rémy bocquillon

| echoes_of_stone | resonanz_raum | reae | contact | log |

echoes_of_stone is a sound experiment in (for now) three iterations. Each iteration is singular but still presents similarities with the other ones. They are variations without being reproductions, slight displacements. Through this movement, thought moves as well, allowing for reconfiguration.The experiment is based around the resonating frequencies of a given room and how they deliver another experience of that room.

The first iteration took place during a sound workshop (see resonanz_raum). In a large rectangular room — the basement of my office, now used as a theatre rehearsal space — two speakers played back a selection of frequencies of resonance (as simple sine waves) that were measured beforehand. The participants were invited to experience the room, without much more indications. In a way, the room was being activated through sound. It became something else, an other space, a heterotopia.

The second iteration was performed on September, 14th, 2019 , at the St-Willibrord church of Gravelines, France. If the installation was fairly similar — a set of sine waves blasting in a room — it is itself a new configuration. The measurements did not give the same results, the software had to be tweaked accordingly, and the speakers had to be more powerful. As one could imagine, projecting sound in a church with an important reverberation time does not give the event as in a basement [every band playing for the first time on stage feels the difference: it’s not as easy as in the parents’ house]. But also the actors were not the same. More wood, more stone, more room. More people that were no academics, but members of a community cherishing that place. A new activation. Still, for the time the sound resonated in the church, it became different. The church — quite logically — influenced the sounds, but the sounds themselves changed the church and its experience.

The last iteration to date is another displacement. It is a de-territorialisation of the experiment and thus, of the experience itself. Based on the measurements taken in the church, a series of “compositions” were produced, only using digital tools. From the measurements, impulse response files could be produced, into which sine wave synths could be played at different “positions”. One can thus “hear” how the church sounded in a walk that never existed. It is the re-creation of a room that never was, a mere abstraction activating space.