The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…
IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.
In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.
At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.
The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…
IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.
In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.
At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.
We were at the second episode of our Little Tragic Breviary For The Use of Human Animals of The 21st Century (Petit Bréviaire tragique à l'usage des animaux humains du XXIè siècle ) which should have been presented last June at the MC93 during IRCAM’s festival ManiFeste-2020. The coronavirus decided otherwise. And in two ways: firstly because the show was cancelled, but above all because the scale of this health crisis upsets the program of the Little Breviary devoted to the exploration of the frontier between animal and man. This zoonosis forces us to react and to make the virus the focal point of our dramaturgy. We will try to address it at the Studio-théâtre de Vitry next March, if the world allows it.
What should we do in the meantime? At the invitation of Frank Madlener to appear the new version of the festival, and at the initiative of Agnès de Cayeux, we propose a daydream-navigation that blends the music in progress of Alexandros Margeas with images by the video artist Maëlla Mickaëlle, striving to depict the time of animals through short excerpts from my work journal where non-human animals pass and pass again through the cage of my language.
Jean-François Peyret, August 2020
Playcasts du Petit Bréviaire 2020
Agnès de Cayeux conception
Jean-François Peyret text and voice
Alexandros Markeas music
Thierry Coduys sound stage design
Maëlla Mickaëlle videos
Julie Valerodramaturgy
Juliette Adam bass clarinet