211210 | anarchives_acoustiques_03 | old_techniques

Petite “exercice” à base de synthés FM (séquencés par SuperCollider) et de vieilles techniques de “musique concrète” ou “tape music”.

211015 | space_is_the_place_02 | conference

conference Taking Place and Making Place
23-25 June 2022
KU Eichstätt-Ingolstadt

supported by the journal Space and Culture, celebrating its 25 years anniversary

Space and Culture blog post



210923 | images_01


210730 | body_society

mon corps, toujours, est société
un dividu où le je se perd

un privilège

une illusion d’un isolement
le mal traître qu’est l’être le sait
un devenir, ça se fait toujours à plusieurs

mais l’exclue ne l’est pas par choix

son corps, toujours, est société
son je, déjà perdu, est relégué

un sacrilège

la réclusion, bien plus réelle

210707 | tools_possibles

créer des outils ouverts
ouvrant sur les possibles
sur des mondes alternatifs
des outils spéculatifs
avec qui penser
des outils conviviaux
avec qui recréer
la possibilité d’un avenir

210609 | interspecies_ancestry

saler son eau
touiller la soupe originelle
redevenir éponge

210526 | reading_undercommons

L’étude. Une écoute en deçà de l’écoute.
Le tissage d’un devenir singulier, multiple.

210512 | workflow

new colours, new workflow. everything written in pandoc markdown, merged in one log file and converted to html with a very simple css stylesheet. for the sake of consistency, previous entries were reformatted.

210311 | collective_reading

Space and Culture Research Group, Feb. 2021


210221 | industries_culturelles_01 | do you MIDI?

At CTM 2021, the composer and oud player Khyam Allami presented a set of web applications, Leimma and Apotome, especially designed to experiment with non-Western tuning systems, either by (re-)discovering already existing ones or by crafting them from scratch. His tools are very important. Not only do they show a range of musical systems expanding beyond the Western equal tempered 12-tone system, but beyond that, they tackle a fundamental question in contemporary music production: the cultural bias and resulting relation of domination implemented in music instruments. What Allami shows is that even modern synthesizers (hardware or software) are already biased, through the keyboard they use, but also through the MIDI protocol they respond to. Indeed, this protocol, a 70s manufacturing convention, allowed synths from different brands to “communicate” with each other. The bias of MIDI protocol is the Western tuning system on which it is based. Synthesizers were then (and still are) produced with this communication protocol “in mind”, as if it became a natural “language”. However, a synthesizer is not limited to this range in itself. An oscillator driven by a frequency in Hz does not need to be reduced to a fixed amount of notes and intervals. In other words, nothing — outside compatibility, comfort, etc. — explains this limitation. And even if modern synthesizers give the possibility to set up microtonal tunings, the bias is still here. They constitute “repressed possibilities”, as Allami notes. They take Western music as a global standard, an always already there, a given, neglecting, if not simply ignoring, other musical traditions. This is why Allami’s tools are important. That’s why they are important to me. Between synths and electric guitars, I swim in this cultural bias without ever having given much thought about it. I participated, without knowing, to those repressed possibilities. This calls for a change in practices. Which tools do we use and how do we use them?


201008 | research_creation_01 | sofizine

Wonderful zine on sociological fiction and research-creation. A perfect format to underline the DIY ethos of research practices which are truly experimental. A sense of community between peers not based on competition. The importance of care. The importance of form|content hybrids challenging our modes of knowledge production.


200729 | anarchives_acoustiques_02 | sonic_fiction

sonic fiction. sonic thinking.

Black Quantum Futurism
Moor Mother
Angel Bat Dawid

200720 | space_is_the_place_01 | urban_films

Contribution to the Urban Film Playlist - Keyworld Love:

[Les amants du Pont-Neuf, France, 1991, Director: Leos Carax] Paris, 1989. In a city celebrating the Bicentenary of the French Revolution, Alex, a homeless fire-eater addicted to alcohol and sleeping drugs, survives for better or worse with his fellow “vagrant” Hans on the closed-for-repairs Pont-Neuf (“New Bridge”), Paris’s oldest bridge. Their daily routine following the rhythms of soporific ampoules and cheap wine drastically change as they stumble across Michèle, a painter on the verge of losing sight, escaping from her own past. Alex and Michèle fall in love. On Paris’s oldest bridge. However, it is not a romantic and neat love story one would normally await that is being portrayed here. What Leos Carax rather wants to show us is the distress of the homeless and the vital need for closeness, so primal that it becomes destructive, it is the fear of remaining outside and awake at night, when the whole city sleeps behind closed doors. The bridge, then, is poetic and multiple, becoming a necessity for both main characters. For Alex, it is a constant, his home, the centre he keeps coming back to. For Michèle, it is a moment, a lapse of reason, a way to leave her own demons behind and hide, from herself perhaps. For all, it is a place of love and hope, of fear and anger, a playground and a prison. But none of them can just exit the bridge, not forever. Or at least, not from either side. In his third and often seen as his most ambitious film, Carax continues to explore his understanding of urban poetics, both terrible and beautiful, as he did in Boy Meets Girl (1984) and Mauvais Sang (1986).

Thanks to Ge Zheng for the possibility to contribute to this playlist.

[ Space and Culture Blog - Original Post]

200703 | anarchives_acoustiques_01 | scales

There is no substantial difference between the individual and the collective.

200615 | making_machines_01 | ethical_machines_draft

First attempt at building a music_machine human|non-human|more-than-human. Rethink agencies. Who’s playing? Who composes?

A plant plays the drums.
Changes parameters.
Light plays the synth.
Computer dispatcher.
I turn knobs and make shadows.

Some sounds are fixed, others move [all sounds move]. Harmonies, rhythms out of my control. I frame. Start. End. Fade-in and fade-out. Is that still too much? I am part of the machine. Diminish the intention [my intentions]. Reinforce the agencies of others than me. Forget the composer as the sole will to power. Is that an ethical machine?

supercollider code