Composer - Sound creator

Latest creations

Drops, more drops! Sound installation

29 mai 2019
Chargement en cours ...

Drops still drops! or From the desire to listen to water ...

Sound installation presented during the SoMuThe seminar (Music Sounds and Therapy), PRISM laboratory.
CNRS - Campus Joseph Aiguier, Marseille



As an anecdote, I recorded these sounds in Tunisia. On my way to record a potter living at the top of her clay hill, feet in the mud, my attention was stimulated by these tiny sounds of streaming and droplets, in a very wide sound space, in the middle of nature, far from all noise of humanity.

So it's a sort of reconstitution of a soundscape that I sought to do. Everything becomes music in my perception. This is what I tried to broadcast: this distortion of natural reality, into a musical piece.

Sound levels are very low, around -35 db on the mixing console. Beyond the reality of these low intensity sounds, I found interesting to attract attention by this almost nothing, to draw the listener into a subtle experience where the body had to be active in order to be receptive.

By the composition of isolated sounds, by the electronic transformation of these sounds, and by hexaphonic spatialization – like the hexagonal structure of water in the process of crystallization –, the soundscape becomes a musical work.

Why choose to put these singular sounds to music, beyond the aesthetic of almost nothing? At first I had no hesitation, it was my experience there, of sound poetry, that powerfully caught my attention and my listening. Sound becomes subject, and I become object of attraction. So why precisely this enjoyment? Could it be my body?

And it is this questioning that leads me to extend the phenomenological analysis with a hermeneutical interpretation. According to Heidegger "hermeneutics is a going beyond phenomenology because it applies to what is not shown". Transposed to music, it can be applied to what cannot be heard. So it would be about having an experience, of what one does not hear.

Gino Stefani, Italian musicologist-semiotician, for his part makes us understand that the foetus has a vibratory experience of sounds, by bone transmission of vibrations. Among other things, he perceives the sounds of displacement of amniotic fluid. He is immersed in an aquatic sound bath. The substance of the water resonates in his body even before birth. It’s a kind of pre-listening, proto listening. Through the experience, later of listening, through our auditory system, we might relive the intra-uterine experience, which could explain this auditory enjoyment.

scientific paper:

Du désir d'écouter l'eau (

Let's recite the following, Relational installation.

24 novembre 2017
Chargement en cours ...

GMEM – CNCM of Marseille / Aix-Marseille Université

Inscribed in a relational aesthetic, the installation offers the public a situation and an experience.

The public is invited to contribute to the recording of a musical fiction, based on a pastiche of Recitations of Aperghis.

During this time, in the broadcast space, the work carried out during previous recording workshops is played.

This creation, which offers the public both an experience of vocal invention and an experience of perception through listening, is linked to musicological university research, establishing links between the Recitations of Aperghis and Lacan's theory on the unconscious "structured like a language".

It is about making available to the public a situation in which the Other can participate, contribute to directed fiction. Each participant in turn enters the recording studio where I welcome them. After a draw in a deck of cards - referring to Stockhausen's Stimmung and Brian Eno's Oblique Strategies, he records a vocal word or sound.

Draw a card and sing it

The cards are drawn and recall the graphic style of the score of Stripsody by Cathy Berberian. It doesn't matter whether the person is a musician or not, the drawing gives an intention, a universe for interpretation. It's free and fun. It is also an intimate relationship with the artist.

Finally, the question of listening arises when the listener is confronted with his own voice, heard externally.

These new elements, rich in diversity of timbre, will then be edited according to an Aperghisian structure and remixed in deferred time, after each screening to be broadcast during a subsequent installation. The installation is enriched with each presentation..  


Diffusion space: entwining the tori of demand and desire

The space, structured by ten speakers, reproduces the work done in previous workshops. Two trajectories of sound intertwine, to represent Lacan's topological scheme of the tori of demand and desire. Lacan relies on this diagram to show that the demand of one never corresponds to the desire of the other. One asks the other to desire what he asks, and what he asks the other to desire is only a fantasy that he constructs through a meaning that he attributes to the other, that is to say a fantasy of itself, a fantasy that Lacan calls the Great Other. 



Thus, two pastiches of the Aperghis Recitations are broadcast in heterophony – with reference to the work of François Nicolas – according to the two Lacanian trajectories: the first one, sang by myself represents the request, the other, sung by the participants of the previous installations represents desire, in other words the Big Other.



Pastiche allows both to better understand the original work - through the perception of the pasticheur - and to practice the musical language of the original composer, to make it a living language. Here it is a tribute to Aperghis.



Aperghis’s scores are particularly interesting from a graphic point of view. To highlight this dimension, the pastiche partitions are exhibited like paintings on canvas. The listener's gaze is solicited, which changes his musical perception. The viewer, initially listener, is guided by what he hears, his visual perception is also modified by his auditory perception.













Scientific papers

Le pastiche musical comme interprétation critique et esthétique  (, et Les “ trésors du signifiant ” dans les Récitations de Georges Aperghis  ( 

Rencontre tout simplement

15 juillet 2015

Rencontre avec Maximilen Cattineau (Viole de Gambe) et Arnaud Bouchet (Peintre)

La création vient du simple désir de confronter le style baroque de Maximin Cattineau et de sa virtuosité en musique baroque, à la viole de gambe, et la création contemporaine. La rencontre avec le peintre Arnaud Bouchet, et de sa série Les Blanches a inspiré ce diaporama musical. La question de l'intuition (obvie) est travaillée, en faisant abstraction de toute construction intellectuelle (obtus). Maximin Cattineau prend la partition à bras le corps, et n'hésite pas à la transformer dans son utopie baroque. Je l'y encourage, les notes  sur la partition que j'ai écrite sont juste un cadre pour stimuler le corps créatif de ce musicien. Le diaporama a été ajouté après coup, sans réelle problématique de justification, quelque chose de l'ordre intuitif de l'association a guidé, le hasard de la rencontre, l'imperceptible de la perception, une question de goût subjectif qu'on aimerait laisser telle quelle, naïvement... Peut-être quelque chose en lien avec le mystique/nature d'Arnaud Bouchet ? 

Laaroussa Sonata, musical creation of a video-choreographic show.

03 mai 2013
Chargement en cours ...


SACEM Prize Valorization of symphonic music.

Video-choreographic show by Selma and Sofiane Ouissi
Co-production MP13, Kunstenfestivaldesarts, Scène Nationale d'Annecy
Violin: Caridad Martos, Viola: Victor Portoles.



« A precise and fascinating gestural score, sometimes accompanied - too infrequently? - by the subtle musical creation of Caroline Boë, and the close-up sequences - sometimes too long - of Cécil Thullier and Nicolas Sburlati. [...] beautiful images abound, unexpected, making craftsmanship in its gesture, without ever a word being uttered that tells the story, without the manufactured objects ever being shown, leaving the door of the dream wide open ... »

Agnes Freschel – Zibeline - August 2013


« When you look at potters molding, according to ancestral practices, vases to which their skill gives shape, you have the impression that you are witnessing the birth of a work of art. At the same time, this repetitive work can seem tedious, even mind-numbing for (those) those who practice it.

Two Tunisian dancers / choreographers, Selma and Sofiane Ouissi, have decided to take on this manual work by transforming it into a dance object, a tribute to the creative body, in its accuracy and precision. This gives a spectacle of extreme delicacy, based on a video, sometimes too long, by Cécil Thuillier (the only downside of the whole) and a musical composition in voluptuous volutes by Caroline Boë.

In a first phase, the video features beautiful faces of elderly women who fondly caress their faces, as if they were molding a vase, with affection as well. Then we can see Selma and Sofiane, back towards the audience, shirtless, which allows you to admire a surprising "dorsal muscular choreography": what the back "produces" ripples when the hands work the pottery.

Another video sequence transposes us with the potters into Tunisian nature and shows us the two performers, this time from the front, still seated, reconstructing the space with the hands: there is no "naturalist" imitation of the potters but a stylized construction based on the repetition of gestures and the rhythmic division of space. The tribute thus paid to the beauty of the daily gesture and its transformation into art is both subtle and moving. As if intelligence, gentle sensuality and bodily ritual come together for our pleasure.»

Christian Jade - - May 06, 2013