CONTACT–> patricksaintdenis88 [at] gmail.com
Creative technologist working in sound art and interactive scenography. Works range from video installation to large scale robotized machinery. Laptop performer and software artist. Works showcased in concert, exhibition and dance format. Course lecturer of audiovisual composition and physical computing at University of Montreal since 2010.
Artiste numérique travaillant principalement en art sonore et scénographie interactive. Oeuvres vont de l’installation vidéo à la machinerie robotisée à grande échelle. Laptop performer et artiste logiciel. Oeuvres présentées en concerts, expositions et en danse. Chargé de cours en composition audiovisuelle et informatique physique à l’Université de Montréal depuis 2010.
I think that nobody has direct access to sound, and that therefore everything is an interface. A score, a musical instrument, a software or a programming language is an interface that imposes a singular vision – often aesthetically or at least conceptually driven – on a creative output. Performative technology, which is central to my practice, enables me to create my own interfaces (software, DMI, mechanical, etc) and develop a personal relationship to machinery. My recent research in this area focuses on developing software and hardware to create electromechanical interfaces for sound composition. Often presented in arrays of simple robotic articulations, the machines I create possess physical specificities that shape interactions on stage and influence the work as a whole. I consider that sound composition is embedded in every step of development, from machine design to coding and performing.
The concept behind musique concrete’s deep listening conditions the symbolic resonance of my works. It sheds a light on the visual and physical aspects of my work that is rooted in the very nature of sound. Deep listening is translated from “reduced listening” (écoute réduite) in French, meaning that the object of one’s attention is reduced or focused on the formal aspect of a sound, leaving its narrative qualities aside. I often use the expression reduced vision (regard réduit) to qualify my approach to image or physical movement. As if there was an apparent similarity between the perception of abstraction in general as a composite of movements, shapes and colors and the perception of “meaning” in music. Engaged in play on meaning itself rather than conceptual art, I use elements that can orient reception, but my work isn’t centred on message; I open the door to certain types of reading, while inviting the viewer to abandon the necessity to render meaning.