occupons l'histoire


un fait propositionnel

probablement le dernier volet de cette étrange série de petites vignettes wittgensteiniennes bruyantes.


le monde englouti

avec quelques jours de retard (en contradiction totale avec mon enthousiasme), je suis très heureux d'annoncer la parution du vingtième volume de la collection sine fiction sur notype! cette fois-ci, vivez la quête jungienne du docteur robert kerans avec une trame sonore sombre et gromellante du roman "le monde englouti" (the drowned world) de j.g. ballard.


un étrange mélange postsonorisé

claude vivier, mad professor, hugh le caine et alcides lanza tombent dans un vortex de distortion. comme toutes les expériences sottes, celle-ci (au lecteur cd et miniKP) donne un amusant résultat!

a_dontigny - ville étrange dub


vj carrie gates @ index festival

un extrait de la performance de carrie gates au festival index, avec comme trame sonore gutai, une pièce tirée de geisteswissenschaften.


une autre proposition

le neuvième clip de ma série de petites vignettes abstraites.


napalm jazz en studio 2

un autre extrait de la session d'enregistrements tenue à montréal au début 2011.


napalm jazz en studio

un premier extrait de la session d'enregistrements tenue à montréal au début 2011!


effets indépendants

le huitième épisode dans ma quête de l'image qui convient; cette fois basé sur une vue familière de mon bureau d'ottawa. la musique est encore une fois composée seulement de monotron et de miniKP.


plaisanterie infinie

Among David Foster Wallace's papers at the Ransom Center at the University of Texas at Austin are three hundred-odd books from his personal library, most of them annotated, some heavily as if he were scribbling a dialogue with the author page by page. [...]

Wallace committed suicide in 2008. There has been a natural reluctance to broach questions surrounding the tragedy with his family and friends, just as there was reluctance to ask him directly about his personal history when he was alive. But there are indications—particularly in the markings of his books—of Wallace's own ideas about the sources of his depression, some of which seem as though they ought to be the privileged communications of a priest or a psychiatrist. But these things are in a public archive and are therefore going to be discussed and so I will tell you about them.

One surprise was the number of popular self-help books in the collection, and the care and attention with which he read and reread them. I mean stuff of the best-sellingest, Oprah-level cheesiness and la-la reputation was to be found in Wallace's library. Along with all the Wittgenstein, Husserl and Borges, he read John Bradshaw, Willard Beecher, Neil Fiore, Andrew Weil, M. Scott Peck and Alice Miller. Carefully.

Much of Wallace's work has to do with cutting himself back down to size, and in a larger sense, with the idea that cutting oneself back down to size is a good one, for anyone (q.v., the Kenyon College commencement speech, later published as This is Water). I left the Ransom Center wondering whether one of the most valuable parts of Wallace's legacy might not be in persuading us to put John Bradshaw on the same level with Wittgenstein. And why not; both authors are human beings who set out to be of some use to their fellows. It can be argued, in fact, that getting rid of the whole idea of special gifts, of the exceptional, and of genius, is the most powerful current running through all of Wallace's work.

à lire sur the awl: inside david foster wallace's private self-help library, par maria bustillos

en passant: oui, oui, je suis bel et bien en train de lire infinite jest!



burroughs ouvre le feu sur shakespeare...

... ou plutôt, sur un portrait de shakespeare par le gonzo ralph steadman!


clapping music


alex ross à ottawa

alex ross était de passage au centre national des arts aujourd`hui, sa première présentaton canadienne. écrivain et critique musical pour le new yorker, son merveilleux article sur sibelius, parut en juillet 2007, m'avait profondément ému.

sa présentation solo (accompagnée de fréquents extraits musicaux) était intéressante et la salle remplie à capacité, un bon signe pour la musique en soit. les laborieuses questions du public, malheureusement, m'ont fait fuir précipitemment -- il y a aussi que je ne deviens pas moins snob avec l'âge, gna!


à lire absolument

l'article de lawrence wright dans the new yorker: The Apostate
Paul Haggis vs. the Church of Scientology

[...] At the meeting, Davis brought up Jack Parsons’s black-magic society, which Hubbard had supposedly infiltrated. Davis said, “He was sent in there by Robert Heinlein”—the science-fiction writer—“who was running off-book intelligence operations for naval intelligence at the time.” Davis said, “A biography that just came out three weeks ago on Bob Heinlein actually confirmed it at a level that we’d never been able to before.” The book to which Davis was referring is the first volume of an authorized Heinlein biography, by William H. Patterson, Jr. There is no mention in the book of Heinlein’s sending Hubbard to break up the Parsons ring, on the part of naval intelligence or any other organization. Patterson says that he looked into the matter, at the suggestion of Scientologists, but found nothing.

Davis and I discussed an assertion that Marty Rathbun had made to me about the O.T. III creation story—the galactic revelations that Haggis had deemed “madness.” While Hubbard was in exile, Rathbun told me, he wrote a memo suggesting an experiment in which ascending Scientologists skipped the O.T. III level. Miscavige shelved the idea, Rathbun told me. Davis called Rathbun’s story “libellous.” He explained that the cornerstone of Scientology was the writings of L. Ron Hubbard. “Mr. Hubbard’s material must be and is applied precisely as written,” Davis said. “It’s never altered. It’s never changed. And there probably is no more heretical or more horrific transgression that you could have in the Scientology religion than to alter the technology.”

But hadn’t certain derogatory references to homosexuality found in some editions of Hubbard’s books been changed after his death?

Davis admitted that that was so, but he maintained that “the current editions are one-hundred-per-cent, absolutely fully verified as being according to what Mr. Hubbard wrote.” Davis said they were checked against Hubbard’s original dictation.

“The extent to which the references to homosexuality have changed are because of mistaken dictation?” I asked.

“No, because of the insertion, I guess, of somebody who was a bigot,” Davis replied.

“Somebody put the material in those—?”

“I can only imagine. . . . It wasn’t Mr. Hubbard,” Davis said, cutting me off.

“Who would’ve done it?”

“I have no idea.”


“I don’t think it really matters,” Davis said. “The point is that neither Mr. Hubbard nor the church has any opinion on the subject of anyone’s sexual orientation. . . .”

“Someone inserted words that were not his into literature that was propagated under his name, and that’s been corrected now?” I asked.

“Yeah, I can only assume that’s what happened,” Davis said.

After this exchange, I looked at some recent editions that the church had provided me with. On page 125 of “Dianetics,” a “sexual pervert” is defined as someone engaging in “homosexuality, lesbianism, sexual sadism, etc.” Apparently, the bigot’s handiwork was not fully excised. [...]


réalité analogue

pour ce septième clip dans ma série de petites vignettes audiovisuelles inspirées du tractatus, la trame sonore est composée sur monotron, un petit synthétiseur de poche.


james blake

la trame sonore de ma quête de l'identité de ce 21e siècle...


déjà un an dans ce deuxième dixième du vingt-et-unième siècle!

et toujours pas de robots meurtriers ou d'autos volantes...