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| A musician and engineer by training, mostly worked in the maritime and aerospace industries. In the 80s, researched signal processing and IT applications in music at the Ircam and later at INA’s Groupe de Recherches Musicales, where he designed innovative documentary analysis tools for radio and television. From 1996 to 2001, as a deputy director at Hyptique, designed a range of interactive multimedia products (CD-ROMs: Yves Saint Laurent, La musique électroacoustique, the ONJ website, websites for a number of festivals, etc.). In parallel, lectured at the University of Paris VIII, at the National School of Fine Arts in Paris, at the CNAM and the National School of Photography at Arles. A multimedia author himself, presently in charge of the Maâllem Experience project, a live show/CD-ROM mix that combines traditional Gnaoua music from Morocco, electro-acoustic composition and an interactive graphical installation. Contribution: Digital matter To speak of the universality of binary image, sound or text encoding already sounds like common space. And yet this truly is the « paste » for digital creation, in the same way as in the past painting, sculpture, photography, sound and cinema found their own. But this time, printing and reading the medium are no longer the main constraints; control over data processing and handling are part of the digital matter. Can the foundations of an « all digital » aesthetic be extracted? How can light be shared amongst the crystals of the screen, and how can the sound environment be arranged? What meaning can be given to the wait and to the discovery of the next prompting? Is there dramatic art in the algorithm, the essential core of the machine? |
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