Between the finite and the infinite, these miror structures are reflecting the outside world until they are set in motion to unveil a moving and infinite interior. Hidden inside are superimposed diagrams reinterpreting certain theories or hypotheses related to our apprehension of the world. Between transcendental geometry, higher dimensions, finite and infinite, these structures arise as objects of reflection on what one understands, what one believes to understand and what one does not understand. The structure is thus refering to the finite physical structure that is encapsulating the infinity of intellectual structures created by the humankind. This first structure is based on the Feynman diagrams which represent the quantum fields.

▬ A laser beam is tracing a waveform on a wall by following the movement of a motorized rotating tuning fork. Usually associated with electronic and digital visualization, the waveform generated in frequencies (a / oscillation) is completely analogue: it shows the direct motion of the tuning fork by using the y axis (amplitude) activated by a solenoid combined by the x axis (time) generated by a step-motor. Thanks to the retinal stain, our perception will enable the visualization of the movement traced the laser. The installation is drawing from the experiments of 19th century physicist Jules Lissajous who first discovered this method for visualizing sound. ▬ • Art direction: Nicolas Bernier • Fabrication: Robocut • Production: Nicolas Bernier ▬ Camera : Simon Chioini, Joséphine Rivard

▬ Seven electromagnetically driven tuning forks generating continuous acoustic drones by help of a custom keyboard/controller turning each frequencies on and off. The project is a poeticized take on the technical device invented in the late 19th century by physicist Hermann von Helmholtz (1821-1894) who created what can be seen as the very first synthesizer. Combining sound and slow light pulsation patterns, this « acoustic additive synthesizer » is creating a contemplative and intimate experience. ▬ • Art direction: Nicolas Bernier • Fabrication: Robocut • Technical assistant: Jean Philippe Pierre Louis • Production: Nicolas Bernier

▬ On a table is an old oscillator connected to a speaker and a 480 Hz tuning fork. The oscillator frequency is stable at 476 hz. When the tuning fork is aleatorically struck by the solenoid, a beating pattern appears. We then hear the friction between the two oscillations, the friction between the electronic and the acoustic, the friction between different periods of the history of sonic research. This humble piece is an homage to two people I admire : sound artist Alvin Lucier (1931-) who worked extensively with oscillators and physicist Hermann von Helmholtz (1821-1884) who used the tuning forks for sound analysis and who was among the first to theorize on the beating patterns between frequencies.

▬ Audio piece based on sounds from the scientific archives of Rennes 1 University in France. To be listen with connecting headphones through a unique edition of a white lightbox displaying a tuning fork recalling the sounds used in the composition. ▬ Thanks to Caroline Traube (UdeM) for the tuning fork.

▬ frequencies (a) is a sound performance/installation combining the sound of mechanically triggered tuning forks with pure digital soundwaves. The performer is triggering sequences from the computer, activating solenoids that hits the tuning forks with high precision. Streams of light burst in synchronicity with the forks, creating a not-quite-minimal sound and light composition. ▬ • nicolas bernier: audiovisual composition, concept, performance, programmation, technical design and some electronics • olivier lefebvre: techical design • laurent loison: fabrication ▬ nicolasbernier.com