O L I V I E R PA S Q U E T - 2 0 1 5

NOTES ON
ELECTRONIC
MUSIC
COMPOSITION

UNIVERSITY OF HUDDERSFIELD

Contents

Electronic Music

Two questions relative to electronic music

Interpretation

Stage and audience

Generativity and non-linearity

Concept and representation

Score and reading

Concept and materialization

Computation, parametric composition and nano-composition

Space, time and time-space
Architecture

Composition

10

12

15

Experimentations

15

Formal vs automatic composing

Noises

18

Styles and signature

18

16

10

Electronic Music
The following text describes in a non exhaustive way the artistic context of my current research. The resulting
situation and questions come from my personal experiences and inspirations. I set them in relation with
some of my visual work because discussed subjects are identical. This gives a rough idea of the chosen
aesthetics.

Two questions relative to electronic music

Electronic music has a long historical path but it still has two main recurrent questions. The first question concerns the writing and the second, resulting from the first one, is the question of its materialization.
The pertinence of these questions varies a lot depending on the social
and historic field of diffusion. In any case, their deepening stays a
rich source of experimentation for an artistic work. If one has to make
categories, we are here talking about a media art in which the artistic
subject concentrates on the medium and its diffusion. Like the theatre
talking about theatre, this domain of experimentation could somehow
look self-absorbed if the piece was not pure abstract experience totally
sensory and intellectual without meaning or significance. Such a level
of abstraction is based on questions of the need and existence of traditional elements such as stage or interpretation. Some of these elements
have already been transformed with history. But it is here pertinent to
survey some aspects which are involved with electronic music.

Interpretation
The necessity of writing has no doubt for some instrumental musics,
but the question stays real when it is about electronic music. The
notion of interpretation from a written to piece is as shaken as it is for
improvised music. Tripartite semiology adds a filter element between
the interpreter and the listener in the diffusion chain. This element is
interpreted differently for each of them. Only the listener has a sort
of musical freedom in the case of music emerging from a machine.
There is no other active human perturbation in between. Only other
people, space and diffusion gear can possibly have a passive influence.

This is a good occasion to directly explore limits of perception and

the understanding without even thinking about the physiology and
the sensibility of an interpreter. Many acousmatic or abstract techno
music composers are already interested by this. Physiology is limited
but the cultural and technical evolution are absolute so it will always
be worth exploring further.
The presence of interpretation and interpreters generate a social and
economic micro-system. That is for now totally another culture in electronic music compared with classical music. This might be one reason
(out of many) why classical music is more appealing to institutions
and historical festivals.

Stage and audience

Music is sometimes played with a visual and physical support. In such
case, the piece always becomes synesthetic and goes beyond the purely
sonic field. Instrumentalists on a stage never only create sonic music.
They are part of a show in its entirety. A frontal and single video
screen or speakers somehow solve the question of stage. Giving a material and visual direction thus satisfy the lack found in unique sound
projections. This sometimes gives a reason of existence of a stage and
consequently a sense of presence for music. Some electronic musicians
use computers along with interfaces as a classical instrument. They
consequently preserve symbols of traditional concerts. Performance
art shows offer the possibility to create purely electronic sound pieces
without asking the question of stage. Stage does not only concern
purely musical considerations. Dance is an excellent case in which
visual and physicality are not only sustained by music but also by
gesture, physical reaction and many other elements.

Generativity and non-linearity

Many purely musical pieces have gone beyond the traditional stage
but they have always kept an audience. Visual arts or interactivity (realtime and physical computing) have truly desisted an audience. In
the case of traditional score, the interpreter, the instrumentalist or the
listener, manage time in a static and linear way. It becomes a dynamic
interpreter in the case of installation or improvised performance.
Musical composition can be created in a non-linear way for deterministic and written concert music. But its listening is read along an
unswerving arrow of time. For instance, if the piece has several possible versions, listeners will only hear one version. They will have to

Figure 1: r136b2 - 2014 (ongoing) - white laser, wire installation. Laser mapping onto a
metallic structure, thousands of
reflexions create a dotted spatial composition points which
the lighting is sometimes so
weak one has to come closer
from the structure.

listen the piece again to hear another version. On the other side, dynamic pieces include some kind of plasticity during their performance;
they are liberated from the unidimensional arrow of time. They do not
need a beginning or an ending; their entropy is freely variable.
The listener is transported by something else than only physical time.
This time is then explored in a physical space or a more abstract representation space. For instance, it is possible to interact in a space of
possibles. Concert music sees then an evolution of its time in a fixed
space. Spatial computing, computation and iterations then become important generative tools. They allow the construction of a piece of music
rather than only a piece of unique music. Also, presented pieces are
even more meaningful. Does such a generativity, apprehended by its
concepts, leads toward an novel industrialization of music ? If it is the
case, it is taking several decades and new questions about intellectual
property will then rise and be comparable from software design.

Concept and representation

The piece is both a sound and conceptual piece in the case of non-linear
electronic music. It is then conceptual art and does not necessarily correspond to some formalization. At one time or another of the creative
process, it nevertheless comes from some kind of writing or representation. This do not have to be explicitly algorithmic but it results from
an idea which comes from beyond physical and esthetic properties of
the piece.

Figure 2: zoom of Kaspar V 2011 - high definition screen

One can here see the specific scale of a larger picture;
different rules are applies to
each scale. Virtual stones with
specific forms and angles are
traversed by a strong light ray.
This builds this deconstructed
caustic projection.

In conceptual art, the social positioning of artists is constantly shake

up by the actual nature of the pieces which do not necessary need
personal proficiency. This question is not always simple. One just has
to observe the difficulty classical contemporary music encounters with
social positioning of know-how; even for simple pieces using real-time
processes and sound reproduction techniques.
A conceptual piece can both be presented or represented. It exists
by these two acts and constantly interact together with materialization
and description. Description can be the consequence of an analysis of
materialization. It can also be the source of interpretation of this materialization. Both directions merge with computing tools setting the
timing into one only thing. Sound visualizations are the interpreted
analyses of a piece. Many are very interesting but many also only
follow the signal in a direct way.
Other visual pieces are built with the same elements that construct
the sound part. They then sometimes use symbols and represent some

Figure 3: Kaspar I - 2010 - ink,

paper global view of a high
resolution spatial composition.
The audience can either read
spatial permutations thanks to
a lens or have a wide view from
far. Levels of grey are given by
the density of points. Kaspar is
Kaspar from Peter Henke.

constructive elements of the composition. Reading these elements, and

their evolution, allow a better understanding of the piece and its concepts. Beyond all, the field of exploration is widened both for active
and passive listeners.

Score and reading

Representation can sometimes be a cause and a consequence for materialization because it is intended to the interpreter listener and not
the interpreter instrumentalist. A symbolic reading can then be done at
any moment of the diffusion; it can be the source of interpretation, a
parallel reading when listening or an complementary element for the
sound piece. Two material pieces, one audio, the other visual, are set
in relation and interrelation. They can be represented at the same moment or at a totally separated timing but they are both compositions.
The synesthetic relation between both resides in the interpretation of
a reader at the moment of the decryption. Audio and visual signals
definitively do not need a true relation. In opposition from technical instrumental technique, the reader faces such a level of abstraction he has the freedom to decide what he sees according to what he
wants to understand. The possible mapping which links elements of
one medium to another accentuates this abstraction. Also, the number
of dimensions between the sound piece and the visual one are different. Trying to compare audio and visual signals consists on increasing
or reducing the number of dimensions to read. For instance, time can
lie on a single unique dimension which can be drawn on two dimensions onto paper. The reader has then the freedom to choose in which
direction he define and reads the arrow of time.
These projection of dimension allow a non linearity explained in this
text. Reading and listening indeed both build a time from the point
of view of the listener; the angle of view. The reading is done like one
read an abstract poetry book in which symbols and layout are part of
the information. Such a score can analyze and visualize possible and
multiple timings contained in the initial concept. The combination of
both types of diffusion, audio and visual, allow an abstract non-linear
reading while keeping the immateriality of music.
The visual part of such piece is a score because it constantly keep the
function to be read. Nothing though prevent it from also having an
esthetic thought. It has a function, but it is also a spatial composition
as well as the sound part is a time composition.
Invention of recording allowed the decorrellation of musical listening
and the moment it is actually played and created. It is not a presen-

Figure 4: hr 8798 - 2014 - ink,

paper (zoom please) unique
and recurrent melodic line.
Time is the one the reader takes
to read that score. The form is
defined by the eye of the reader.

Figure 5: zoom of hr 8795 2014 - ink, paper multiple and

recurrent lines.

tation to an audience or visitors. It is rather an individual listening

in a context unique for everybody. For instance, there is no diffusion
space when listening thru headphones, directly plugged to the ears.
The only existing space is the one within the music. Space is truly part
of the music in that particular case.

Concept and materialization

Leaving a material and perennial trace is socially rewarding for the
ones who give a particular value to traditional writing. In instrumental
classical music, tradition of writing on paper score widely give the
image of a intellectual and literate composer. Materializing music in a
perennial way makes it even more unique and valuable. This unicity
is cumulated by the easy reproducibility of music.
Space composition can be materialized in diverse forms. For instance,
video and sound are both physical supports. But transported information does not go to the same physiologic senses. Perception, interpretation and therefore culture all differ according to the used physical
medium. The correlation of both media specifies understanding and
can transport imagination beyond what could one medium bring. The
reading from one unique medium is another interpretation of a same
conceptual piece.
Materialization needs in any case a construction on a physical support
such as paper, electronic paper, a sculpture, an electronic memory etc.
This construction then represents the composition and can then become a readable score. In that case, musical composition is applied to
other art forms and they are both scores and true art pieces. Compositional techniques are confronted to other techniques which are not
obligatory linked with sound or instrumental techniques. The knowledge of the music composer thus widens to other methods and aesthetics in relation with the global concept of the piece. The composer
then becomes a real artist who has to construct his own instrumentarium himself in order to build his piece. The place for traditional music
is consequently radically remodeled. It can be conserved, partly or entirely disappear. It can also be part of a wider group of writings more
specific to style and interpretation.
Sound installations are a good example. They are all special cases both
for music, space of diffusion, disposition and other elements. The path
taken by visitors has to be taken into account and has to be thought
as much as the content itself. An extra time component is added to
the piece when visitors physically move or change their view. It can
either be abstract by following the time of visitants or real by imposing
a natural time.

Figure 6: hr 8795 - 2014 - ink,

paper this structure is composed of many lines which
rhythm of translations and
rotations are making levels of
grey.

10

Computation, parametric composition and nano-composition

Composition is the result of a multi-scale construction. The composer
controls it or not but there are always ratios between quantitative,
qualitative alongside the evolution of these compositional components.
This dynamics is one strong characterization for composition. Those
ratios for comparison are defined by iterations at a particular moment
or position. One of the most obvious example are cellular automata.
But these ratios are also done at various levels, specific scales. These
multiple scales are also directly linked with those iterations. There is
no obligation these iterations have to be formalized or formal. They
can for instance just spring from inspiration.
Synthesis allows the construction of elements from the microscopic to
the macroscopic scale. There is a continuum (although quantified too)
between the forme of a piece and its sound. These scale relations are
close from laws of nature; in quantum physics for instance. It is then
possible to propagate the composition act from one particular scales to
others. Nano-technologies and synthetic biology reiterate a large amount
of microscopic processes to create macroscopic materials. They are
then predilection tools for the composition of musical scores in the
form of sculptures. It is in that case a cultural necessity, it is a precision
an instrumentalist cannot reach two times in a raw.
The complexity of such structures can only be observed from very close.
It is the same with a sound form which one only hear the acoustic
smoothing of a more complex granularity. It is the same thing with
screen pixels close enough from one another to create the illusion of a
continuous and non quantified image. At a larger scale, the piece can
look uniform and certainly minimalistic. The piece at a larger scale
can look so complex it becomes aleatoric for the eyes or ears. The point
of view and the angle of view are once again defining the reading for
the interpreter public. They are totally subjective and non obligatory
formalized choices.

Space, time and time-space

An electronic piece and its representation can be analogous when time,
space and other compositional dimensions are a same and unique concept. Formal tools and moreover computer science work by representation and strongly use this amalgamation in an abstract way. The
confrontation with reality deploys the artistic concept in natural time
and space. This confrontation implies the audience and its perception. Time and space only exist with the audience. Their separation
is only done at the moment of observation; the moment of interpre-

Figure 7: - 2011 laser print on plexiglas (please

zoom) this piece represents a
map of Japan after the March
11 2011 Tohoku.

11

tation of the piece. There may be similarities with Schrdingers cat.

For immaterial music at a microscopic scale, time and space are both
information and what transports this information. This is only true
at a microscopic scale close from the smallest possible quantic grain of
perception. At a larger scale, timbre could be associated with matter.
Music is therefore not immaterial; it is just not tangible. Time and
space would then not be the only concepts.
There are compositions conceived for time and for space, but there are
also pieces designed for both at the same time. For instance, many
contemporary classical music composers take space into account in
their temporal piece. Instrument disposal is decisive in the writing of
a string quartet for instance. The inverse is also true : some visual
artists consider the time dimension in their work. This is the case of
Pollock which work and gestures can be analyzed using chaos.
Many times and spaces spring from the moment of materialization.
They depend on the referential system we are looking at. For example,
time taken by somebody reading a score is one different time than the
one written in the score ; one can be more abstract than the other.
The confrontation of these various times brings many questions for
instrumental music. It successfully explores the possibilities both in
artist and technical ways. These are the eternal questions about realtime. In a similar way, each visitor in an exhibition conceives space in a
personal way depending on his position, physiology etc. The real-space
is also a subject for the exploration of art, science and technique.
Is it then possible to keep time and space unique after materialization?
In other words, at a macroscopic scale, it is possible to represent all
possible components of a pice, all the axes of its parametric space, independently from the human perception which dispatches it ? Electronic
music, which allows the exploration of perception limits, could avoid
aleatoric natural components. It would then represent its concept in
its entirety.
The Minkowskis space is a four dimensional mathematical space which
modelizes time-space in special relativity since the early XXth century.
It allows the materialization of time and space from a composition into
one single and unique object. In a similar way as for light cones, this
object would spring from the concept of a four dimensional space. It
frames a representation of the space and time perceptive limits for the
listener. Beyond those four perceptions limits, there are as many dimensions as there are compositional parameters. They are linked to
time components which can be different for each dimension. Space
could thus contain various conceptual objects depending on necessities and inspirations. String theory could be one of these inspirational

Figure 8: Kaspar VI - 2013 - ink,

paper Genetic series are created at both macroscopic and
microscopic scale. They can be
considered as cellular automata.
A visible moir effect build up
rhythms.

12

source fitting the multi-scale and multi-dimensional idea. It would

also be interesting to focus the work on nature, less abstract, by using biological complex systems and thus keep physiological considerations. There also are powerful intellectual tools for economics or sociology which would take human and sociological factors into account.

Architecture
When listening to electronic music, there is no parasite human factor
when there are no interpreters. The physical and social environments
are nevertheless present in the resulting art piece. Diffusion space indeed generates another time and space which interfere with the uniqueness of the piece. Time and space conceived inside the piece are dissociated. The interpretation of the listener is necessary influenced by
his own personality. The diffusion space, possible neighborhood, light
also effect the perception of the piece. There are also stimuli from the
social context and behavior from others. A painting offers a physical
and social frame, an art piece inside a context which is outside.
It is a pretty different situation with sound, which is still hard to contain it in a defined frame. In acoustics it is nevertheless possible to
get closer to a neutral or controlled space by adding a consequent
amount of speakers. Their positions would be equally so paced in
order to get homogenous synthesized spaces and spaces. This rudimentary method is used with visual immersive systems. For instance,
organ music is played in a church which is both a hall and the body of
the instrument. emphArchitecture defines spatial and time variations
inside a diffusion space.
Acousticians and sound engineers often simulate space in order to optimize speakers position and settings. Those methods are only used
when rendering the best fitted diffusion at the service of music. It
would be interesting to do the opposite: use architectural characteristics as a true part of composition. Speakers are indeed placed at
specific positions in order to use the hall and generate particular reverberations. But it is always considered as one sound source in a space;
a temporal variation inside a fixed space. The idea is far to be new but
there is still a lot to explore in the composition of space in its entirety,
at any time, any listening position in the hall and any scale. Sound
diffusion, analysis, and rendering tools exists and are just waiting to
be used for that.
Architecture with the time and space it generates is fully part of composition. Such materialization of music really becomes plastic, invisible but also readable inside space. Artistic consequences are important

Figure 9: r136b1 - 2014 - screen

or ink, paper video film from a
slow rotating structure radiated
by a strong light.

Figure 10: hr 8799 - 2014-2015 screen film video.

13

since the 1950-1960s with the emergence of new forms of listening,

peculiar diffusion environments, graphic scores and most importantly
a new public. The last decades have unfortunately been retrograde in
that direction.
Composing by concept also allows contextualization of the piece as
it would be done for an architectural project. It takes into account a
technical, esthetic, social, historic and ecological context all together.
The final project results on the integration of all these studies and
researches. Contemporary electronic music has surely not the same
consequences as architecture; budgets and social consequences are far
different. But a musical piece is nevertheless a piece of art; it also has a
social existence and consequently a rich and interesting context worth
sharing. The composer is not always a musicologist or a pedagogue.
His work can nevertheless be part of a wider social context than simply techniques and art of composition. Fields of popular music and
contemporary art have understood this for a while but it is not the
case for "experimental" music.

Composition
I have been working, testing and using, the generative system I have been working on for a while. It consists
on building structures, mostly rhythmic, that spread over scales, from microscopic timbre to a macroscopic
whole composition: a nano-composition. Time is only considered as another factor. The inspiration source is
the astro-physicians structural simulation of the universe which I would consider as the ultimate composition. I
definitely know the naivety and the trap of willing to generalize a piece of art, and moreover doing so only by
the way it is composed. I nevertheless think it is a beautiful graal if it aims towards the artistic construction,
the inner artistic universe of the artist. This research is not purely formal because I implement it in the
musics I have composed this season. This also means I have not yet totally archived my wish to build music
and electronic musical scores only with the current research and make the expected esthetical turn. This
rises the question of necessity and importance of a new formalization in an artistic process which already
exists and which is very empirical.

Experimentations
I ended up using several tools that would eventually merge together
and make a series of pieces. Each one would be conceptual and represented by two similar sound pieces; one rather minimalistic playing
only the skeleton and one also playing what could be attached to its
structure: timbres, articulations etc. The software Rhino is not only a
tool for architecture, it is very convenient for generating forms over
space. It is pretty interesting to map spatial dimensions to compositional ones. The simplest but the most effective and understandable
for the ear consists on creating sonograms. One dimension is dedicated
to time and two chosen others are used for pitch and amplitude. That
means the resulting music is often pitched but with no particular temperament or vertical segmentation of the spectrum. For convenience in
the work, I also used the JTOL.bach library (in Max) and a completely
re-adapted version of AthenaCL in Python. They can both be additional
apparatus to the Rhino construction machine. They also can later be
used in Ableton Live, which has all the needed tools for production and
post-production.
Many experiments showed they are very powerful and they exactly
fit the needs for nano-composition. Unfortunately I could until now

16

never really reach the expected musical level I wanted. Making visually beautiful or geometric sonograms do not lead anywhere else than
pure concept if they are not properly connected to true auditory factors. I have used two main experimental methods: one constructive
using cellular automata and one using phases and interferences. They are
both beautiful and instinctually musical because they both make heavy
use of inference. This would be one way music is thought and listened.
Procedural processes such as multilayered cellular automata or multiagent systems generate expending patterns sometimes from a random
initial state or element. This is the initial spark defining the rest of the
compositions universe. Like all traditional composition techniques
(permutations etc), such grammar-based techniques find a true reason
to be used when we are dealing with isolated elements or symbols. It
does not work so well with continuous or short musical events; when
building sonograms. In the case of short and very fast iterations, these
evolutions do not generate anything more interesting than "controlled"
randomness (sieves). It becomes either too simple or too complex. The
chances it works are very thin. The same questions rises when using
interferences; I could not yet get anything that would justify its use. A
"controlled" random shifting and folding (origami) gives better results.
It is possible to distinguish a white noise melody, or even signal, from
a pink one. But it is much harder to assimilate their composition. You
would then eventually always get roughly the same musical result.
Am I thinking the same way as some neo-tonal composers ? Some
believe not remembering the melody of atonal music is a problem. It
would be reductive to define music only by some necessary tonality or
harmony. Nothing is necessary and there are many other dimensions,
apprehended together, that would make music the music.

Formal vs automatic composing

The current problem is that I use a personal formalization that intends
to generalize my music from all available dimensions. This is exactly
what I was describing as a beautiful but naive approach. It is another
level but the problem still remains; although I have no intention to
generalize music as a whole, I am in a way trying to generalize one
single piece of music. Some composers like Brian Ferneyhough are confronted to a similar problem. Even after years of experience, he uses
the term complexity as if it was a black box, something on the side he
can deal with and pick data from. The algorithm is used as a calculator.
He nevertheless succeeds in transcendenting his monster by tweaking
it or by using other simpler musical characteristics besides complexity.
Alan Berg was doing that. His music both combines Gustav Mahlers

17

romanticism and Arnold Schoenbergs twelve-tone techniques. He also

uses accentuation in an traditional, or expected, way in order to give
an ordered notion to dodecaphonism. Human touch and subconscience
are still very important factors in composition. Intervention, which can
also be a choice, is happening at one variable moment of the creation
but it eventually happens. Until now, I still do not precisely know to
what extend and at which level it is placed for me. It varies and this is
one reason I have the impression to recreate everything from scratch
when I start a new piece.
Pierre-Alexandre Tremblay pointed out the difference between the way
I wish to formalize my pieces and how they actually have been made
in an intuitive way. The fact I eventually always come back to my reflexes and stylistic habits would mean I have a certain experience, or
I am always in a hurry. Maybe I also subconsciously know it is the
workflow that fits me the best and also the most efficient I use for theatre and dance. The change I am trying to do would only bring me an
additional layer of composition and precision. It would perhaps not
really be a radical change. Jackson Pollock was doing automatic painting
(or surrealist painting) by following his instincts and huge experience
to express his subconscious. I previously used the term "controlled"
randomness to describe something similar. For now, I have not found
anything better than a manually tweaked Monte Carlo method or other
probabilistic techniques to get interesting time-based patterns. Patterns
that are nor too repetitive and nor too random. Randomness and sieves
are also achieved by the human touch I was describing earlier. Humans can provide nor true randomness, nor perfect repetition.
I am probably too "classical"; traditional musical forms and articulations are culturally more important than I would like them to be. I am
aware that this strong background would explain why I still have not
found any acceptable musical result that could lead me to the context
described earlier. I now have the tools, the knowledge and the ideas.
All the new pieces I did up to now make use of them. But I found
out the missing link to get to the radical change I am after: a subconscience that would transcend what I have build and allow me to create
something musically interesting. The way I see automatic composition is
linked with artificial intelligence. Should I then call it artificial composition? Classical culture has the strong tendency to keep total control
from the early creative sparks and algorithms are good for that task.
But this is not enough, it needs conscience (artificial or not), an independent intuition at one level or another of the process. I will get it
over time or I will realize this is just a strong inspiration necessary for
the pieces.

18

Noises
Yannis Xenakis used sieves and probability distributions both for symbolic composition and synthesis (Gendy). He also did some experiments with cellular automata. The fact I am using several dimensions
and scales lead me toward gradient and fractal noise in order to create procedural textures that would become sonograms. Perlin Noise
(Simplex) and Worley noise are good candidates because they provide
a notion of harmonics and are easy to manipulate.

Styles and signature

I used to do a lot of glitch music. I used sounds and esthetics from
many digital sources to create rhythms. I then naturally dived into
post-modernism, dadaism and break-core using various concatenative syntheses and hand-made collages. I finally decided to become much more
interested by the beauty of measure with minimalism. But I do not see
this minimalism as pure, I see it as rich and complex when listening
at a closer scale (grain). This is why I keep talking about construction
with scales. From this stylistic background often results the tendency
toward binary rhythms alongside rich syntheses controlled in a very
conceptual way at a macroscopic scale.

Olivier Pasquet - June 2015

List of Figures

r136b2 - 2014 (ongoing) - white laser, wire installation. Laser mapping onto a metallic structure, thousands of reflexions create a
dotted spatial composition points which the lighting is sometimes
so weak one has to come closer from the structure.
6
2 zoom of Kaspar V - 2011 - high definition screen One can here
see the specific scale of a larger picture; different rules are applies
to each scale. Virtual stones with specific forms and angles are
traversed by a strong light ray. This builds this deconstructed
caustic projection.
7
3 Kaspar I - 2010 - ink, paper global view of a high resolution spatial
composition. The audience can either read spatial permutations
thanks to a lens or have a wide view from far. Levels of grey
are given by the density of points. Kaspar is Kaspar from Peter
Henke.
7
4 hr 8798 - 2014 - ink, paper (zoom please) unique and recurrent
melodic line. Time is the one the reader takes to read that score.
The form is defined by the eye of the reader.
8
5 zoom of hr 8795 - 2014 - ink, paper multiple and recurrent lines.
8
6 hr 8795 - 2014 - ink, paper this structure is composed of many lines
which rhythm of translations and rotations are making levels of
grey.
9
7
- 2011 - laser print on plexiglas (please zoom) this piece represents
a map of Japan after the March 11 2011 Tohoku.
10
8 Kaspar VI - 2013 - ink, paper Genetic series are created at both
macroscopic and microscopic scale. They can be considered as
cellular automata. A visible moir effect build up rhythms.
11
9 r136b1 - 2014 - screen or ink, paper video film from a slow rotating
structure radiated by a strong light.
12
10 hr 8799 - 2014-2015 - screen film video.
12