End credits song for the project Macaron Cassis Violette, which you can find on this website if you understand some French.
Music: Yoann Le Bars
Puppets and scenery: Chloé Debauges
Artistic direction: Chloé Debauges and Yoann Le Bars
On December 18th, 2020, Abigail Delpech played one of my compositions:
This is a pedagogic piece for piano. I have composed it just for Abigail. While talking with her, it turned out she likes complex harmonies, just like I do. Therefore, I decided to go for a slightly complicated harmonic progression. Then, it turned out I needed more than ten fingers to let come out the harmonies. This completely changed my plans: I realized I had to let myself be guided by the harmonic progression. As a consequence, I have been quite surprised by the resulting composition, but I am quite satisfied of it!
Many thanks to Abigail, which made some very good work on it, and gave a rather good rendition. I hope you enjoy it!
William Grynszpan played my piece “Variations électroniques sur le concerto pour violon de Beethoven” on Monday 16th November 2020 on the occasion of Bernard Cavanna’s master class at Conservatoire de Cergy-Pontoise. I have been able to capture it, and I share it here. It is a working version, but the result is already valid. Simply, please forgive me for my error of handling at the beginning. Also, please excuse that the focus is not on William.
This piece is to be performed in a show about Ludwig van Beethoven, which rendition will be done as soon as the sanitary conditions in France will allow gathering an audience. It is a bit out of context here, but it gives a first idea.
The Attic is a project I shot in 2007. This is my first short film. Designed somewhat as an exercise, I still wanted to make sure it would interest an audience. Therefore, with a bit of anxiety, I submit it for your consideration. It is French speaking, but I have made subtitles in English (and there are not so many lines):
Karim Debbache’s work is only available in French, but as I have already mentioned him, let me introduce him to you a little further.
The law of parsimony – sometimes called Ockham’s razor after the English Franciscan monk William of Ockham (circa 1285 – 1347), a pioneer in logic – is a principle common to philosophy and science. In fact, it has been stated before, the oldest occurrence that I have found is due to Aristotle1Ἀριστοτέλης, Φυσικὴ ἀκρόασις. Available on-line. An English translation by Robin Waterfield: David Bostock (editor), 1999. Physics, Oxford University Press. Available on-line. (384 – 322 BC), who attributes it to Empedocles (circa 490 – about 435 BC). However, Proclus (412 AD – 485) traces it back to Pythagoras (about 580 – about 495 BC)2The only version I know of the work in question is this German edition, which appears to be considered the reference: Manitius, C. (éditor et translator), 1909. Procli Diadochi hypotyposis astronomicarum positionum (Bibliotheca scriptorum Graecorum et Romanorum Teubneriana), Teubner, Leipzig. Reprinted in 1974: Teubner, Stuttgart..
This principle is not always well understood, as it is sometimes used in a manner denoting a misunderstanding about what it actually means. I propose you to see a brief history of this law before commenting on what it means. This article is therefore one of the series on history of science and popularisation I started with a view from here.
No, I have not yet specified what states this law. This is a barely honest process that aims to create an almost unbearable suspense to make you captive of my prose, so that you will read this whole article. However, do not worry: the explanation comes in a few lines!
|Ἀριστοτέλης, Φυσικὴ ἀκρόασις. Available on-line. An English translation by Robin Waterfield: David Bostock (editor), 1999. Physics, Oxford University Press. Available on-line.
|The only version I know of the work in question is this German edition, which appears to be considered the reference: Manitius, C. (éditor et translator), 1909. Procli Diadochi hypotyposis astronomicarum positionum (Bibliotheca scriptorum Graecorum et Romanorum Teubneriana), Teubner, Leipzig. Reprinted in 1974: Teubner, Stuttgart.
At the time of Chasseurs de rêves (this link leads to a French speaking website), part of my work was to write overviews of chosen subjects: I was looking for and presenting works fitting with these subjects. I tried to present both the most well known works and less known jewels. I must admit: I liked making these overviews, it made me rummaging in bookshops, media libraries, and find something to surprise readers. Besides, I miss it a bit.
So I decided to start this series, A Vue From the Attic, which will explore the links between fantasy culture on the one hand, and classical and avant-garde cultures on the other hand. This will also allow me to emphasise connections between science and other cultural forms. For a start, I chose a subject that brings me back to the origins of science fiction: space opera. As I have to present works from various media, the most relevant and attractive seemed to do it on video. As web accessibility is essential to me, for the visually impaired, I tried to ensure that the audio track allows getting the essentials. For the hearing impaired, as well as those troubled with my accent, subtitles are available.
On 24 June 2015, thanks to the students of the Académie intercommunale de Court-Saint-Étienne et Ottignies-Louvain-la-neuve, took place the public creation of one of my compositions. The song is entitled 21st of June. A camera was present, which recorded this rendition. I give some explanations below, especially concerning my strange gesticulations, but first enjoy the video:
The German writer and literature Nobel prize holder Günter Grass is deceased this Monday 13 April 2015, in a clinic in Lübeck.