “listening to” sensations, and going through, seeing and touching sounds.
 
A TRANSDISCIPLINARY APPROACH :
 
A MUSICAL CONCEPT :

THE REAL VS. THE VIRTUAL SCORE

A PLASTIC CONCEPT :

STAGING THE OBJECT

A PHILOSOPHICAL CONCEPT :

GILLES CLÉMENT’S “MOVING GARDEN” THEORY

The five interactive modules in the “Garden of Sensations” are:

The Lovers' Bench

Tree-Brushing

Birdhouses

The Door and The Mirror

The Territory of Fireflies.

The Lover's Bench
The Lover's Bench

Two people must sit on the bench to trigger a sound cloud. The sound material is composed of the lexicon of Roland Barthe’s Fragment du discours amoureux and sound extracts from famous films. The artist researched and then compiled dialogues from film scenes that took place in a garden on or near a bench. Words of love, separation, intimacy, form a sentimental and heady atmosphere around the bench.

Tree of Caresses
Tree of Caresses

In this tree are suspended interactive lianas: by grazing them, by crossing them, the public triggers epidermal sound materials. With each gesture, each movement, the public has the sensation of being suddenly invaded by a sound rain, living matter that breathes with its visitors.

The door and the mirror
The door and the mirror

A door and a mirror cube face each other. They evoke the passages found in the gardens, as so many symbols of transfiguration. A sound creation is diffused around these modules, when a person crosses the door, the music passes with him on the other side of the frame. The sound environment is then transformed. The mirror cube places in the axis of the door, almost merges with its environment and allows the public to see itself crossing the frame.

The Lover's Bench
The Lover's Bench

Two people must sit on the bench to trigger a sound cloud. The sound material is composed of the lexicon of Roland Barthe’s Fragment du discours amoureux and sound extracts from famous films. The artist researched and then compiled dialogues from film scenes that took place in a garden on or near a bench. Words of love, separation, intimacy, form a sentimental and heady atmosphere around the bench.

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The music played throughout this installation comes from a real score. At the interactive level, the music is reorganized and uploaded into modules that create a “virtual score”. By means of its interactivity, the installation encourages participants to add their own touch of imagination, at least in part, giving reality to the virtual score. At the end of the real score performance, listeners are invited to experiment with the same, but reorganized music. Each participant dances, using his or her body to brush up against, touch or just pass by the various modules. The audience-turned-performers thus add their own fancy to the installation, and instinctively and playfully redefine it.

 

The installation modules make use of ordinary objects found in gardens. Beyond diverting them, the artist sublimates their everyday role by staging them musically and poetically. Their symbolic value is emphasized through this shifted perspective.

GARDEN OF SENSATIONS : A 2-PART WORK

LISTENING TO A MUSICAL PIECE

INTERACTING WITH THE AUDIENCE

The installation comprising the 5 modules is placed in one or more adjacent open space(s).

How it works :

music is performed in a closed space for listeners.

The various performance types include piano + electroacoustics, percussions + electroacoustics, ambulatory flute + electroacoustics, as well as combinations of these.

 Sequence of Events:

 Instrumental and electroacoustic pieces are played at different times of day. The audience can first access the closed space where these are played, and then discover the interactive garden. Or the other way around. The type of interactivity and sounds heard in the Garden of Sensation change along with each musical performance. The public can thus experience two distinct temporalities: short and continuous with the performances, and diffuse with the installation.

This joint aKousthéa production was made with the cooperation of: GRAME, Musée Gadagne (Lyons), the cities of La Courneuve and Savigny-le-Temple, the Ferme du Buisson (National Stage of Marne-la-Vallée) and the Val d’Europe urban community, and was Co-financed by: GRAME and the Musée Gadagne.

It received financial support from: the French Ministry of Culture throughDRAC Île-de-France, the General Council of Seine-et-Marne, the Cinema National Center (CNC) and the DICRÉAM.

Places of diffusion : Musée Gadagne - Lyon; GRAME, Biennale musiques en scènes - Lyon; Parc Floral de Paris, Festival Classique au Vert - Paris; Festival Plein les Z'Yeux - Marne la Vallée; Fondation Albert Kahn - Boulogne; L'Heure Bleue - Saint Martin d'Hères; La Nuit de la création - La Motte Servolex; Jardins en Scène - Abbeville; Journées du Patrimoine - Laon, Pontoise, Meaux, Île de Ré; Le Métaphone - Oignies etc.

Conception, music and performance : Alexandre Lévy

Conception, installation  : Sophie Lecomte

Computing : Max Bruckert

Constructions  : Jean-Louis Esclapès

Sound technic : David Thomas

Production : Cie aKousthéa

Diffusion : Isabelle Chaigne