The musical improvisations presented in C’est pour quoi play on the convergences and divergences between the individual’s intentions and their repercussions for the group (and vice versa). Put out on a spatialised sound system that combines private and collective listening, the music results from the interaction between the computer agents endowed with “musical memories” and the “stimuli” put in by improvising musicians. C’est pour quoi presents a form frozen by the recording of improvisatory duos involving a “saxophone human musician” and a “machine human musician” using automated learning technologies for real-time interactive creation. Breaking free of the didacticism that is de rigueur in the field of “creative AI” and focusing all its attention on the resources, the installation maintains a confusion of sources and roles. It presents the “naked” finality of the creative process using new generation instruments to exploit the creative practices that they offer: meta-improvising and composing on the scale of intentions. Partner musicians on this project: Rémi Fox, Steve Lehman.
Blandine Tourneux, Eric Prigent, Bertrand Scalabre, Sébastien Cabour, Cyprien Quierat, Vir Andrès Hera, Cindy Coutant, Mathilde Ganancia, Axel Roebel, Musical Events team, Ircam.
Jérôme Nika France
Jérôme Nika is a musician and researcher in man-machine musical interaction. His work bears on the mobilisation of memory in a creative context and he has engaged in numerous collaborations on improvised music (Steve Lehman, Bernard Lubat, Benoît Delbecq, Rémi Fox) and contemporary music (Pascal Dusapin). The software instruments that he has developed with Ircam (Institut de Recherche et Coordination Acoustique/Musique) have been applied in over sixty productions: Onassis Center, Athens; Ars Electronica; Annenberg Center, Philadelphia; Centre Pompidou, Collège de France, Centquatre; Montreux Jazz festival, etc.