(visual and sonorous composition)
Player: TGV (high-speed train), full country stop.
Long the line, wind is caressing with a little hill, covered with grass and herbs. This gentle playing has something sensual and one almost feels the hill vibrating with emotion. Free from sound, violence in the movement is nowhere to be seen.
Pleased…reluctant, the grass is like bristle on the skin, and wide motions remind the shifting of muscles under a horse’s trembling skin.
In his complex relation between a flux and an especially receptive substance, one meets the expressed richness of tinges that rule group relations. These are kept under flows of information or of power; each blade of grass bends under the caress, and seems, when the wind deepens, to curve besides pressure. A sound supposedly would come out, a sound starting resistant and further painful; then the whole hill would transpose this ambiguous meeting in a whispered concert. This sizable movement, which suggests an earth reaction, where the earth is as a muscled body , would be transposed by another sonorous entity, participating to the dialogue of nature abandoning herself.
As on the surface of water, distorted by the heave and waves, it is a contact area between two elements, which constitute, in other instance, the “skin†of architecture, which expresses the quality of inside/outside relations, resistance to the difference of the natures, possible hostility to exteriority, to the contact attempt.
THE dialogue establishes itself when the substance plays the meeting as a double voice score or double body choreography.
(5 votes, average: 3, 60 out of 5)
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