nicolas bernier
Selected performances and installations
Soundtracks: music for dance, theatre, film and visual arts
Collaborative projects
Parallèle (299 792 458 ms) 
atmospheric installation, 2017
• Sound, light, scenography and art direction: Nicolas Bernier
• Technical assistance: Jean Philippe Pierre Louis, Daïmôn
• Production: Daïmôn, Nicolas Bernier

A clock tower of a former train station filled with smoke drifts and coloured lights is synced with a generative sci-fi inspired soundtrack. When the night takes over, this irregular object gradually appear within the urban landscape, acting as a metaphor of the surnatural, of parallel dimensions within our world. In a constant gaseous state, the object is unaccessible to anybody, but yet, its presence is strong. Somewhere between the sea of Solaris, the monolith of «2001» or Stranger Things' castle Byers, the self-generative audiovisual composition creates contrasting presence that seems to have its own life, opening a new perspective within the urban landscape. In situ: Hull, Québec.

Thanks to Raphaël Néron Baribeau for the invitation and to the lovely staff at La petite G'ART and Daïmôn for their generosity.
structures infinies ( ) 
light object, 2017
• Art direction and design: Nicolas Bernier
• Fabrication: Robocut
• Production: Nicolas Bernier

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.
frequencies (a / oscillation) 
Sound and light experiment, 2016
• Art direction and design: Nicolas Bernier
• Fabrication: Robocut
• Production: Nicolas Bernier

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 to visualize the movement, the waveform, traced the laser. The installation is drawing from the experiments of 19th century physicist Jules Lissajous who first discovered this method for visualizing sound.
frequencies (a / continuum) 
Sound and light instrument, 2016
• Art direction and design: Nicolas Bernier
• Fabrication: Robocut
• Technical assistant: Jean Philippe Pierre Louis
• Production: Nicolas Bernier

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 of 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 with slow light pulsation patterns, this acoustic additive synthesizer is creating a contemplative and intimate experience.
frequencies (a / friction) 
Sound and light experiment, 2015
• Art direction and design: 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. _

• Permanent collection, Espace multimédia Gantner, Territoire de Belfort / FR

Merci à Caroline Traube pour le diapason.
frequencies (a / archives) 
Sound and light object, 2014
• Art direction, sound composition and design: Nicolas Bernier
• Vox: Dominique Bernard
• Fabrication: Robocut
• Co-production: Electroni[k], Nicolas Bernier

Composition based on sounds from the scientific archives of Rennes 1 University (France), an impressive collection of antique scientific apparatus that includes one of the few remaining « Grand diapason » built by Rudolph Koenig circa 1880. This Grand diapason, resonating between 32 to 48 hertz, can (barely) be heard in the composition, among other sounds from the archives, mainly tuning forks. The piece could metaphorically be seen as a sonic bridge between past and present, as a lullaby in memory of those scientists, inventors and objects to whom we owe the history of sonic research.

The piece is meant for an intimate listening through a unique edition of a lightbox displaying a tuning fork recalling the sounds used in the composition.
Thanks to Caroline Traube (UdeM) for the tuning fork.
frequencies (light quanta) 
Sound and light installation, 2014
• Art direction, visual design, sound, audiovisual programming: Nicolas Bernier
• Technical direction and fabrication: Robocut
• Financial support: Conseil des arts et de lettres Qu&eacutebec
• Co-production: LABoral (ES), Perte de Signal (CA), Maison des Arts de Créteil (FR), Nicolas Bernier (CA)

100 aleatoric sound and light fragments generating tridimensional patterns by superimposing 100 transparent laser cut acrylic panels. Taking the quantum —the smallest measurable value of energy— as his conceptual basis, the whole explore the metaphorical relationships between basic quantum physics principles applied to the audiovisual creative process: particles, probabilities, wave/particle duality and discontinuity. Structured around these notions, the audio-visual composition stems from 100 sound and light fragments that develop themselves organically, generating an ever expending but yet disruptive form in time and space.

frequencies (synthetic variations) 
Sound and light performance/installation, 2013
• Art direction, audiovisual composition and technical design : Nicolas Bernier
• Production : Nicolas Bernier

Audiovisual variations establishing dialogues between three artificial matters : synthetic sound, synthetic light and synthetic materials. The piece is made out of a series of sequences that are organized and unorganized in real-time, disruptively articulating the dicourse. In a synesthetic way, sound and light are bursting within acrylic structures, bringing a sense of extreme precision where one can either hear the light or see the sound.
CD published by Entr'acte

• FETA Prize in Sound Art 2014 / US
Realized in 2012/2013 in residency at Daïmõn. Aknowledgements: Daïmõn, Entr'acte, Mutek, Perte de signal, University of huddersfield, Fonds québécois de la recherche sur la société et la culture (fqrsc), Pierre alexandre tremblay.
frequencies (a) 
Sound and light performance, 2012
• Art direction, audiovisual composition, performance, programmation, technical design and some electronics : Nicolas Bernier
• Techical design : Olivier Lefebvre
• Fabrication : Laurent Loison
• Production : Nicolas Bernier

Sound performance combining the sound of mechanically triggered tuning forks with pure digital soundwaves. The performer is triggering sequences from the computer, activating solenoides 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.

• Golden Nica, Prix Ars Electronica 2013 / AT
Realized between january 2011 and september 2012. Aknowledgements: Perte de signal, University of huddersfield, Fonds québécois de la recherche sur la société et la culture (fqrsc), François Laflamme, Martin Messier, Samuel St-Aubin, Pierre Alexandre Tremblay. Thanks to the Canada Council for the Art for their support of the "projet diapason".
L'usure du clocher 
Sound sculpture, 2011
• Art direction and sound composition : Nicolas Bernier
• Technical direction : Francis Laporte
• Curator : Érick d'Orion
• Production : Nicolas Bernier

7 foot high aluminum structure holds three moving horn speakers. The motion of the speakers is a mechanical sway driven by motors. In this sound projection sculpture, the downward facing speakers evoke the church bells that produced the main sound material used for the audio composition. Nowadays — at least in north america, a belfry that wears out is a belfry that disappears, as an increasing number of them are replaced by electronic belfries.
Realized between november 2010 and april 2011 in the composers personal studio. Thanks to FIMAV, Érick d'Orion, Alexandre Landry, Laurier Gardner, François Laflamme, Francis Laporte, Pierre Alexandre Tremblay and Perte de signal and fonds québécois de la recherche sur la société et la culture (fqrsc) .
Sound performance w/live electronics and intonarumori, 2008 (15')
• Art direction, composition and performance : Nicolas Bernier
• Intonarumori : Alexandre Landry
• Curator : Érick d'Orion, Mois Multi
• Production : Nicolas Bernier

At the beginning of the 20th century, when Italian futurist Luigi Russolo began to include “noise” in musical composition, he created new musical instrument into boxes. These boxes called intonarumoris concealed mysterious mechanisms reminding today's black boxes used in electronic music : the computer. The box used in this performance is opened. The mechanisms are revealed, allowing a better understanding of the music created through the instrument.
Realized between june 2008 and September 2008 in the personal studio of the composer.

CD available at
Les arbres 
Music for live electronics and acoustic instruments instruments, 2008 (40')
• Art direction, sound composition and performance : Nicolas Bernier
• Visual : urban9
• Production : Nicolas Bernier
• Financial support : CAC

Soundscapes and slow, woven textures accompany precise articulations, all entwined in a minimalist orchestration of guitars, brass instruments, vibraphones, accordions and strings. Since I began working in electroacoustic music, I have tried to bring together digitally processed sound textures and traditional instruments. They include the complex tones and sophisticated treatment of materials from acousmatic music merged with the simple melodies often encountered in pop music.

• Mention, Prix Ars Electronica, 2009 / AT
 • CD of the year, Prix Opus, 2010 / CA

Realized between 2004 and 2009 in the composer’s personal studio. Thanks to urban9, No Type and Mutek.