Jordan
Olivier Quiqueret

Label platform conceived as an extension of practice. The label's musical releases are available for listening with a player whose visual is synchronized to the music — each track generates its own image in motion, inseparable from the sound. A store allows the purchase and download of works. The WAV Tableaux — audio-reactive visual works intended for physical spaces — are also distributed there: the visitor can acquire a work, configure it and print it to install at home. The site integrates an innovative sharing feature: the visitor can capture the generative visual live and share it directly to Instagram from the browser, with no third-party app. This echoes the WAV print — the same logic of extracting a unique moment from the flow and anchoring it in a physical or shareable form.

Composition of over three hundred tracks published on Bandcamp. The practice is built around a custom Lemur multipoint controller: a tactile surface designed to control the presence of each MIDI loop in the mix — loops coexisting simultaneously. The gesture does not trigger, it weighs: each touch modulates the density of a layer, turning the composition into a live act of balancing. The loop is not an end but a tool of narrative continuity — each track is a single-take snapshot, real time as the sole compositional principle. Ongoing pursuit of an acoustic sound through electronic synthesis. These tracks also serve as source material for four-channel mixes produced on a custom tactile interface with ribbon equalizers for the ronde.paris website.

Wall liquefaction reacting to shared sounds. Collective sound as the original vector of gathering — from bells to sirens. Collective memory made visible. Complete device design: hardware architecture on Raspberry Pi, LED panel design and integration, audio-reactive engine development.

The interruption, as an imprint of the sharing of time by sound, having printed in us the feeling that, sometimes, the error is above all urban. Body + gyroscope as sound/image interface. The visitor holds in their hand the weapon of their own aggression: control, hypnosis, rebellion. Each piece is accompanied by a poetic text — writing as an extension of the sound and visual work.

Jam session recorded on the MPC, no edit. Real time as the sole compositional principle.

Technical architecture and audio engine development (SuperCollider). Translation of plants' electrical signal into living musical matter — the plant as instrument, the living as score. The technical choice here is not merely technical: it serves a poetics. Each plant receives its own autonomous audio node — the system individualises every entity in the installation and decentralises its technical infrastructure, so that connection emerges not from a central hub but from the intrinsic, shared light that passes between plants.

Design and programming of an MPE electronic instrument in SuperCollider — pressure-sensitive, polyphonic MIDI, inspired by wind instrument dynamics. Two performances at Le Générateur d'Ivry. This work led to an introductory course on SuperCollider and its integration with acoustic instruments, given at Le Générateur.

Resolution of the quadrature of the circle through augmented reality. Work developed in Unity / EasyAR during an artist residency in Portugal.

Experimentation using the Steno language as an audio routing structure in SuperCollider. Each chord-stroke becomes a routing instruction in the signal graph, controlled in real time via the mouse XY position.

First navigable sound poetry magazine in augmented reality. Fusion of printed text, sound and physical space.

Experimentation with TidalCycles, from the algorave scene — live coding as a poetic compositional tool. Research into a form of algorithmic poetry where code becomes language.

Two collaborative vinyls around the locked groove principle — the loop as form, not as accident. Performance at the Palais de Tokyo: eight turntables played with four hands.

Live group formed with Cedric Pigot. Rhythm section and Max/MSP FX patch for drums — real-time processing of the kit through a custom effects chain, connecting electronic programming to a purely physical rhythmic practice. Live performances at Le 104 and Balzac Champs-Élysées.

Péniche Concrete · Batofar · Nouveau Casino · Église Saint-Merry · Cinéma Le Balzac (Champs-Élysées) · Le 104 · Galerie Plateforme Paris.

Ongoing sound design work on the Dave Smith Evolver synthesizers and Madrona Labs instruments — Aalto (waveguide synthesis), Kaivo (granular physical resonator synthesis), Sumu (additive spectral synthesis). Search for an acoustic sound with a natural placement of elements in the sonic space.

Reprogramming and optimization of the Metaphysical Function synthesizer by Native Instruments in Max/MSP and CSound — exploration of a concept of drawn envelopes as a compositional gesture.

Organization of happenings and events at the intersection of arts, poetry, sciences and music.