My current work mainly focuses on renewing the discursive possibilities of digital audio music. In a time where sound creation is marked by a fascination with new media, research on the notions of discourse seems to me more necessary than ever. My “sound architectures” question the grammar of sonic organization and the elements constituting the possible discourse of the audible. They seek to further explore new rhetoric through conceptual media interdisciplinarities between audiovisuals (cinema), literature (Nouveau roman, Oulipo, rhetorics), art (visual arts, architecture), and science (morphogenesis, natural models, theories of self-organization, systemics, human and communication sciences, cognitive sciences and perception, artificial intelligence). To this end, in 2012 I submitted a doctoral thesis — Du langage cinématographique à la musique acousmatique: écritures et structures (From cinematic language to acousmatic music: writing and structures) — on the possible relationships between cinematic grammar and digital audio music.
Over the years, I have been the winner or finalist of 12 international competitions, and my works have been presented at more than 75 international events.
I also teach electroacoustic composition, and sound typology and morphology at Université de Montréal and auditory perception, composition, and analysis of electroacoustic music at the Conservatoire de musique de Montréal.
[English translation: François Couture, iii-21]