Martin Bédard | SONIC MATTER

Martin Bédard
Biography	DESCRIPTION Martin Bédard: «To MH and Lili...» The very nature of honey is for me an inspiring natural model, in life and especially in the realization of this work. Honey is the result of a long transformation. Honey, instead of being secreted spontaneously, results from a long process of metamorphoses which begins with quasi-volatile materials (pollen, nectar) that evolve in a continuous densification process to produce a rich, dense texture, up to crystallization. The symbolism of honey is associated with transformation and synthesis. Honey also represents a time of harvest and abundance. Therefore, Honey (Architectures From Silence No. 1) offers a sonic architecture that has the following background: • the transformation and metamorphosis of materials towards densification and transfiguration; • transformation of materials which, through extensive metamorphosis, transcend each material’s initial state; • the work follows a polyphonic journey whose lines are constantly broken where discursivity is propelled by the concepts of parentheses, parentheses within parentheses, disconnects, and mise en abyme, suggesting a slightly puzzling rhizomatic beginning, especially in the first section of the work. However, from statement to statement, an exponential development emerges and propels, in time, the narrative specific to each of the voices presented through multiple previous occurrences. BIOGRAPHY Martin Bédard focuses mainly on deepening and exploring the discursive possibilities of digital audio music. In a time where sound creation is marked by a fascination with new media, research on the notions of discourse seems to him essential. His “sound architectures” question the grammar of sonic organization and the elements constituting the possible discourse of the audible. They seek to further explore new rhetoric through conceptual media interdisciplinarities between audiovisuals (cinema), literature (Nouveau roman, Oulipo, rhetorics), art (visual arts, architecture), and science (morphogenesis, natural models, theories of self-organization, systemics, human andcommunication sciences, cognitive sciences and perception, artificial intelligence). To this end, in 2012 he submitted a doctoral thesis on the possible relationships between cinematic grammar and digital audio music (“Dulangage cinématographique à la musique acousmatique: écritures et structures/From cinematic language to acousmatic music: writing and structures). Over the years, he has been the winner or finalist of 12 international competitions, and his works have been presented at more than 75 international events. Bédard also teaches electroacoustic composition, and sound typology and morphology at Université de Montréal and auditory perception, composition, and analysis of electroacoustic music at the Conservatoire de musique de Montréal.
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Martin Bédard

Biography

DESCRIPTION

Martin Bédard: «To MH and Lili...»

The very nature of honey is for me an inspiring natural model, in life and
especially in the realization of this work. Honey is the result of a long
transformation. Honey, instead of being secreted spontaneously, results
from a long process of metamorphoses which begins with quasi-volatile
materials (pollen, nectar) that evolve in a continuous densification
process to produce a rich, dense texture, up to crystallization. The
symbolism of honey is associated with transformation and synthesis.
Honey also represents a time of harvest and abundance.
Therefore, Honey (Architectures From Silence No. 1) offers a sonic
architecture that has the following background:

• the transformation and metamorphosis of materials towards
densification and transfiguration;
• transformation of materials which, through extensive
metamorphosis, transcend each material’s initial state;
• the work follows a polyphonic journey whose lines are constantly
broken where discursivity is propelled by the concepts of parentheses,
parentheses within parentheses, disconnects, and mise en abyme,
suggesting a slightly puzzling rhizomatic beginning, especially in the
first section of the work. However, from statement to statement, an
exponential development emerges and propels, in time, the narrative
specific to each of the voices presented through multiple previous
occurrences.

BIOGRAPHY

Martin Bédard focuses mainly on deepening and exploring the discursive possibilities of digital audio music. In a time where sound creation is marked by a fascination with new media, research on the notions of discourse seems to him essential. His “sound architectures” question the grammar of sonic organization and the elements constituting the possible discourse of the audible. They seek to further explore new rhetoric through conceptual media interdisciplinarities between audiovisuals (cinema), literature (Nouveau roman, Oulipo, rhetorics), art (visual arts, architecture), and science (morphogenesis, natural models, theories of self-organization, systemics, human andcommunication sciences, cognitive sciences and perception, artificial intelligence). To this end, in 2012 he submitted a doctoral thesis on the possible relationships between cinematic grammar and digital audio music (“Dulangage cinématographique à la musique acousmatique: écritures et structures/From cinematic language to acousmatic music: writing and structures). Over the years, he has been the winner or finalist of 12 international competitions, and his works have been presented at more than 75 international events. Bédard also teaches electroacoustic composition, and sound typology and morphology at Université de Montréal and auditory perception, composition, and analysis of electroacoustic music at the Conservatoire de musique de Montréal.

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