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vibrations are dead, long live vibrations : towards a listening and composing of wished worlds
unearthing the rumbling.
drifting soundscape.
aura fyri.
dancing through political turmoil: bassiani, georgia and techno sounds.
face æ.
unknown trialgoue (acte one)
seule le nuage m’illumine

  Gary Duvernay

00.gary duvernay is a designer, sound artist, reseracher, writer and DJ whose practices moves between sound, form, and perception. He explores sound as a critical material — to question how social and political constructions resonate within our daily environments, and how communities emerge, fracture, and heal through shared sonic experiences. His works unfold across installations, sound art, performances, and texts, each developed through a sensitive inquiry where emotion, intuition, and theory intertwine. Drawing from both embodied experience and conceptual frameworks, gary duvernay approaches creation as a means to reveal, support, or deconstruct the systems that shape our collective realities. His practice navigates between poetic intensity and analytical depth, using sound and design as instruments of reflection and resistance — tools to sense, to feel, and to think otherwise.

Contact
garyduvernay.design@gmail.com
Instagram

01.vibrations are dead, long live vibrations : towards a listening and composing of wished worlds

english
2026
text & publication



120 x 200mm


Vibrations Are Dead, Long Live Vibrations explores sounds as ambient, relational, and political materials through which collective life is both shaped and contested. Situated within contemporary France, and informed by experiences in electronic music scenes and emerging movements such as the Front Électronique,it examines how sonic communities operate as leaderless yet enduring forms of political organisations. Rather than responding solely to moments of electoral urgency, it asks how these communities sustain alternative temporalities in which other futures can be sensed and rehearsed. By experimenting to make acoustic justice sensible, the research rethinks acoustics as the distribution of the sensible — what is heard, made hearable, or rendered unheard — within environments marked by power, violence, and care. Through methodologies rooted in sonic practice itself — deep listening, non-fidelity recording, atmospheric composition, and sonic fabulation — the project addresses those who actively shape acoustic environments. It proposes listening and composing as ethical, collective practices capable of redistributing the sensible and cultivating atmospheres of social justice, solidarity, and possibility.