First of all I tried to use the many resources of modular or substractive synthesis by playing vintage instruments Moog Model 15, Minimoog Model D, RSF Expander Kobol, Arp 2600, and Synclavier to make my electronic abstractions...
I then had those « Plastic sound-objects" engraved on unique vinyls in order to manipulate them manually on stage.
I left them rest so that I had time to think on how to use them, chose a right direction in movements… Sculpting sounds is like composing for a tape-recorder and once done the result is fixed unless I can spatialize it on a multi-chanel system in the acousmatique tradition. For a change my desire was to retranscribe the importance of the compositional gesture, to favor the live touch without repetitions, by impulse, in a very corporeal way.
Thus, second step was for me to join the contemporary Ensemble Télémaque. We performed our cine-concert of the great King Kong movie by Shoedshack. In which I sonically portray Kong and am asked to move my prepaired vinyls to accompany the appearances/actions of the king-ape…
We performed 4 times and I had asked our sound engineer to record my turntablisms.
Third step was to find a perspective for these vinyl-manipulations conceived on stage playing along with an Orchestra, how to replace these sounds on an imaginary space canvas, how to make them live in a composition other than for orchestra.
It seemed obvious to patch my Buchla synthesizer which from its inception was created without a keyboard to avoid any temptation to play ranges in a conventional way ... I chose to caress the ultra-modern "Multi Dimensional Kinesthetic Input » keyboard to sculpt movements of sound masses, without restraint or sometimes "on the tip of the hands", muted, caressing or with a simple stroke of a hand turn bersek all frequencies / pitches in a very electroacoustic result...
The Buchla was the perfect instrument to sculpt sounds around the vinyl-modular material (since the engraved sounds had been made thanks to the modular synthesis) transporting everything in an elastic space-time where their harmonies and varied colors would join-overlap carrying the listener as if I had inflated a balloon and let it fly away suddenly…
Tension-relaxation, destabilizing and reassuring at the same time, kind of immersed in a dream where nothing would be where it is expected.
A kind of gesture towards vertigo but also sometimes a hand-stretched towards a reassuring elsewhere …



First of all I tried to use the many resources of modular or substractive synthesis by playing vintage instruments Moog Model 15, Minimoog Model D, RSF Expander Kobol, Arp 2600, and Synclavier to make my electronic abstractions...
I then had those « Plastic sound-objects" engraved on unique vinyls in order to manipulate them manually on stage.
I left them rest so that I had time to think on how to use them, chose a right direction in movements… Sculpting sounds is like composing for a tape-recorder and once done the result is fixed unless I can spatialize it on a multi-chanel system in the acousmatique tradition. For a change my desire was to retranscribe the importance of the compositional gesture, to favor the live touch without repetitions, by impulse, in a very corporeal way.

Thus, second step was for me to join the contemporary Ensemble Télémaque. We performed our cine-concert of the great King Kong movie by Shoedshack. In which I sonically portray Kong and am asked to move my prepaired vinyls to accompany the appearances/actions of the king-ape…
We performed 4 times and I had asked our sound engineer to record my turntablisms.

Third step was to find a perspective for these vinyl-manipulations conceived on stage playing along with an Orchestra, how to replace these sounds on an imaginary space canvas, how to make them live in a composition other than for orchestra.
It seemed obvious to patch my Buchla synthesizer which from its inception was created without a keyboard to avoid any temptation to play ranges in a conventional way ... I chose to caress the ultra-modern "Multi Dimensional Kinesthetic Input » keyboard to sculpt movements of sound masses, without restraint or sometimes "on the tip of the hands", muted, caressing or with a simple stroke of a hand turn bersek all frequencies / pitches in a very electroacoustic result...

The Buchla was the perfect instrument to sculpt sounds around the vinyl-modular material (since the engraved sounds had been made thanks to the modular synthesis) transporting everything in an elastic space-time where their harmonies and varied colors would join-overlap carrying the listener as if I had inflated a balloon and let it fly away suddenly…
Tension-relaxation, destabilizing and reassuring at the same time, kind of immersed in a dream where nothing would be where it is expected.
A kind of gesture towards vertigo but also sometimes a hand-stretched towards a reassuring elsewhere …