HYPERTEMPS

HYPERTEMPS is a hybrid sound creation, designed as both an immersive installation and a stage performance. Through a device articulated around twelve sound tubes, the piece offers a listening experience where materials, rhythms, and gestures intersect in a dramaturgy of slowing down.

The project questions our contemporary relationship with time, marked by speed, fragmentation, and ultra-connectivity. HYPERTEMPS opens up a space of resistance, inviting us to reconnect with broader, slower, more organic temporalities.

The sound creation is based on the theory of chonosophy* and on three of the five regimes of time: HYPERTEMPS – the frenetic, digitized time of our contemporary societies; DESTINY – natural time, that of the seasons and the rotation of the stars within the solar system; and OCCASION – A time outside of time, which encompasses the other regimes and questions their interactions.

The audience, at the heart of the installation, is immersed in a circle of suspended sound tubes. Three percussionists and loudspeakers broadcast intertwined rhythmic flows, creating a hypnotic trance. The twelve tubes gradually come to life, evolving towards a cyclical and minimal temporality. The scenography creates a tension between mechanical rhythms, organic pulsations, and silences, inviting deep, almost ritualistic listening.

The piece brings together Clément Edouard (composition & electronics), Amélie Grould, Emmanuel Scarpa, and Léo Dumont (all three on percussion). The mechanical device is by Nicolas Canot, and the lighting design is by Guillaume Cousin.

* Knowledge of the sequence of events and their inevitability, which tends to transcend the present towards the future of humankind, peoples, and the universe.