After several talking sessions that revealed Catherine Dressayre's intentions as well as specific constraints linked to an exclusive computer music production, we finally agreed about the idea of building an authentic dialog which we would realize through developing anti-hierarchical relations between the two medias. In that sense, a complex network of suggestions is rather established, leading either to formal segmentation possibilities or refering to the inner semantics of the photos and/or the context of the production. Consequently, I went straight through the circus world to pick the main material : notorioulsy, a reconstructed brass quintet, an extended metaphor of a drum roll, or even voices coming from the audience. On a another level, the photograph is intruding the music herself, both figured through the trigger noise of her camera and the Super 8 engine working, the film being reserved for public projection. Indeed, the idea of formal transgression lays at least at two different levels : a diegetic transgression, if we consider that the audience (the real one) is truly pushed inside the circus tent - an æsthetic trangression, in the sense that the borderline separating music and sound design get constantly crossed.

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