”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

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



An excerpt of the performance "Indicatif"
by Eve Couturier (text & voice) and Jean Jacques Palix (music),
in the exhibition "Un nouveau festival / La clairière" at Centre Pompidou
Paris - february 2013



Le très étonnant film expérimental du méconnu cinéaste Dimitri Kirsanoff  tourné en 1925 à Paris dans le quartier de Ménilmontant.
Né à Riga, sa famille arrive à Paris en 1923, et il pratique le cinéma amateur dans la ville. Le film nous montre le quartier de Ménilmontant tel qu'il était à l'époque.
Film muet, il a été mis en musique par le violoniste Paul Mercer.

Ce film a été publié par Kino Video dans un double DVD (Zone 1) avec plus de 6 heures de grands classiques du cinéma expérimental.

    la gare de Ménilmontant


Revisiting Mr JB

    "Laetitia" - Rafael Gray - circa 1994

Charles Dreyfus, french performer well known in Fluxus and poetry areas, and art's historian,
& Rafael Gray, french painter and film-maker *
were performing a well-known song of Mr JB at Tapage Club - Paris in the late 90s.
A real pataphysical and unforgetable version!

    "Voilà, vois-là, entre le son, sort le sens" Charles Dreyfus - 2011
Voilà, Vois-là, entre le son, sort le sens Charles Dreyfus - See more at: http://syndicatpotentiel.free.fr/yacs/articles/view.php/619#sthash.NTdjdFtD.dpuf

Voilà, Vois-là, entre le son, sort le sens Charles Dreyfus - See more at: http://syndicatpotentiel.free.fr/yacs/articles/view.php/619#sthash.NTdjdFtD.dpuf
     "demain, deux mètres" - Charles Dreyfus - circa 2000


20 Hz

Exploring the world beyond the human experience and questioning the existence, a geo-magnetic storm occurring in the Earth’s upper atmosphere, with rumbles caused by solar wind, captured at 20 Hertz frequency.
A project by UK artists Ruth Jarman & Joe Gerhardt, commissioned by "The Invisible Fields" exhibition at Arts Santa Monica, Barcelona, 2011/2012


Tim Wilson et le sillon

"Composition für Tim Wilson II" de KP Brehmer (1986, encre indienne et tempera)

L'histoire de Tim Wilson qui savait lire les disques vinyls en les regardant...
reconnaitre les oeuvres musicales en observant les sillons....
Et celle de Arthur Lintgen, précurseur en la matière.


à lire chez nos amis de Studio Walter



The bigger the noise

The bigger the welcome and the native warriors "put it all" in the dance of welcome
to Sir William Letts, K.B.E. South Africa: lot of percussions! as well dancers.


this 1929's movie is silent

courtesy of British Pathé


Conflux #9

At "Société des curiosités" (Paris) the composer and cello player Ha-Yang Kim (NYC) & Stefan Poetzsch (Berlin), violin player, performed yesterday night two amazing musical drifts with intensity and harmony, sharing their own pleasure with the audience for a good time of listening pleasure.

Born in Seoul, Korea, Ha-Yang Kim live in United States and started as professional in the Atlanta Symphony Orchestra before to play, as a soloist, experimental and improvised music as well Balinese music. She collaborated with artists as Cecil Taylor, John Zorn, Christian Wolff, Alvin Lucier and many others and is part of the duo Oddapetite with the percussionist Nathan Davis.
I recommand her CD on Tzadik label.

Stefan Poetzsch studied classical violin, viola as well piano when, in the mid 70s, he listened to a solo concert of the violinist Zbignew Seifert (Poland) and immediately it changed his music interests: free, jazz, improvisation, experimental.

excerpt - 9 november 2013 -



"Neither" is the only opera of Morton Feldman, on a Samuel Beckett's libretto.
As kind of dark existentialist lyrical poem, this work was composed for soprano and orchestra in 1977, despite Beckett, for their first meeting in 1976,  told to Feldman he hated opera, as well Feldman answered he rarely used any words in his music! In fact Feldman began to compose music before he received the text.

"I said to him, "I don't blame you!" Then he said to me, "I don't like my words being set to music," and I said, "I'm in complete agreement. In fact it's very seldom that I've used words. I've written a lot of pieces with voice, and they're wordless." Then he looked at me again and said, "But what do you want?" And I said, "I have no idea!" 
Morton Feldman

"In 1985 Beckett suggested Feldman as the composer for a new version of "Words and Music" being produced for American radio. Putting aside his other work, Feldman completed the score, following it with a long piece dedicated to his friend, "For Samuel Beckett", in 1986. " - in  Neither words and music

"Neither" was commisonned and created by the Roma Opera in May 1977.

- a review titled "Beckett as librettist" by Howard Skempton here
- a chronicle (11 december 1978 - page 201) by Tom Johnson in "The voice of new music"

The first 10 minutes of this piece by the Radio Sinfonie Orchestra of Frankfurt conducted by Zoltan Pesko, and the beautiful british soprano Sarah Leonard.