2020 Creation of the Company aKousthéa /  VIBRATIONS FOREST :

A vibrant networked installation on the edge of plant communication.

VIBRATIONS FOREST invites the public on a journey to the heart of vibrant biomass. Communication between the different elements, but also communication with the public thanks to the interactivity of the drawings. Sounds, music and vibrations emerge from this forest of sensors and materials to better immerse the audience in this sensory proposal on plant communication. 

Next diffusions :     

2021 March and april : Festival Détours de Babel, Grenoble

logo facebook.png

Follow Us on

VIBRATION FOREST at the Parc Floral in Paris, 09/06/2020

"VIBRATION FOREST" Show of the artistic residence at the SNO/ Orléans/ 2020 February.

3 musical pieces of VIBRATION FOREST Artwork :

Percussionnist : Laurence Chave

Electronics and composer : Alexandre Lévy


Dates in 2020 / VIBRATION FOREST :

- July-august : 99bis, Oignies

- September : Parc floral de Paris

- October : Parc Pasteur d'Orléans.

- Mai-November : Domaine Régional de Chaumont sur Loire.

"Cycles, Répliques" at the Parc Floral in Paris, 09/06/2020

"Portes Acoustiques" at the Parc Floral in Paris, 09/06/2020

"Incantations, Contacts" at the Parc Floral in Paris, 09/06/2020

A scientific inspiration.

We have drawn on several scientific articles dealing with sound vibration networks. We have identified several basic principles that have influenced our approach :

1. The use of mechano-sensitive vibrations to communicate gives us a model of how to communicate. Thanks to vibration, very low to very high frequencies can be physically received by the public who can perceive it even unconsciously.

2. Cycles of appearences of vibrations give us several models of sequences and rhythmic patterns that run through the entire musical language of the project.

3. Echo and relay modes of communication : it allows us to imagine a network that both emits and listens to its environment by creating a moving and unpredictable sound material based on feedback. By capturing and transmitting what it hears, each element of the installation creates a natural sound matter that is added to the vibration.

Maquette Vibrations - Sortie de résidence à la Ferme du Buisson, Noisiel - 09/19

press to zoom

press to zoom
Vibration Forest
Vibration Forest

Installation vibratoire au Parc Floral de Paris, sept2020

press to zoom

VIBRATION FOREST at the Parc Floral in Paris, 09/06/2020

4. The macroscopic and microscopic vibratory principles are corroborated : this allows us to link the globality of the installation’s programming to the sound material itself. The link between the infinitely small and the infinitely large gives us the principle of a fundamental whole that governs the whole network : a global « vibratory tonality ».

From vibration to musical language

Each structure of the installation will diffuse vibration cycles based of plant vibrations. These vibrations are constantly listened to by the network of other structures, which in turn inject their own vibration by echoes and bounces, creating a huge feedback effect. This moving and unpredictable sound base is the musical raw material of the installation. Alexandre Lévy injects it with resonant and fluid music, based on appearances of beats and harmonics. Captures of resonant percussion instruments and feedback synthesis will serve as the main material to create a poetic musical universe, which proposes to hear differently the universe around us.It is these two universes (cycles of vibration and resonance) that will be brought together during the performances with percussionist Laurence Chave, who will use resonant 

VIBRATION FOREST at the Parc Floral in Paris, 09/06/2020

instruments captured and transformed in the installation and who will play directly on the structures. 

A vibratory ecosystem

We propose to create a vibratory ecosystem revealing mechano-sensitive vibrations usually inaudible. These objects will be perceived as living contact points of a vibratory life revealed to us. The device will be open to listening to its sound evironment and based on cycles of appearence of vibrations. As the audience moves through the installation, they will perceive an autonomous cyclic vibratory universe. As soon as they approach the structures, the public will enter the tactile dimension of the project. By going through Sophie Lecomte’s interactive drawings, they will be able to feel the vibrations and interact with them. It is during this close interaction that a musical universe will appear, like a score that the public will make evolve. 

Model Vibrations - Show of the artistic residence at the Ferme du Buisson, Noisiel - 19/09

dessin sophie 3 web.jpg
dessin sophie web.jpg

The graphic world of Sophie Lecomte

Between sweetness and cruelty, Sophie Lecomte elaborates a poetics of hybridization. Her works show the links that unite us to the three animal, vegetal and mineral kingdoms, whose memory, if we linger, still beat. A kind of personal natural history that develops through analogies and resonances, sometimes including in its nets, tales, metamophoses and myths, as so many bridges to the singular and collective past. Theses strange assemblages echo the fascinating logic of curiosity cabinets.

sophie vibrations web.jpg

How the system works

The networked installation

Being an autonomous ecosystem, the installation will have its own sound life based on the injection of sound vibrations modeled on cycles of plants and original compositions. Each sculpture is equipped with a vibration loudspeaker and a contact microphone. Each sculpture will « listen » to its environment and will be networked with the whole installation, forming a great feedback. This moving and unpredictable synthetic sound material is excited by the cycles of organic vibrations, to which each one responds « naturally ». The feedback effect is punctuated by independent sensitivity cycles with moments of relative calm and climax. The music is injected at the climax, as a sensitive revelation of this vibratory world. The public will be able to interact with this music and the sound material by touching the installation.

Taking up the model of living eco-system that has no center and where all the elements are connected to a sensitive whole, Vibrations Forest permanently « listens » to the surrounding environment.

As soon as a contact between a sculpture and a person is detected, the installation goes into « micro interactivity » mode. The structure then « follows » the physical contact of the person who acts as a sensitive magnifying glass of the sound life of the whole installation.

Programming of the sound material on the FAUST software : Yann Orlarey, GRAME (CNCM)

Microphone interactivity

Each interactive drawing reacts in relation to the global installation that surrounds it and takes up in micro the principle of sensitive nerve centers linked to a whole. The interractive score will be based on thresholds that the audience will reach with their hands, fingers, face etc. thanks to the two networks of conductive paint, connected to two different capacitive sensors. These thresholds will act as sound modulators and will also modulate the amount of music injected in this sound matter. Thus the more the public is active on the structure, the more music and sound material it injects. All this interactive score is echoed in the other structure, which respond to it as an echo. 

How VIBRATIONS FOREST is distributed

VIBRATIONS FOREST is a project designed for both indoor and outdoor use.

The installation can be laid on the ground with a metal stand, or suspended. The installation can remain in the same place for several months as it were a single day.

Vibrations Forest is divided in two parts : a performance time with two musicians (a percussionist and a musician with treatments and keyboards) and an installation time.

The performance last about 30 minutes and are played at several times during the day (maximum 3 sets during the day).

The performances are performed directly in the installation, both indoors and outdoors.

The sound is diffused either in the installation using the sound sculptures, or with a classical diffusion device, or both.

The audience is invited to listen to the musical performances and then to browse through the installation, which will allow them to discover what they have just heard in a different way.

The installation can then remain in a longer diffusion time so that other audiences can discover the installation in an autonomous way, getting closer to the use of a plastic and interactive installation.

The installation will consist of 8 interactive sculptures that will be deployed according to the place and the space of reception. Two systems of fixation on the ground will be proposed according to the nature of the ground.

The assembly time will be a maximum of one day, the dismantling will be a maximum of half a day. A control room is requested for the musicians. The installation is autonomous unless it requires lighting for indoor or night-time broadcasting. Persons present for the broadcast : a stage manager and two musicians.

Music and design : Alexandre Lévy

Artistic direction : Alexandre Lévy

Plastic Design : Sophie Lecomte

Percussions : Laurence Chave

Computing: Max Bruckert

Programming for sound material / FAUST software : Yann Orlarey

Digital processing of images and sculptures : Tiffanie Attali

Stage Manager : David Thomas

Construction : Vincent Lafôret

Production : Florence Pégourié

Co-production : Cie aKousthéa, with 9-9bis le Métaphone – Oignies, le GRAME – Centre National de Création Musicale in Lyon, La Muse en Circuit – Centre National de Création Musicale of Paris, La Ferme du Buisson –National Theater of Marne-la-Vallée, Scène Nationale d’Orléans, the Abbey of Noirlac (Cher), the Détours de Babel (Festival), the Cube (Centre de Création Numérique – Issy-les-Moulineaux), and CIDMA – resource center for today’s music.


With the support of the Ministry of Culture – DRAC Centre Val-de-Loire, the Departmental council of Seine et Marne, the City of Tournan en Brie, Malakoff-Médérik-Humanis, and the ADAMI.