Farewells is a mixed music piece in the form of a requiem which was composed for my uncle’s funeral in February 2018. The textual fragments are from Fernando Pessoa, all coming from his first English Sonnet. They tell the original incommunicability of being and the shortfalls of language. Thus it is through contemplation and reverence that the spontaneous rebellion of humans towards mysteries and death might found its sublimation. Farewells is a piece of music which takes part of that ritual, the one that achieves the linking of presence to existence, of life to death.
​
The cantus firmus are issued from Fuse (2007) and the electroacoustic choral is issued from the 2d movement of Le Surgissement du Réel (2018).
with Sara Notarnicola & Sirana Szterynski, voices.
​
click on the picture to listen
Farewells (2018) fixed media
A Date With Wind is a polygraphic recital for saxophone(s) & live-computer which was born after a fruitful premiere collaboration with Joël. The program is more or less flexible according to the performance circumstances as given durational frames though it is uncompromisely featuring cinematic-like built and thought musics that we like and wish to share.
​
The concert might exhaustively present : Marta Gentiluci's Exp.doc...et juv. (?), Bernard Cavanna's Goutte d'Or Blues, Julien Vincenot's Silent_Data_Corrupt, Jacopo Baboni Schilingi's Spatio Intermisso and Nicolas Jacquot's Une Autre Nuit.
​
with : Joël Versavaud, saxophones & Nicolas Jacquot, laptop
picture by Mathieu Mangaretto / Le Bus Digital
A Date With Wind is a polygraphic recital for saxophone(s) & live-computer which was born after a fruitful premiere collaboration with Joël. The program is more or less flexible according to the performance circumstances as given durational frames though it is uncompromisely featuring cinematic-like built and thought musics that we like and wish to share.
​
The concert might exhaustively present : Marta Gentiluci's Exp.doc...et juv. (?), Bernard Cavanna's Goutte d'Or Blues, Julien Vincenot's Silent_Data_Corrupt, Jacopo Baboni Schilingi's Spatio Intermisso and Nicolas Jacquot's Une Autre Nuit.
​
with : Joël Versavaud, saxophones & Nicolas Jacquot, laptop
picture by Mathieu Mangaretto / Le Bus Digital
Écriture poétique
Farewells (2018) fixed media
MARDI 6 AVRIL 2021
Farewells (2018) fixed media requiem
Venus (2018) for solo viola
Farewells (2018) fixed media
Farewells (2018) fixed media
Venus (2018) for solo viola
Farewells is a mixed music piece in the form of a requiem which was composed for my uncle’s funeral in February 2018. The textual fragments are from Fernando Pessoa, all coming from his first English Sonnet. They tell the original incommunicability of being and the shortfalls of language. Thus it is through contemplation and reverence that the spontaneous rebellion of humans towards mysteries and death might found its sublimation. Farewells is a piece of music which takes part of that ritual, the one that achieves the linking of presence to existence, of life to death.
​
The cantus firmus are issued from Fuse (2007) and the electroacoustic choral is issued from the 2d movement of Le Surgissement du Réel (2018).
with Sara Notarnicola & Sirana Szterynski, voices.
​
click on the picture to listen
Double Trouble performance is based on a reduced reading of the eponym novel which I had been writting during a serendipitous night of July 2017. It is accompanied by a fixed arrangement of recent works plus a special feature of Monte Cazazza's song A Gringo Like Me. The full tracklist includes :
The Jazzercises - Node I (2019)
Interlude I
We're (In) The Text - midi mockup (2017)
The Jazzercises - Mode I (2018)
Choral XXI - Showcase Showdown (2019)
Interlude II
The Jazzercises - Node II (2019)
Interlude III
*Monte Cazazza / A Gringo Like Me, extract (2010)
The Jazzercises - Mode VI (2019)
​
​
it was premiered on November 23, 2019 @ 2biS clothes shop-gallery in Marseille during the opening of the group installation Tu t'Uses Beauté ?
Double Trouble performance is based on a reduced reading of the eponym novel which I had been writting during a serendipitous night of July 2017. It is accompanied by a fixed arrangement of recent works plus a special feature of Monte Cazazza's song A Gringo Like Me. The full tracklist includes :
The Jazzercises - Node I (2019)
Interlude I
We're (In) The Text - midi mockup (2017)
The Jazzercises - Mode I (2018)
Choral XXI - Showcase Showdown (2019)
Interlude II
The Jazzercises - Node II (2019)
Interlude III
*Monte Cazazza / A Gringo Like Me, extract (2010)
The Jazzercises - Mode VI (2019)
​
​
it was premiered on November 23, 2019 @ 2biS clothes shop-gallery in Marseille during the opening of the group installation Tu t'Uses Beauté ?
* Activité 57 p. 120 : "Lire un graphique", MANUEL EUROMATHS CE2
Dictée
CALCUL
Vocabulaire : les synonymes
Vocabulaire : les synonymes
ABSTRACT
Departing from self-analysis, the annexation of metalepsis in the field of composition comes to subsume formal concerns that whether founded or spanned my projects almost systematically. Featured as the figure of speech which mentors formal transgression and paradoxality, metalepsis necessarily conveys a reception based approach of æsthetics. In that sense (the sense that very minds the effects at reception), if the artist's corruptibility embodies a significant danger towards his production, it might reveal the negative appearance of a psycho-æsthetical open-mindedness still unready (less polemically, indifferent or unwilling) to welcome addressee’s activity. The stakes of my formalization stand symmetrically in opposition : the prior consideration of making’s effects tends to retroact positively through enhancing the manipulability of material, multiplying the power of speech of arranged entities, lighting the transcendent horizon of their play.
key-words : metalepsis ; figurality ; rhetorics ; litterature sciences ; semiotics ; epistemology ; æsthetics ; stylistics ; music ; composition ; form ; morphology ; structure ; dimension ; transgression ; paradoxality ; transtextuality ; effects ; reception ; tension ; expressiveness ; autopoiesis
FURTHER DEFINITIONS & EXTRA-MUSICAL EXAMPLES
¿ formal trangression ?
​
--> an illegitimate interpenetration of narrative layers which are supposed to be distinct (G. GENETTE).
¿ rhetorical versus ontological metalepsis ?
​
--> the distinction relies on the size or depth of the metaleptic affection in the narrative structure, i.e gradually from a begnin local affection to a real serious contamination of the overall laying out. (M.-L. RYAN)
​
¿ diegetic disruption & æsthetico-stylistic inductions ?
​
--> The nature and depth of the disruptive relations established in between any identified fonctional agents might control the æsthetic thickness of a work and its artistry. (G. MOLINIÉ)
--> The nature and depth of the arranged disruptive relations might subvert the relations that normally prevail in such : schools, genres, systems, traditions, cultures, ...
--> If the sake for difference, as the state of making naturally subvertly (?), are nurturing the ground for high stylicity, there might be formal correlations in between :
​
metaleptic processing
<->
diegetic disruption
<->
æsthetic depth
<->
artistry
TECHNICAL OPERATIONS
¡ fundamental legitimacy of migration !
​
--> If the fonctional agents mentionned right above may rather be : persons (artist, editor, audience, ...) and characters (figures, actors, ...) I hereby see no strong epistemological reason not to assume that any identified semiotic entities (words, signs, symbols, sounds and musems,...) might endorse their formal subversion duty.
​
¡ Metalepsis : musical spreading of the figure !
​
From the edge of sound to the open textuality...
​
--> that is to say :
​
The musical metaleptic manipulations might gradually range from more or less local treatments of acoustic ambiguity to more or less global transtextual operations.
