3 April 2024

16:15 – 17:00

Amphi 4

Louise Boisclair

Researcher, lecturer, essayist, painter and poet Louise Boisclair holds an interdisciplinary doctorate in semiotic studies (UQAM). The transformative approach she has developed theorizes the experiential in immersive, interactive, traumatic, sound and ecospheric art. It has resulted in five essays (PUQ, 2015 and L’Harmattan, 2019-20-21-24) whose innovative proposals feed into an article-legs to be published in the Cambridge Journal of Law, Politics and Arts 2024. His development of the term “Expériencier” appears in Les mots de demain, un dictionnaire des nouveaux combats, Atlande 2024. Recipient of several awards (MAGG) and grants, in addition to countless articles on art and her self-published textimages notebooks, she has delivered several international conferences in France, England, Quebec, Canada and the United States. Her recent essay, Art écosphérique : de l’anthropocène… au symbiocène (Ecospheric Art: from the Anthropocene to the Symbiocene), is a cry from the heart about the disturbing state of the planet, while La langue des sons, notes et dessins, œuvres 1 à 22 (The Language of Sounds, Notes and Drawings, Works 1 to 22) reveals vibrant listening through resonant writing. An adventurer of the sensitive, she is developing a pictorial and scriptural language, interwoven and liberating, under the signature LouB, whose works she regularly exhibits. In addition to her drawings, her Énergética series features paintings driven by energy, depth and gesture. Since 1985, she has been practicing tai chi, which she taught for some fifteen years. Based in Montreal (Quebec), she is an artist-researcher associated with VÆNTRAL – a creative ecosystem.

Without energy, what would become of the language of sound?

Omnipresent in microcosm and macrocosm, e n e r g y is invisible. Yet it’s there. It reveals itself through its imprints, movements and results. Our very recent listening diary La langue des sons, notes et dessins, œuvres 1 à 22 (L’Harmattan, coll. “Mouvements des savoirs” 2024), among other things, sets out possible answers to the following questions: “Énergie ou énergies?” and “À quel type d’énergie sommes-nous branché.e.s?”. As nothing would happen on Earth without an immeasurable variety of energies, the language of sound could not exist either. In sound creation – installation, new music and acousmatics – mediated energy co-produces, propels and transmits multiple frequencies in countless ways. How else can we account for them than by analyzing their combination on a timeline using software? In our book, which combines essay, research, literary and visual creation, we use every possible means to embody the vibratory forces that run through sound listening. From experiential narrative to poetic formulation. From griffins to mandalas. Like the bow that produces a geometric imprint on the copper plate, the vibrant listening of 22 selected works inspires resonant writing, in images and words.