Composer

Fixed Media

Tír na nÓg (2013) Piano, Guitar, Viola, Clarinet

Details

During a residence at the "Muse en Circuit" I was asked to write the electroacoustic piece synthetizing the work of the other artists from the recordings of their improvisation sessions.
I had to heavily edit these recordings (the longest original sample is less than 5 seconds long) to be able to create a unity from this material since every musician was playing without having in mind a usage of these recordings in an electroacoustic piece and was playing in his own style : jazzy for the clarinet, post-Debussy for the piano, noisy/drony for the guitar (however, I had the luck to direct the recording session of the viola)
The sound processing is made both with SuperCollider and Max/MSP.

The Morrigan (2013) Voice

Details

Based on vocal performances by the composer and singer Brenna Cantwell (additional background vocals by Matthieu Jacquot) the work is 100% created with processed sounds from the mouth : standard singing, throat singing but also a more intimate material like breath, lips, tongue, teeth and saliva sounds.
The Morrigan (the phantom queen), is the Celtic goddess of war and battles. The legend says she appeared under the form of a crow to announce warriors their imminent death. The work tries to describe poetically this  moment.
Sound processing made with Max/MSP + various "basic" Vsts (Reverb, compressor).

Heading South (2013) Hanger & Wicker box

Details

This work is a sort of hommage to the "Variations pour une porte et un soupir" (1963) by Pierre Henry for the 50 years of its creation. The idea was to adapt it to our digital era : instead of using a variety of recordings from a very limited amount of acoustic sources, it uses a variety of editing and processing from a very limited amount of recorded material.
It is also a research i'm leading to try to transpose the idea of classical orchestration to the electroacoustic field. What is the link between a solo song and the same song sang by a chorus or a melody played on a violin then on a clarinet and then try to find a way to use this when instead of dealing with instruments and notes the material is made of unpitched natural or processed noises.

Live Electronics ("musique mixte")

Lithium Salts (2013) Electric Guitar

Details

Electric guitar + live electronics (everything is generated from the guitar in real-time)
Lithium salts are a powerful and very common mood-stabilizer (the reason why the piece never really climaxes) used mainly to treat bipolar disorder.
Live electronics is to me one of the most difficult way of writing convincing music and the risk of having the instrumental and electronic parts evolving in kind of 2 different dimensions is very high. I wanted anyway to try to write in this style (since its clearly a style of writing on its own) without "cheating" with the possibilities of the electric guitar (record samples before their diffusion, during solo electronic parts for example or get rid of the "acoustic" sound of the instrument).
The sound processing is made with both SuperCollider and Max/MSP.
I still have to find a way to scan my A3, handwritten sheet music to be able to share the score...

Instrumental

Your Reflection In The Mirror Will Never See You (2013) 2 keyboards, 72-edo tuning (12th tone)

Details

This work for 2 keyboards, controlling 3 different virtual pianos, explores the use of microtonal tunings to create a mix between an "acoustic" music, written in a typically instrumental way, but sounding in a sort of electronic way. 2 virtual pianos are tuned on a 12th tone scale (an octave on the keyboard = a whole tone) and a third one on a balinese "slendro" scale, this latter receives the MIDI notes from one of the keyboards, the keyboardist controls its volume. You can have a look at the sheet music

Digital Artist / Programmer

--Manipulation-- (2013) Interactive Artwork

Details

This work attempts to question the audience about the subject of mental manipulation, specifically as it relates to social networking. The audience starts playing with the installation only aware of the unusual way to manipulate it (with their portable devices via a distant website) but as the performance progress, it becomes more and more obvious that the real purpose of the work is far from the simple idea of physical manipulation. Actually, it explores different aspects of mental manipulation, illustrates them by different means till showing the players that while they thought they were manipulating the installation they had in fact been manipulated by it.
The installation works like most “free” online services, highlighting a free useful or entertaining service to hide its real purpose. As these services it is fully designed to manipulate the audience. With almost every artistic or technical detail made on purpose to respectively evoke or to participate to the mental manipulation process. However, this is done in a very “safe” way compared to what is encountered in every-day life since even if their personal data --they allowed access to by themselves-- is revealed, it is (of course) not sold to any third party nor stored.
A very important aspect of the work is that it has been designed to spread its message as wide as possible so the hardware requirements have been kept as limited as possible and the programs and technologies used are all open-source or free. (Javascript, PHP, Python, SuperCollider, Processing).
Furthermore, the full source code and an installation guide will be released on summer solstice 2013 so everyone can install it and run it everywhere a computer and network access are available.
You can find an in-depth description of the artistic and technical details of the work here [9pp pdf, en].
A technical diagram is also available.

Programmer

MelisMe (2014) website to help artists from around the world to promote their work

Details

MelisMe is an international website aiming to help artists from every (almost) country to promote their work.
It allows users to create fully featured geolocalized webpages.

VST2OSC (2013) OSC server VST plugin

Details

VST2OSC is a very lightweight VST plugin written in C++ using Julian Storer's framework Juce and Ross Bencina's OSC lib:OSCpack.
Its purpose is to enable OSC communication between apps and more specifically to be able to use OSC automation from your DAW. For example, you can control a Max, SuperCollider or Processing patch directly from the plugin host, which can be very handy to synchronize sound and images or to integrate a Max patch in your workflow as if you were (still) able to export your Max patch to VST.
It led to a presentation and a publication available in the proceedings of the JIM 2013 organized by the CICM (Center of research in computer music and musical creation) at the university Paris 8 : Jacquot, M. "Gestion des flux de messages entre applications grâce à un plugin de serveur OSC dans le processus compositionnel électroacoustique et mixte", in Proceedings of Journées d'Informatique Musicale (JIM 2013), Saint-Denis, 2013, pp. 39-44.[fr] (email me for the english version)
Source code and windows VST available here

Performer

Homenaje Pour le Tombeau de Claude Debussy by Manuel de Falla (2014)Classical Guitar

Serenade by Toshio Hosokawa (2012) Electric Guitar

Details

Written for classical guitar the piece however reaches the limits of the instrument. In order to respect the musical ideas of the composer I decided to use my electric guitar to be able to have enough sustain and to use the right hand to play notes on the neck (tapping) not only on looping patterns but also on some more standard phrases to imitate japanese instruments typical phrasing.

Le Gibet by Maurice Ravel (2010) Classical Guitar

Details

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Praeludium by John Dowland (2011) Archlute

Details

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