CONTACT–> patricksaintdenis88 [at] gmail.com


Patrick Saint-Denis conceives interactive installations designed primarily for concert settings. His audio-sensitive inventions take on various forms, ranging from video installation to large-scale robotized machinery. His performances integrate various musical formations which sonically drive the installations. At the edges of the concert format and digital art, his works are also shown in exhibitions. He is currently course lecturer at University of Montreal where he teaches Visual Music and Physical Computing.

Patrick Saint-Denis conçoit des installations interactives conçues premièrement pour le concert. Ses inventions audio-réactives prennent des formes pouvant s’échelonner de l’installation vidéo au dispositif robotisé à grande échelle. Ses performances font appel à différentes formations musicales afin de piloter par le son ses installations. Situées aux frontières du concert et de l’art numérique, ses œuvres font aussi l’objet d’expositions. Il est chargé de cours à l’Université de Montréal depuis 2010 où il enseigne la musique visuelle et la lutherie numérique.

Crea instalaciones interactivas diseñadas principalmente como parte del set para sus conciertos. Sus invenciones audio-sensibles toman formas diversas, desde instalaciones audiovisuales a maquinaria robótica a gran escala. Sus performances integran varias formaciones musicales que conducen las instalaciones. En el fondo sus conciertos y piezas digitales, son también objetos expositivos. Patrick Saint-Denis en la actualidad es profesor en la Universidad de Montreal, donde enseña Música Visual e Informática Física.


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.