©Lawrence Fafard
H.B. : Who are you / how do you define yourself?
M.F. : I am a Franco-Canadian composer and sound artist, working between spatialized acousmatic music and immersive sound installations. My work explores the ability of sound and music to raise awareness of certain political issues, while forging a deep connection between the external environment and our inner world.
H.B. : How did this project come about / what path did you follow for its creation?
M.F. : The piece Le chant de la machine was born from a battle between my computer and me, as well as an exploration of the finite or infinite boundaries of technology. It all began with a recording of a few seconds of digital silence (I simply pressed ‘Record’ with no input connected, then walked away to look out the window). When I returned, the silence had been captured. By pushing audio tools to the extreme, maxing out the samplers and plugins, and using digital audio tools in unconventional ways, a sound eventually emerged, like a voice rising from the depths of the machine.
H.B. : What does the creation of an acousmatic piece represent for you today?
M.F. : Acousmatic creation represents a suspended moment outside of the temporality imposed by modern society, whether from the point of view of production or from that of listening. Composing acousmatic music is about taking time, exploring, getting lost, and offering the exact same thing to the brave people who dare to listen. It is also a nihilistic, anti-capitalist experience, somewhat unconscious, but terribly exciting.
H.B. : What are your next projects?
M.F. : My main project is to continue my doctorate, which focuses on the manifestations of space in all its forms in acousmatic and experimental music. Therefore, I compose a lot of music and read a lot on the subject, which is fascinating, although sometimes overwhelming !