ACOUSMONIUM by TELEKINETT / MAURICIO REYES

Acousmonium takes its name from the Acousmonium sound diffusion system designed in 1974 by François Bayle and used by the Groupe de Recherches Musicales at the Maison de Radio France. It consisted of 80 loudspeakers of different sizes and shapes designed for tape
playback. The Acousmonium was defined by its originators as a
"listening and penetrable ‘projection area,’ arranged with a view with the immersion in sound, and spatialized polyphony, which is
articulated and directed.”

Cycom created a “frequencies” orchestra rather than using
loudspeakers. Cycom has devised creative ways of spatializing sound; that is, making the music sound as though it is moving in space. This was accomplished by changing the assignment of the audio signals. Typically this sound travels from one loudspeaker to another.

Jérôme Peignot and Pierre Schaeffer were the first to use the term Acousmatic to define the listening experience of Musique concrète or Concrete Music. Schaeffer proposed that the Acousmatic listening
experience was one that reduced sounds to the field of hearing alone.
However, the Acousmatic listening experience expands to other senses, it affects perception and triggers an emotional response. Charles Baudelaire suggested that all of our senses respond to various stimuli, that the senses are connected to a deeper aesthetic level. Wassily Kandinsky suggested that color “resounds in the soul.”



Acousmonium is dedicated to all those who believe in me, to all my fans, and to the loving memory of Mr. Gianguido Carrara.

Mauricio Reyes is a futurist, composer and audio researcher focused on experimental, electronic, and electroacoustic practices.

Founder of Telekinett Records (2004–2008), a label dedicated to atonal and exploratory sound, he investigates signal behavior, noise systems, and spatial perception through granular synthesis, tape manipulation, spectral analysis, and circuit experimentation.