Pali Meursault: StridulationsPali Meursault: StridulationsPali Meursault: StridulationsPali Meursault: Stridulations
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Pali Meursault: Stridulations

Purist, ’clicks & cuts’ reminiscent Designer Electronics

’Pali Meursault is a sound artist, composer and sound designer. His electroacoustic and sound art research takes different shapes: compositions for records, radio works, installations or performances. Environmental sound recording is central in his work, which takes from Musique Concrète and the sonic exploration of soundscapes.

For stridulations, Meursault confronts recorded and performed sounds, composition and improvisation: field- recordings of animal communication (insects, birds and bats recorded in France, Japan and South America over almost ten years) mix and dialog with the ‘sonification’ of fluorescents tubes. Both the environmental sound matter composition and the electromagnetic instrument have evolved with performances between 2014 and 2017. Little by little, new recordings were collected and new electrical and electronic supplies were added to the setup. The record is altogether the outcome of that process and a different take on the project, leaving the synesthetics of the flickering lights but embracing the deepness of ‘blind’ listening.’

Pali Meursault: Stridulations

Pali Meursault: Stridulations

Purist, ’clicks & cuts’ reminiscent Designer Electronics

Pour chaque solution il y a un problème18:15AIFF € 2.50MP3 € 1.75
Les apparitions ne font rien à part être18:11AIFF € 2.50MP3 € 1.75

’Pali Meursault is a sound artist, composer and sound designer. His electroacoustic and sound art research takes different shapes: compositions for records, radio works, installations or performances. Environmental sound recording is central in his work, which takes from Musique Concrète and the sonic exploration of soundscapes.

For stridulations, Meursault confronts recorded and performed sounds, composition and improvisation: field- recordings of animal communication (insects, birds and bats recorded in France, Japan and South America over almost ten years) mix and dialog with the ‘sonification’ of fluorescents tubes. Both the environmental sound matter composition and the electromagnetic instrument have evolved with performances between 2014 and 2017. Little by little, new recordings were collected and new electrical and electronic supplies were added to the setup. The record is altogether the outcome of that process and a different take on the project, leaving the synesthetics of the flickering lights but embracing the deepness of ‘blind’ listening.’