受Boris Vian的Écume des jours的启发，《Pianocktail》是一个生动而有趣的作品，将音符和音乐带到可见的世界。它是声波和移动光子之间的相遇。
所有在钢琴上演奏的和弦都通过投射的光和像素产生共振，具有自己的特定身份。钢琴家通过每个琴键分享的能量转化为飞扬的轻尘。
自由飘浮后，产生的音乐流在接触壁画机时凝结。它最终到达了最后的信仰飞跃，进入了中央的玻璃器皿，收集了之前播放的所有旋律。一个特殊的和谐时刻凝固在一个独特的画面中，被带走。
演出地址
2020/2021，艺术之旅，蒙特利尔岛
2020年9月，文化荟萃，线上演出
2019年3月，加拿大多伦多
2018年10月至2019年1月，MAPP MTL, Galerie Never Apart，蒙特利尔，加拿大
故事
象棋、烹饪和钢琴都有一个非常具体的方面:一个非常基本的界面能够产生无限的复杂性和微妙的物质。2018年，我在音乐与和谐的探索之路上走得更远。通过学习钢琴，也通过重温我最喜欢的童年书之一:《白日梦的泡沫》。
-你想喝点什么吗?科林问道。我的钢琴鸡尾酒做好了，你可以尝尝。
-管用吗?小鸡问道。
——完美。我在清除所有的bug时遇到了麻烦，但结果超出了我的预期。我得到了一个真正惊人的混合黑色和棕色幻想。
-你是怎么做到的?小鸡问道。
“每一个音符，”科林说，“我都配上了烈酒、利口酒或调味品。”大声的踏板对应于搅打的鸡蛋，而轻的踏板对应于冰。对于苏打水，你需要在上音域做颤音。数量与音长成正比:64音等于16声部，四分音符等于1声部，全音等于4声部。当演奏慢节奏的曲子时，调平系统就会开始工作，这样就不会增加酒的数量，而只会增加酒的酒精含量。而且，根据曲调的长度，部分的价可以改变，例如减少到百分之一，通过横向调节器得到一种考虑到所有和声的饮料。
-这太复杂了，奇克说。
-一切都由电触点和继电器控制;我不会告诉你细节的，你知道的。而且，更重要的是，钢琴真的很管用。
-太棒了!小鸡说。
“只有一个问题，”科林说。打蛋的踏板响了。我必须加入一个特殊的联锁部件系统，因为当你演奏太“热”的曲调时，蛋卷碎片会掉到鸡尾酒中，很难吞咽。我来修改一下。现在，你只需要小心点。酸奶油的G值很低。
“我要给自己拍一部《无爱的爱情》，”奇克说。会很棒的。
“它还在我改造成工作间的杂物室里，”科林说，“因为保护板没有拧进去。”来吧，我们走。我先调两杯20厘升左右的鸡尾酒。
小鸡在钢琴旁坐下。在这首曲子结束时，随着掌声，前面板的一部分打开了，一排玻璃杯出现了。其中两个装满了开胃的混合物。
-你吓到我了，科林说。有一次你说错了。幸运的是，它很和谐。
-这就是和谐的原因?小鸡说。
“不总是这样。”科林说。那就太复杂了。只有几个限制条件。喝了就来吃。»
鲍里斯·维安(Boris Vian)在钢琴上使用的天真而又充满诗意的方法让我想要将音频和视觉成分混合在一起。
设计的中心思想是将钢琴上黑白投影的简单性与有机粒子遵循称为“杂音”(行为聚集)的生物规则的复杂性和复杂性结合起来。
就像几年前在爱尔兰记录的自然现象一样，每个粒子都遵循一套简单的规则，并对其直接邻居的行为做出反应。另一方面，可以根据音乐的能量绘制和演变力场和电流，以引导能量流动。
然后，这台机器会产生连锁反应，与我们的音乐情感背后的大脑化学反应相呼应:自由、不可控、难以合理化。起初我想在实验室的玻璃器皿上进行投影，但光线角度和结果都不够令人满意。
这次失败让我想到了一件作品，它让我想起了“好奇之柜”，一旦音符被吞下，它就会永远做出反应并移动。
在钢琴家的眼前，流动的隐喻重新浮现。一个羞涩的小玻璃在一滴光线中捕捉到钢琴上演奏的所有和弦和编曲。
Inspired by Boris Vian's Écume des jours, the Pianocktail is a living and playful piece that brings notes and music to the visible world. It’s the encounter between soundwaves and moving photons.
All chords played on the piano resonate through projected light and pixels with their own specific identity. The energy shared by the pianist through every key is converted to flying light dust.
After floating freely, the generated musical flow condensates when touching the mural-machine. It eventually reaches its final leap of faith into the central glassware which gathers all the melodies played before. A special moment of harmony frozen in a unique tableau to be taken away.
places
2020/2021, Conseil des Arts tour, Montreal island
septembre 2020, Culture pour tous, Online performance
march 2019, Toronto, Canada
october 2018 - january 2019, MAPP MTL, Galerie Never Apart, Montreal, Canada
story
Chess, cooking and the piano share one very specific aspect: a very basic interface able to generate infinite complexity and subtle substance. In 2018, I stepped further on a discovery path towards music and harmony. By learning the piano, but also by revisiting one of my favourite childhood book: L'Ecume des jours (Froth of the Daydream).
« — Would you like a drink? asked Colin. My pianocktail is finished, you could try it out.
— It works? asked Chick.
— Perfectly. I had trouble getting all the bugs out but the results go beyond my expectations. I got a truly astounding mix out of Black and Tan Fantasy.
— How did you make it work? asked Chick.
— With every note, said Colin, I’ve matched a spirit, liqueur or flavoring. The loud pedal corresponds to whipped egg and the soft pedal to ice. For seltzer water, you need to do a trill in the upper register. The quantities are in direct proportion with the duration: the 64th note equals a 16th part, a quarter note one part and a whole note four parts. When playing a slow tune, a leveling system is put to work so that the quantity is not increased—that would make for too abundant a cocktail—only the alcohol content. And, depending on the length of the tune, the part’s valence can be changed, reducing it for example to one one-hundredth to get a drink that takes into account all of the harmonies by means of a lateral regulator.
— That’s complicated, said Chick.
— Everything is controlled by electrical contacts and relays; I won’t give you the details, you know all that. And besides, what’s more, the piano really works.
— That’s marvelous! said Chick.
— There’s only one problem, said Colin. The loud pedal for the whipped egg. I had to put in a special system of interlocking parts because when you play a tune that’s too "hot," pieces of omelet fall into the cocktail and it’s hard to swallow. I’ll modify that. For the time being, you just need to be careful. For the sour cream, it’s low G.
— I’m going to make myself one on Loveless Love, said Chick. It’ll be great.
— It’s still in the junk room that I turned into a workshop, said Colin, because the protection plates aren’t screwed in. Come on, let’s go. I’ll set it for two cocktails of about twenty centiliters, to start off with.
Chick sat down at the piano. At the end of the tune, part of the front panel opened up with a clap and a row of glasses appeared. Two of them were filled to the rim with an appetizing mixture.
— You scared me, said Colin. At one point you hit a wrong note. Luckily, it was in harmony.
— It accounts for the harmony? said Chick.
— Not all the time, said Colin. That would be too complicated. There are only a few constraints. Drink and come eat. »
The naive and deeply poetic approach used by Boris Vian with the piano made me want to mix audio and visual ingredients together.
The central idea was to combine the simplicity of black and white projection on the piano, with the complexity and sophistication of organic particles following biologic rules called Murmuration (behaviorial flocking).
Like in this natural phenomenon documented in Ireland a few years ago, ech of the particle followz a set of simple rules and reacts to its direct neighbours behaviours. On the other hand, forcefields and currents can be drawn and evolve according to the energy of the music to guide the energy flow.
Then the machine creates chain reactions echoing our very own brain chemistry behind our musical emotions: free, uncontrollable and tough to rationalize. I wanted to project on laboratory glassware at first but the light angles and the result weren't satisfying enough.
This failure led me to a piece that recalls the Cabinet of Curiosities which perpetually responds and moves once the notes are swallowed.
In front of the pianist eyes, the liquid metaphor resurface.A shy and tiny glass captures all the chords and arrangements played on the piano in a drop of light.
