Category: videos

In the posts following this one, each animated sequence is presented with a few sentences of commentary and some still illustrations.

However, visitors wishing to access a video directly will find the link by clicking on the appropriate thumbnail.

ebb and flow (7 mn 55 s)

dark matter (5 min 17 sec)

pointillism (8 mn 23 s)

in all colors 2 (4 mn 34 s)

dunes (8 mn 26 s)

circles and straight lines (5 mn 38 s)

where parallels meet (11 mn 33 s)

backlight (original version 3 mn 03 s, version accompanied by Pierre Boulez's Notations 2 mn 53 s)

I saw the sky become overcast, the sea quiver ... (original version 5 mn 18 s, second movement accompanied by Henri Dutilleux's Métaboles 2 mn 45 s)

leeward (7 mn 21 s)

in every color (8 mn 52 s)

draperies billow, waters and ice billow  (6 mn 35 s)

in the clouds (8 mn 29 s)

fractures (2 mn 18 s)

sea ice (11 mn 29 s)

sharp edges (11 mn 15 s)

as the water flows (12 mn 31 s)

mist (8 mn 20 s)

movements (original version 4 mn 01 s, version accompanied by Tout Un Monde Lointain and Henri Dutilleux's Métaboles 3 mn 51 s)

lights and reflections (8 mn 17 s)

broken lines (2 mn 53 s)

ice pack (11 mn 27 s)

grey sea, yellow sea (2 mn 38 s)

curves (3 mn 12 s)

lines (4 mn 15 s)

night (7 mn 36 s)

blue sands, yellow sands (7 mn 36 s)

three minus one (3 mn 59 s)

the clear and the imprecise (3 min 15 s)

Azure, Or and Argent (6 mn 15 s)

à la Prévert (6 mn 50 s)

hatching (7 mn 35 s)

Meeresstille und glückliche Fahrt (6 mn 31 s)

cumbre vieja (6 mn 38 s)

in transparency (2 mn 21 s)

why a black triangle? (three separate movements, 4 min 10 sec, 6 min 45 sec, 3 min 49 sec)

why a black triangle? (three linked movements, 14 mn 33 s)

black lines on a multicoloured background (3 mn 30 s)

‎black! (2 mn 16s)

a certain fluidity ... (3 mn 28 s)

red, blue, steamy, rough, aquatic ... (9 mn 19 s)

in red, black ... and green (4 mn 05 s)

Black? (5 min 52 sec)

making you feel dizzy (4 mn 10 s)

Back to the aquatic element with this sequence based almost exclusively on real shots, videos or photos: in no particular order, the salar d'Uyuni, a gutter on Rue Guynemer, the fountain at Place Saint-Sulpice, the basins at Doha airport, a lagoon in the Maldives, ports in the Persian Gulf, and the Atlantic and Pacific oceans.

 

A sequence based on the fixed compositions uploaded in September 2023. The material, very dark at the start, takes on some color in the last two movements.

 

 

 

 

A sequence obtained by digital processing of real shots. The images are processed to modify their appearance and merge them. However, it has not been possible to completely reduce the effects of camera instability during the shooting process.

first movement: entirely based on images of luminous drones flying in the night sky over the port of Abu Dhabi.

second movement: drone images are joined by images of birds flying over the port of Mumbai.

third movement: the birds are replaced by other drones, this time flying over Lake Lugano, along with a few other shots featuring clouds of dots.

 

Dunes in the desert around the Persian Gulf and, in the second movement, the elements of a digital composition presented in a recent article.

 

A whole set of parallel lines in motion, drawn in black and white or taken from real shots.

first movement: steps of the waterfall at the Fondation Louis Vuitton in Paris, fountains on the forecourt of the Burg Khalifa tower in Dubai, reflections of the lights in the port of Abu Dhabi, sands flowing from the dunes of Quatar,

second movement: cranes in Persian Gulf ports, refinery chimneys on the Detroit River, salt tracks on the Salar D'Uyuni,

third movement: tours of Persian Gulf cities,

fourth movement: reflections of Abu Dhabi harbour lights again, ski tracks in the snow at Megève.

 

 

 

As I've already said, when composing this sequence and many others, I had in mind the musical creations that are dear to me, first and foremost those of the two great composers of the late twentieth century, Henri Dutilleux and Pierre Boulez.

Exceptionally, the link below leads to a version of the sequence enhanced by extracts from Boulez's Notations for orchestra.

 

 

 

As I've already said, when composing this sequence and many others, I had in mind the musical creations that are dear to me, first and foremost those of the two great composers of the late twentieth century, Henri Dutilleux and Pierre Boulez.

Exceptionally, the link below leads to the second movement of the sequence, enhanced by an excerpt from Henri Dutilleux's Métaboles.