Jarre’s purposeful divergence from his standard sonic reference points in Oxymore demonstrates a focus to build and create a self-contained “sound universe”. using new methods such as granular synthesis and Dolby Atmos, Jarre aims to create a contemporary auditory experience that breaks down conventional barriers by pulling influence from French electro-acoustic music. From my perspective – Jarre creates a space with the use of technology in tandem, using both his identity and technology to produce environments. His research of 360-degree sound is a unique endeavour, free of preconceived assumptions and external influences, resulting in an original auditory perspective.
Furthermore, Jarre’s description of the composer’s position in the artistic process emphasises the dynamic relationship between individual innovation and communal expression. While accepting the inherent subjectivity of creative interpretation, Jarre believes that personal identity permeates every aspect of artistic creation, shaping the uniqueness of each piece. This is very similar to the quote:
•“It occurred to me that we always bring our identities and our experiences of “where we come from” to bear in the places where we meet. Later, I would think of place as this dynamic network of situated identities”
•Ouzounian, G. (2008). Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958. [online] University of California, San Diego. Available at: https://www.academia.edu/7166588/Sound_Art_and_Spatial_Practices_Situating_Sound_Installation_Art_Since_1958 [Accessed 7 May 2024].
Jarre believes the environments he creates impose his own self-identity whether he wants to or not. the emphasis on the fusion of sounds within a three-dimensional space illuminates the transformative potential of spatialization in music. By manipulating textures and evolving soundscapes, a sense of immersion and engagement is fostered – transcending the confines of traditional stereo recordings.
“Immersion and the immersive are terms commonly used within discussions of virtual reality; they refer to ” … being surrounded in an engrossing total environment” (Store, 2009, December 9). This definition can easily be applied to the relationship between viewer and artwork, with a viewer being surrounded by an engrossing constructed experience.“
Recommended Citation Williams, B. (2010). Sound art and the gallery: Material, body and space. Edith Cowan University. https://ro.ecu.edu.au/theses_hons/1425
In essence, the interview with Jean-Michel Jarre offers a profound glimpse into the intersection of sound, space, and identity, unveiling the intricacies of artistic creation and innovation. Through Oxymore, Jarre continues to push the boundaries of sonic experimentation, forging new pathways in the realm of electronic music and spatial soundscapes.