“Inside a semi-circular cockpit that gives us the feeling of floating into space, we discover crossfaded galaxies, nebulas, black holes and cosmic dust; or we are in the middle of a space storm with lightning, thunder, incredible winds and tornadoes enhanced by electroacoustic sounds. Among thousands of rocks and meteors, we glimpse electronic debris floating for all eternity… Man and his habitat, Man and the infinite…” —Georges Dyens
A celebration filled with light, a homage to Earth, “a devotion for Life in all its guises and worries about its foretold disappearance” (Marie Delagrave, Vie des arts #164, Montréal, Autumn 1996). “In the heart of radical movement, a universe lives and dies, exploding over and over” (Daniel Carrière, Le Devoir, Montréal, June 19, 1992), “as if the spectator were a witness to creation itself, a party to the end of time, suspended between the entrails of the earth and sidereal space, and holding his breath.” (Nell Luter Floyd, The Clarion-Ledger, Jackson, MS, USA, March 5, 1995).
Big Bang III was composed for Georges Dyens’ multimedia installation by the same title. Dyens’ work consisted of sculptures, lightings and holograms, all automated.
[English translation: François Couture, viii-06]
Big Bang III — music for the multimedia installation by George Dyens — was realized in 1992 at Bruit blanc studio in Montréal and premiered with the installation in the summer of 1992, as part of the international exhibit Images du futur presented at La Cité des arts et des nouvelles technologies de Montréal. A second version of the installation was completely redesigned in 1995 under the title Vertigo terræ for the Mississippi Museum of Art in Jackson (MS, USA); that installation is now part of the permanent exhibit at the Musée du Bas-Saint-Laurent in Rivière-du-Loup (Québec).
This version was mastered by Dominique Bassal in August 2006 in Montréal.