Please refer to my CV and to the section "art as a system representing scientific concepts and mechanisms".

As the only artistic creator of a scientific family, my approach to science and creation is both emotional and rational. I approach art as a language of data translatable across mediums revealing hidden links similarly to scientists who developed their theory from analogies, and draw inspiration from computer theory to create new compositional algorithms where technology augments our knowledge without replacing it.

While it elicits emotions unachievable through other models, music is far beyond a psychological therapy. Audience reactions to my work and experiences from other researchers show that sound has the power to elicit tactile illusions of movement when organized in a specific way. Yet rare is the attention given to it.

Presenting my theoretical system through artworks, I use physical and mathematical theories to analyze timbre and music to represent physical phenomena. Composing the physics of waves themselves, I approach music as spacetime deformed by sound objects which notes move as particles, the environment as an integration of multimodal patterns and the components of timbre as elementary components of matter. Coding sensory cues and physicochemical attributes by artistic qualia through a total alphabet, I design physical energies as mathematical objects described in various ways (logic, number, graph, set…) unlike a social form subjective to culture.

My art depends on creating new links with theoretical research in maths and physics. My research is based on the relation between optical and acoustic signals, analysis of spectrums in the air, and interaction of quanta with matter. It is both artistic and similar to that of scientists using art methodology to develop new theoretical and computation tools. Beyond a focus on technology or humanities in artistic centers during PhD programs, artistic residences or research positions, music rarely uses science as visual artists do. Few of my collaborators had knowledge in music, least of all contemporary, yet led me to a level impossible to reach alone. As true interaction arises from exchange of ideas, I have not published as I refuse approximation. I am driven towards those who achieve things I cannot do : what I initiated with Thierry and Rémi is only the root of unrevealed paths. This philosophy is not foreign to Heisenberg’s manuscript Regions of reality, showing the link between scientific concepts and artistic methodologies.