”La terre, il se pourrait bien après tout que ce soit une espèce
de merveilleux petit appareil enregistreur, plaçé là par on ne sait qui,
pour capter tous les bruits qui circulent mystérieusement dans l’Univers.”
Pierre Reverdy - ”En vrac” - 1929

”J’entends tous les bruits de la terre grâce à mes oreilles et mes nerfs de cristal
dans lesquels circulent le feu du ciel et celui des volcans.”
Michel Leiris - ”Le point cardinal” - 1927

"La terre est un juke-box éclairé par le soleil"
Gordon Hempton

"Go, go, go! ... Go! go! ..."
John Lee Hooker


Outer space

"Outer space" is a movie directed in 1999 by the Austrian avant-garde  filmmaker Peter Otto Emile Tscherkassky.

Peter Tscherkassky appartient avec Martin Arnold, Gustav Deutsch et Dietmar Brehm à cette génération de cinéastes expérimentaux autrichiens qui a succédé à celle de Peter Kubelka, Kurt Kren, Ernst Schmidt Jr. et Valie Export. Actif depuis une vingtaine d’années déjà dans le domaine de la recherche (post)structurelle pure et dure, il a dernièrement retenu l’attention par quelques films exceptionnels dont cette petite merveille, "Outer Space" (1999), réalisée en cinémascope et selon une technique de montage très originale, reformulant par les moyens propres à l’expérimental l’argument d’un film fantastique des années 80.


The austrian avant-garde film-maker used incredible editing techniques to create a kind of epileptic stream with footage from the horror movie "The entity"

"...The immersive experience of the film is marked by a collapse between the world of the frame, and the mechanics of filming and projection. It is as if Tscherkassky is suggesting that there is a potential violence restrained by every film frame. An explosion of off-screen energy that can shatter the veneer of the film form. The expression of this shattering is a deeply sensual experience which implicates and surrounds the viewer. The constant layering of images also creates a space in which the viewer is able to insert themselves, no longer withheld by the pretense that this is a separate world presented on screen. Rather, it is something immediate and tangible which can be destroyed in the act of viewing, and then created again in an abstract rhythm of torn sound and image fragments. This is not simply an act of subversion, but something like the fractured cut and paste ethics of avant-garde composers; a mode of using the violent rhythms of delay, rupture, fragmentation, looping and degraded image and sound. It is a style more aligned with the abstract cut and paste density of contemporary musicians such as Kid 606 and Matmos than the careful superficiality of most cinema..."
Rhys Graham (australian filmmaker & writer) - 2001

as well you can look at other of his movies as
the amazing "Instructions for a light & sound machine"  (2005)

This "Instructions for a light & sound machine" 17' long movie, with a soundtrack by the composer Dirk Schaefer, sees Tscherkassky gleaning footage from Sergio Leone’s genre classic "The good, the Bad and the Ugly" , bending and augmenting it into his own revisionist Western – a Greek tragedy in which the hero meets the conditions of his own possibility. 
& "Manufraktur" (1985) 


Industrial symphony

This Joris Ivens's movie "Philips-Radio" a.k.a. "Industrial symphony" was the first dutch sound film, commissioned by the Philips Eindhoven company in 1931.
This same year, Dziga Vertov directed "Enthusiasm" wich expresses hope that industry lights the Soviet path to success.
The subject of the film is the production of radios and speakers: the camera registers the rhythm of the machines and the interaction with the proceedings of the factory workers and shows the operations inside the Philips Radio plant: In a mêlée of activity, glassblowers make delicate glass bulbs, machinery assists the bulb manufacture, a virtuoso glassblower begins a more complex tube used in radio broadcasting, workers perform their various specific assembly-line tasks. Cases are manufactured and machined, wire harnesses are assembled, loudspeakers are produced. As radios near completion, they are run through a series of tests. Engineers and draughtsmen define future developments.
Music and sound effects for that epic poem which finish with a spiralic dance of loudspeakers.




Phil Minton


Phil Minton is one of the great virtuoso experimental voice among others like David Moss,  Demetrio Stratos, Jaap Blonk, Charmaine Lee, Catherine Jauniaux, Diamanda Galàs, Joan La Barbara, Carla Kihlstedt ...      ...


He played trumpet and sang with the Mike Westbrook Band in the early 1960s, then in dance and rock bands in Europe for the later part of the decade.

Phil is best known for his completely free-form work, which involves "extended techniques" that can be as unsettling as they can be mesmerising. His vocals often include the sounds of retching, burping, screaming, and gasping, as well as childlike muttering, whining, crying and humming; he also has an ability to distort his vocal cords to produce two notes at once. 












Phil Minton at Cafe Oto, February 2012
Drawing by Geoffrey Winston.
Copyright 2012. All Rights Reserved 


"Phil Minton has been exploring the liminality of the human voice for the best part of four decades, with a series of solo records (the “doughnut” albums) beginning in 1982... Utilizing a number of unorthodox techniques — utterances, gasps, belches, whistles, etc. — Minton has forged an alternative lexicon, one that seemingly forgoes the constraints of tradition and language. The result is a perverse, evocative set, the kind of performance that forces a reaction and demands attention be paid to it — music that has the power to cause unrest and revulsion in the listener." Soe Jherwood for Tiny Mix Tapes


official Minton's website and discography

 a solo performance:"eaaa variations" at Kunstraum Düsseldorf, February 27, 2014

& don't miss the famous quartet 4 Walls (Minton with Luc Ex, Veryan Weston & Michael Vatcher)



Circles (14)



"Laboratoire soluble" est une exposition réalisée par l'artiste Delphine Mogarra dans le cadre d'une résidence en août 2020 avec un groupe d'adolescents entre 11 et 15 ans à la MPT de Saint-Mauront (Marseille).
Elle est présentée jusqu'au 26 juin 2021 à la Galerie art-cade* à Marseille.


"Laboratoire soluble"  is an exhibition produced by the artist Delphine Mogarra as part of a residency in August 2020 with a group of teenagers. The exhibition is showed until June 26, 2021 at the Galerie art-cade* in Marseille.


all circles on "beyond the coda"

O 0O0 O


Jack Johnson



John Arthur Johnson (March 31, 1878 – June 10, 1946), nicknamed Jack Johnson "Galveston Giant", was an American boxer who became the first Black American world heavyweight boxing champion (1908–1915). 




The poet Arthur Cravan, nephew of Oscar Wilde, organized a fight on April 26 at the Plaza de Toros Monumental in Barcelona with the world champion who knocked him out after 43 minutes in the 6th round.


Miles Davis who used in the 70s to practice boxing composed the "Tribute to Jack Johnson" which was the musical score of the movie "Jack Johnson". This tribute to the boxer is one of the first electric albums of Miles (except "Bitches Brew" - 69/70) composed in 1970 and the most musically successfull, in my opinion; unfairly overlooked in the career of Miles despite a dream casting including John Mc Laughlin, Herbie Hancock, Billy Cobham, Chick Corea, Dave Holland, Jack De Johnette, Sonny Sharrock, and some others!




More informations about this amazing release on "Dangerous Minds"






The full documentary with Miles's music, produced by the boxing promoter and manager William Cayton and directed by Jim Jacobs who did 3 movies around boxing.