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  Here, I resume the concept of generative music, with slow polyrhythms, where the events encounter, associate, live and become together, take away and pull apart. The assemblages then evolve depending on the links between the different events which have dissimilar relationships of interval and alternation (these two latter concepts inspired by Paul Klee), and not depending on an order and a code defined beforehand. A music which is not standing out so and which, by the use of evolving drones, allows to create within the listener, by the alteration and the densification of his sound environment, as a vacant fullness giving rise to the emergence of, according to the terms of Brian Eno, « a space to think ».
  I also experiment some new concepts and notably the one of time lenghtening where sometimes the rhythmic values which are compounding the theme and counter-theme are dragging on along repetitions whereas the other events are preserving their initial assemblage, the aim being to alter the internal sense of the listener, his sentiment of time. Or otherwise, concerning the relationships of these four parts, of modal regression, that is a « minorisation » somehow, since the first part will use a lydian mode, hypermajor, the second one will use an ionian mode, major, and so on, approaching ever closer the minor mode without reaching it. These different parts are each developing their own modal mood, leading here too to contemplation. ... more
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