Audiostereoscopy: New directions in 3D audiovisual composition 
by Maxime Corbeil-Perron

This paper aims to present new directions in audiovisual composition, live audiovisual performance and installation through the hybridization of stereoscopic video (commonly known as 3D cinema) and electroacoustics. Michel Chion described synchresis in 1998 as a “soudure irrésistible et spontanée qui se produit entre un phénomène sonore et un phénomène visuel ponctuel lorsque ceux-ci tombent en même temps.” Stereoscopy finds many other correlates in EA as both mediums have a strong focus on the notions of texture, relief and dynamics. While space has been an important aspect of electroacoustic research in recent years, stereoscopy, and the possible connections between sound and perceived visual space has not really been exploited, as Harold A. Layer wrote in 1971: Both sound and visual artists have explored the expressive potential of this sound and light spectrum — and even beyond to sub-sonic and ultrasonic sounds, infrared and ultraviolet light — but, unlike the sound artist, the visual artist has ignored the composite cortex image derived from the binocular images of the world that he always sees. He is working today almost completely within the limitations of planar photography and painting, media whose display is no more revealing to humans than it is to a species of cyclopes. Through a series of examples I present different aspects of my past research and artistic creations in stereoscopic audiovisual composition and performance.

Maxime Corbeil-Perron is an award-winning composer and moving-image artist whose work has been noticed by many international competitions and events. His work has been qualified as “pushing the boundaries of abstraction” (Silence and Sound) and “defies any explanation and labeling” (La Folia, UK). He graduated with highest honours from the Conservatoire de Musique de Montréal, where he studied electroacoustic composition. He started a doctoral degree at the Université de Montréal in fall of 2015. His work has been supported by the CCA and the CALQ.