{"id":1421,"date":"2012-11-22T23:07:07","date_gmt":"2012-11-22T22:07:07","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=1421"},"modified":"2022-11-01T13:35:01","modified_gmt":"2022-11-01T12:35:01","slug":"lignes-et-points-de-piotr-kamler-1966","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/lignes-et-points-de-piotr-kamler-1966\/","title":{"rendered":"LIGNES ET POINTS de Piotr Kamler (1966)"},"content":{"rendered":"

The text and video excerpt below document the book by Philippe Langlois, Les cloches d\u2019Atlantis, Musique \u00e9lectroacoustique et cin\u00e9ma, Arch\u00e9ologie et histoire d\u2019un art sonore,<\/em> <\/a>\u00e9ditions mf, Paris, 2012.<\/p>\n

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In making Lignes et points (1961), an attempt at the parallel creation of sound and image, Piotr Kamler extends his collaboration with a new young composer, Fran\u00e7ois Bayle, on a totally abstract film. Piotr Kamler and Fran\u00e7ois Bayle choose a prior material: violent patches of light, continuous lines, sound means. Having thus defined their visual and sonic means, they jointly establish a breakdown in which sounds and images are considered as parallel elements. The result plunges us into an imaginary universe, a sidereal infinity peopled with strange sounds, where luminous forms, lunar patches and swarms of dots, sometimes crossed by immaterial lines, emerge and evolve with movements that are now slow, now jerky.<\/p>\n

The film gives the visual sensation of sonic impacts, of blurred patches, of car headlights in a tunnel on a foggy night, of very fleeting and dynamic flashes, of directed gusts, approaching, receding, of tunnel effects, of voids, of disappearances and sudden explosive entrances.
The sounds, percussion and resonances seem to be modelled on the very theme of Lignes et points: impulses as points, resonances as lines. If the music is autonomous and seems not to obey the image, the synchronisation then occurs almost by chance and at random, in a poetic encounter of image and sound.
Lignes et points for acoustic concrete sounds and images is today part of a larger cycle and is integrated into L\u2019exp\u00e9rience acoustique (1966) for four tracks and large screen. It comes just after M\u00e9taphore, created from scratch solely from electronic sources. This experiment, when it is given in concert today, still bears the indelible mark of the Service de la Recherche.
There is another version with another score by Fran\u00e7ois Bayle for instrumental sounds.<\/p>\n\n\n