OrdiNature of relational evolutions through living-playing, of which audiences are actors, heroes, authors and composers.

Compilation of a few pages of notebooks, ideas, explorations and sketches for different projects.

                        SEAWIND FLOWER FISH - CACHE A L'EAU - BALAPLUIE - BALAPLAY - KLANKEN ISLE...

New Technologies:

During art studies in Ireland, my life project found itself. Create an all-inclusive media, a universal formula and synthesis, without being limited to the past and future of the past. More than thinking or trying to formulate what was sought, embryos were born. There was a whole born from the changes implied by humanity's discoveries and knowledge. Letting me anticipate that nothing was in “one more stage of evolution”. This holistic project had become "possible", my lives would be dedicated to its birth and first steps.

              The blessing of the time traveling flying cat walking on the water of the sun      

SEAWIND FLOWER FISH

Student at the Dun Laoghaire Institute of Art - Design and Technology, I worked for a year with my best friend "Steph Casey" on a competition reserved to Irish art universities. Which aimed to create permanent artistic installations for the port of Dun Laoghaire and one of the jetties, which is both a door to green Ireland and a privileged space for the Dublin area populations to walk into the sea.

In the twenty main projects we selected to develop to form a coherent whole, I dreamed of a musical sculpture at the heart of the project: A hollow stylized ovoid fish, simple in appearance on the outside and more complex on the inside. To be played by the winds and collecting rainwaters, would produce evolutionary compositions of giant ocarina sounds and aquatic percussion.

While being a sculpture to play with and seeking to cultivate its potentials to become an icon and an effigy of the port, the city, Ireland... ? Unifying inspiration of sculptures appropriated by populations worldwide, in search to be reached by an alchemy beyond the addition of ingredients (→ SeaWind Flower Fish).

My experiments and prototypes didn't work. Transpose what seemed to me to be the principle of flutes for example, produced fascinating ideas because I was nowhere close to understanding and yet less master the physics of the opened chalenge. This immersed me in the study and exploration of "sound processes", learning how to put everything into vibratory relationships.

We won the competition beyond all expectations: Out of 19 selected projects, 13 were were from the ones we dreamed and developed. There was a public exhibition while I returned to Belgium to do my conscientious objector service. Political power changed and the project was simply cancelled. From co-architect of a permanent public architecture project, for a flagship site of a European capital, the return to Ireland closed.

At he time it was an extreme blow, but I couldn't do anything about it and I had found my life project in "Seawind Flower Fish", which had not been selected. Since, I am so much more aware of the lives that were erased, as I lived it numerous times and witness universal sacrificial processes. Fundamentaly, humanity's emancipation from them, is the sole and unique source of my works, lives, each second and everything has no other objective and finality.

CACHE Á L'EAU :

After a dozen years of research, experiments, routes and detours, I was working on the realization of a musical circular boat, for the first edition of the City Sonics festival in Mons (Belgium).

Inspired by an article about sperm whales stranded and dying on beaches, due to the evolution of permanent sound pollutions in the oceans. Scientists searching for solutions were studying their language and African griots listening to recordings of the whales. Had offered a reading key by making the link with percussion and music: " Ah, these are the young ones overproducing and there is an old wizard, coordinating and giving the soul to the whole, with almost nothing".

When moving on the installation, a water tank pushes air towards the flutes. In the camembert floor, different tribes of marbles, move and produce more and less random percussions, in relation to the movements of the players-composers. From the proportions of the drawing, the shell would be +- 2m in diameter. I had made an oven to bend the wood with steam and I was building a hull, closer to 4m in diameter.

"Giant Bellows" built in 2002 for the Zineke Parade of Brussels, which I transformed into a sound sculpture to be played by open publics. It was to be exhibited in the lobby of the youth hostel in Mons et Cache á l'Eau, outside in the garden of the town hall. Successful failures: The bellows originally built by the "Centre Reine Fabiola" to project feathers, was diverted to operate instruments. It gave a large volume of air, without approaching the pressure to operate reeds, for chords of flutes it was ideal and two valves, allowed to modify the chord.

As there was a one minute breath or less and no continuous air production. For this installation there was no off-centered drones and melodic instruments, to play with this giant whistle bagpipe. It naturally pre-dated and anticipated the birth of the "Vélo d'appart" Cyclophone, were the bellows activate an orchestra mainly of reed instruments in space.

BALAPLUIE :

At the last minute, the festival’s insurance companies refused to insure Cache á l'Eau for fear of vandalism? To avoid to have only "Soufflet Géant" exhibited, I built "Balapluie" in a few days. A simple scale, a 4.50m rain stick divided into three channels: A labyrinth of nails of different sizes, planted to slow down the falling marbles, where each nail is a note. The micro-tonal rain lasted +- 1 minute , in addition to this main channel there was a straight and brutal channel with metal petanque balls and a slalom descent channel, of chime-marbles (I collected treasures of marbles, boules and balls :-)

The simplest of installations, but during the month of exhibition the public and passers-by didn't stop playing. I was impressed by the relational ballets and the qualities of appropriations. Balapluie also became a public furniture, to sit, lie down, play, for a picnic. Adults sometimes waiting and checking that there was no one, before trying and then forgetting that they could be "caught in the act of playing"? Potentially everything was whole, it was a Eureka.

The "fixed and mobile" dimension, as well as the linear and binary movement of the balance, was much richer and freer than the circular and spherical installation. The simplest of objects and mechanisms, was the most open basis. It allowed to have a precise control, balls acting as fingers that can trigger processes and events.

It is a fascination of many artists and researchers. Including Pierre Andrés who had created and assembled mechanisms with marbles and to guide them. Making poetic wooden installations, sometimes small like "la tour du temps" or more monumental ones. The French state has patented many of the mechanisms he invented for his machines. The toy industry has designed a "Légo" to build ball descent architectures. David Morrell and Rob Moore dedicated their lives to creating such installations. Wintergatan, a mechanical ball-bearing musical instrument .

In many films we find descents of balls or an event that produces chain reactions, including "Le Mistère de la chambre jaune" . And Terry Gilliam's "Brazil" where the whole film is the chain reactions of a T becoming a B. A complex illustration of the Chaos theory. Which in a different and identical register, may also evoque Douglas Adams "hitch hickers guide to the galaxy", where humanity's absurdities can flourish at the scale of the universe and all times ? The fundamental interconnection between all things, becoming multidimensional. Linearities in none and appropriated discoveries of the time already making all boundaries and rules, fall. In the early 1980s, his books became my first bible.

- Linear.

- Control.

- All visible.

- effective and milimetry.

- Valuable, demonstrative works, universal exclusion ?

- Infinitely simplistic complexity, compared to nature and reality ?

( Chaos - Constructal - Systemic)

At the service of decompartmentalization and emancipation of control, linear, mono "directional - dimensional and functional". Reject it in favour of the random, living, fragile, unpredictable, omnidirectional and dimensional, multi-sensory relational architectures and evolutions...: Was a mistake.

The most open are relational expansions and organized chaos. The controllable base, opened the whole spectrum: Control serving all amplitudes of more random-free and relational movements with players. To produce living collective games, which are always unique, that change and can be vehicles of all amplitudes of transformations.

One and the other and the other...

BALAPLAY :

3 scales form a space in which the relations between players and the installation, create complex geometries and movements in space. By working on the relationships between 3 separate installations forming one, the circular installation reached a maturity of open potentials. "The scales are the installation" is an inverted reading of reality and of the universal source of production.

The installation is the environment and the universe, in which Balaplay is a relationnal omni-interface, door, vehicle, bridge. During my art studies it began as works with doors, passage from universes to others, transformations, mutations... Before Balapluie it became a project to make alive mechanical musical "bridges", especially those for pedestrians. Dreaming relations and compementarities between bridges in a town and all over the world, wether in the form of bridges or anything else.

From the begining it was a different approach of universal unification of humanity, life, the universe, everything and everything else. As a single evolving "brain" in which everything visible and invisible, close and far... Is in exponentiel simultaneous relationnal expansions and evolution. The "OrdiNature" Computer-Nature was searching for itself and finding the materialization of a first embryo.

Infinity:

Between two notes there are infinities of notes and wider between two octaves... in a single dimension. As time in reference is always a relation between past and future and no matter how close the divisions get to a "present", it can never be reached ? Fractals exposed structures and infinity, whole and equal at all scales. In a 1D movement from bottom to top or from top to bottom? ( Fractales - Mandelbrot Fractal zoom - Loop 3D fractals - old fractals mix - L'univers observable (zoom out and in too quark)

The more the consciousness of everything being first "infinite" evolve, the more richness is infinites free of all corridors, limits, clustering and limits: Omnidirectional and dimensional, open infinity.

Infinitely fluid, interconnected and simultaneous realities:

> A total absence of reliefs, an absolute compression in relation to a line or point (→ 1D reality ).

< Universal omni-reliefs, unlimited (→ Reality of realities ).

BALAPLAY :

The potential evolutions of channel complexities were unlimited. The lever arm and gravity offered powerful forces, directly related to the weight and movements of the players-composers. There could be systems using liquids, air under pressure, olfactory diffusion, all systems of nature and developped by human civilisations...

The scale has only two positions, which with several inside floors, progressive holds of balls and internal courses. Could produce for each "balance: Bala-sons" short and long cycles: A cycle of 3 triggers, one of 6 and 8, crossed and producing a whole cycle of 26 triggers for a balance for example. The cycle of 26 swings to return everything to its original position is destabilized and depends on the players' appropriations. Everything being each time unique, in a canvas of identities of the Balassons.

Which with the 3 Balassons, intersect to produce relational evolutions and a whole in which "reproduction" is impossible, while remaining in architectures of relational identities at each scale. I could weight a Balassons, so that it returns of itself in its initial position or not, or by long cycle with a progressive moving ballast. In the transformations through games and appropriations, the three installations could induce players to change direction. A set of games and access, requiring two or more players. Or to develop complex gymnastics and to compose unique overall perceptions of the whole, in time.

Cinema-Lego-Minecraft:

A basis where there were no limits to the evolutions of complexities of channels, independent and/or interconnected, over several stages, in addition to all forms of changes resulting from the games. With potential for programming installations by the players-composers, a joystick is lowered and all the inner circuits change. The scales could also become a "cinema": A rectangular box, receptacle of channels and series of channels produced by artists, populations, schools...

An "OrdiNature" which can host infinite forms of programs, to play and compose ones in relation to others. Fixed installations in several cities and environments, opening the creativities, identity expansions, exchanges of internal channels, more abstract or created on the basis of themes... A geodynamic project, an internet of relational evolutions and universal unification. Unifying, cultivating and amplifying the unique potentials, differences, capacities and richnesses, each reality is sole center of.

Optimal proportions of universal (empty) host-scale, were already confirmed in the first exhibitions.

A poly-sensory relational "Theater-Cinema" to live. In which there is no more scission between producer and consumer, no pre-defined beginning and end, in which each participant is the center of a unique relational experience and journey. Where everything is "each drop is the whole ocean", omni-dimensional "no center and only centers". Without direct dependency to electricity and digital technologies, the scale remaining a universal "motor" that can be diverted to operate almost anything. For example, as a heart-motor of gardens.

(→ Alive Water-mechanical gardens ) universal interface becoming universal fusion, was already whole and in gestation.

Each Balassons was dedicated to an element "Water - Earth - Fire" unified by the air, sounds and the appropriations by players-composers. No interaction can be all levels of participation, and the appropriations guide the evolutions of the public tool. To be universal, all was first structural and abstract, altough any specific theme can also produce any level of more literal materialization.

The first version of the "Earth" Balassons.

First exhibition at the City Sonics festival _ June-July 2004.

A version that remained hardly more complex than 3 giant rain sticks. But the first computers were the size of a building, to make in a week the calculations that a child does in a few minutes with an abacus meter.

Since then, computers are millions or billions of times more powerful, omni-versatile, and fit in a pocket. A concrete materialization: Of exponential degrowth, inside only exponential omnidirectional and dimensional, simultaneous and unlimited expansions, evolutions and growths.

But to have only one, all resources and the whole humanity are monopolized. Cultivating macroscopic and universal collapse of human systems and the Earth system.

Only simultaneous expansions, evolutions and growth, is also possible without: Paradoxes, divisions, sacrifices, losses, frictions, destructions, concessions, compromises, unconsciousness and wars of survival, control and emergency mechanics, dependencies-codependencies, fatalities, impossibles, constraints and limits: For the totality of realities.

With (→ 1D reality ) in expansion inside and in relation with (→ Reality of realities ). Rather than (→ Reality of realities ) inside and at the service of (→ 1D reality - duality - war). Paradoxical and suicidal exponential evolutions against flow, open the most unconcievable "Birth" and begining of evolutions, of all times past and to come.

Materialization of a dream:

A month before the opening of the exhibition I finally had the money to buy the materials and start building, I slept less and less until ending up with three sleepless nights. I was sleeping between the time I put the screw tip on the screw and when it is screwed :-).

It is one of the most wonderful memories of my life, bathed in music under a shed roof, in a field on the edge of a wood. In June, living the sunset and sunrise, days almost without nights. During which the rats screamed as they circled around the scales, furious to have a neighbor disrespectful of their sleep ? Tea and apple juice, was apparently the most effective to not sleep anymore, living the realization of the first embryo of a dream.

Ending 2 hours before the arrival of the truck, rather than risk a nap I took a bath and relaxed. When the truck arrived, we loaded and on site, I put a protective layer for the wood. Then I prepared the installation, adjusted the levels and finished laying the floors, a few minutes before the official opening and the arrival of the first public:-)

Feron Arts (in this version there were some small windows to see key parts of the inside )

Complexity:

Buddha lives open accesses to life (→ Reality of realities ), alone and with a "being reached" technology: Meditation. The "to reach" process does not reach (→ Reality of realities ), monopolizing all humanity and all resources in an omni-suicidal process, as default path to emancipation.

In the end everything joins and 1D universal unification opens macroscopic "Birth".

Or not: Life cannot make the step of unification, birth, maturity and autonomy, of which humanity always was the interface.

Meditations are technologies which evolved from the first steps of humanity, they may be the most complex and evolved technology, free of all paradoxes: It can also be seen as somebody sitting down and doing nothing :-)

Present and absent audiences, who play or watch, create a unique, living and permanent play in public "lung" spaces. Evolutionary art on which to walk, abstract-structural and poly-sensory. Totally free and hyper structured.

Not seeing the inside exposes that it is impossible to "lie" to our senses. Developing languages of visibility of parts of information: At the service of journeys in which the whole becomes gradually clear, differently for each and developing unique relational virtuosities. Whereas all audio-visual media have more and less cumuls of flat and linear dimensions. By being fictions, selected parts of information, moved in space and time ( → Ways of Seeing).

A poly-sensory cinema-therapy to live and play, promoting the evolution of "universal structural transfer". Rapidly exposing that this "forgotten, fought and beaten direction of outmoded pasts, is not only "equal and different".

Public hero, composer and author - Autonomy:

During my years of work with a regional institution to the service of children in care and juvenile delinquents. The management gave me almost a carte blanche, which became an ever more complete trust. I developed pedagogies and tools to the service of a journey towards autonomy, of which each is sole and unique center: Becoming responsible from oneself, without being limited to appearances and for rewards, including the absence of punishment.

Cultivating multitude of possibilities to start a path, which changes direction. An illustration: Would be a journey to reach "the Grail or Jerusalem", but each new step opens up perspectives and openings that did not exist in the previous "step". There are changes of direction and the objective exists to travel, not to be reached "The journey is the destination ?".

Serendipity motors: One of my sources of inspiration was the way of driving of the holistic detective from Douglas Adams' novels: He follows cars which seem to know where they are going and intuitively changes guides. He expresses that like this, he almost never reaches where he wanted to go, but often arrives where he had to be.

The mechanics, rules and laws of the "Being reached" processes developed at the scale of my life, putting everything in relational expansions. Every tool born through me, seeking to share, materialize and offer shortcuts.

If the individual and collective appropriations are standardized, the architect-tool maker has failed. The games and experiences of audiences guide the evolutions of their tool, conceived as a "to be reached" computer. Control of the direction of developments and loss of control of the users.

Energy - Motor:

No electricity and digital technologies are omnipresent in conceptual, relational, language and approach evolutions, avoiding their physical presence. Avoid dependencies and paradoxes, promote levels of versatility, adaptability and both relational interconnected and autarkic dimensions.

In case of reduction or absence of electricity, failure or respect for "fossil fuels?" and all that is non-renewable?

There is also a direct link with my mad educationnal surf journeys, where I dreamed of free educational tools: At the service of the fulfillment of all forms of differences, potentials, abilities and richnesses, each reality is unique center of. Also unifying the traditions of garden mechanics in Europe and on Earth, as well as the oceans of tools and evolutions of human civilizations. While being in phase with the inversion implied by Chaos theory, Fractals, Constructal theory, quantum physics, fundamental changes in arts and all fields.

The game:

During my years of work with a regional institution as head of cultural and sport education: One of the axes of a pedagogy based on "access" by developing relational "surf" and evolution; was strategy games, building and playing them. At the end of those years, we transformed all strategy games into cooperation games. Appropriating the fundamental form of "game": We no longer fight against each other, but together against the game. Appropriating, exploring and diversifying the rules together.

KLANKEN ISLAND:

Meanwhile, after the publication of the book "Chercheurs de sons" in 2004, in which there were a few pages dedicated especially to Balaplay. The Musica association had commissioned the project of a perennial version, for the Neerpelt Klankenbos (sound forest). This was the purpose of embryos created for temporary exhibitions: Simultaneous, unlimited exponential stability and instability: Sedentary I became nomadic, the installation "omni: sedentary and nomadic" unifies the qualities and riches of both, opening up relational expansions.

A universal unification, tool of the universal unification which created the tool. An approach related to and trying to unify that of cinema, computer, theater, multipurpose auditorium... In a way that allows to go beyond the limits of evolutions, in the path they are promoters and fruits of.

"Electricity was not born from the evolution of candles!" (Niels Bohr). Bringing together all the arts, media, science "Everything", to create a Total Art: Would be like gathering the ingredients of a human being and adding electricity, what you get is an electrified mud ?

I could design a much more complex and mature project, having the experience of Balaplay’s exhibitions. For a permanent installation I designed a project with a single scale, which activates instruments and events in the space all around it. With buried bellows that soften the playing and allows to choose the speed of descent, while producing air to play flutes and all kinds of events in space.

                                                       View from above of the installation integrated to the environment.

The installation occupying an extensive space, with musical public furniture, was the creation of a modular island, in a spirit of openness to the environment without crushing anything. Integrate and create an omni-interface island of relational openings with ourselves, between us and with the environment.

"Crazy Waterclock" a project of aquatic "Katchalka" and a video of the mechanical version of Pierre Andrés. By operating the scale the water tank is filled. The clepsydre gradually empties the tank and adjusting its flow, allows to slow down or increase the flow of marbles.

But it is a Katchalka that releases a ball in the canals, every 3 minutes up to over half an hour. Leaving a memory of the last passage in one of the two positions, for several hours or days. Depending on the settings of the clepsydre and the marble stock, which can either be filled at each passage or with programmed long cycles before returning to full stock.

Distribution systems allowing the balls to take different paths in the instrument channels. The first 4 balls can make a third of the balance descent in different courses, the 5th one unblocking the descent of the 5 balls. The ball distribution ramp can change channel floor, after 6 round trips of the scale for example. For the installation to sudenly become totally different.

All programmings are possible with more and less randomnesses, favouring appropriations and perceptions of the complexities of the installation over time. Also feeding the autonomies of populations to "transform-program" their alive installation, so that it is always new. As a one time passer by it can be funny, interesting, magical, discarded as a kids game... Over 3 months to 3000 years, it is ever more.

I had included it as a memory in addition to the main, more immediate orchestra. Offering another temporal dimension, a call to the installation and also to induce perceptions in time, that each interaction has consequences and produces more and less important changes. There are regular drops like those of the Baxter bags, or others whose flow slows down in relation to the water level in the tank. Allowing among other things to play on the relations, with the clepsydres of the water organ pipes of the installation. A memory that manifests itself progressively less over time, except for the balance where the flow is regular for example, or vice versa.

Producing a living set of more linear processes, curves, control, semi random and random processes. Relational with nature, all natural forces, an omni-relational sculpture alive at every floor. Inert without the human beings who operate it, appropriate and program it.

A study for the main box to be "empty" and host to interchangeable internal channels. 1 to 5 independent channels and inside architectures, or a single whole the size of the box. The "scale-boat", being a box with its unique identities, designed to be a universal support of channels. A single scale was in anticipation of an autonomous and geodynamic installation. The empty box that hosts channels with multidimensional architectures. Was also a way to protect the internal channels, improve acoustics and the project, in all directions. Always from the perspective of a media rather than an art work, I made a proposal for appropriation processes and architectures. With a charter and structural constraints of total freedom, an extreme opposite of a fixed project. (Somewhat naturally complementary, to Radio Forest and all other projects already created for the Klankenbos). I finally opted for a scale of about 30cm thickness or more, with a step or according to the possibility of the scale course stopping beneath the ground. To enjoy the full amplitude of swing. Opening the creation of channels on 2, 4 or more floors with different sizes of balls: visual, musical, olfactive, relational creations... Engines: Water, air, gravity, winds, rain, weight and strength of the players-composers. Theatre, game, forum, sport, dance... A first step of materialization of what the project always aimed to become.

Land Art - Ephemeral - Perennial: My explorations of Land Art and ephemeral creations, found a maturity with a "perennial and ephemeral, fixed-mobile..." installation. At the opposite of all paradoxes and sacrifices. An perfection whole from the beginning and searching for itself, a finished piece which is first "initial conditions" of the unlimited future evolutions reaching towards pasts. A "living" collective tool, which has no limits of scope, implications and universal applications. Which "is and becomes". As an illustration of an approach beyond forms: The Sustainable Living Festival of Australia in Melbourne, has taken up the principle of the Fringe festival and is an interface of humanities festival for sustainable development. People build their project in contact with others and organizations all over the world, all year. There is indeed a selection to avoid paradoxical projects, but the principle itself, forms populations to live a permanent sustainable development festival "no center and only centers", in autonomy. In a degrowth festival that had invited me to participate, I met a young oceanographer, who had become "business optimizer?". The business of family members', had asked him to help them become an ecological and cooperative business, self-managed by employees. The success of his work opening other demands, it had temporarily become his profession. Aware of assuming a collective priority, he invested for businesses to become autonomous, evolving on their own and in relation to each other. To eventually become "useless" and free to devote himself in part or entirely to his passion for the oceans. He is one of the human beings I have met who cultivates "independant-interdependent" systems. Feeding systemic emancipation of "dependent-codependent" systems. Rather than consciously or unconsciously stay passenger of their evolutions, at the opposite of emancipation. Systemic therapies and coordination: Structural and systemic approaches of passage to "independent-interdependent" mechanics. More and more systemic therapies, open the encounters of forces, traumas and sometimes distant influences. Making once the journey of exploration of distant forces that channel and make choices for us, opening up the capacities to continue systemic explorations, in autonomy. Meeting how we are automated, sculpted, created and with autonomous existence in the narrowest channels. Opening the evolutions of autonomous existence and simultaneous expansions, in unlimited geographies. I know that I do not exist, so I am? (Material or immaterial realities, or, or?). Almost nothing, just opening a door, a perspective, that can produce positive systemic collapse of in all directions of all blockages, frontiers and "impossibles". I have seen, among other things, the collapse of networks of trauma cultivated over many generations. The resolution of the past, opening resolutions and openings of the future, which open and heal the past, which... In a humanity that is more than ever a single "codependent" system, there is no other stake and priority ?! My lives and works are dedicated to decompartmentalization, leading to "divided and indivisible" realities. Paradoxes in paradox free solutions : The Zineke parade of Brussels is originally a project of sociologists, a "positive conspiracy" of systemic decompartmentalization, self cultivation of links and relational expansions of all populations and forms of organizations. In contrast to control mechanisms, it is a collective tool of systemic coordination, at the service of evolutions of "independent-interdependent" cooperative realities. The parade of the Zineke, whose populations are the authors and actors, is the excuse for the project: The two years of preparation and the collective evolutions, including the resolutions of tensions and recessions of all forms of problems, before they can dream to surface. As indisputable as their utilities, qualities and richnesses are. The festivals and actions of dynamizations and systemic coordinations, remain more and less drowned in unavoidable oceans of dependencies and paradoxes. The solutions and (→ Reality of realities ) have always been assimilated, within and at the service of the paradoxical process of ( 1D reality - duality - war). Which systematically "wins" and blocks the possibility to loose to finally begin wining. The unification of humanity, to emancipate from the paradoxical and suicidal systemic determinism. Balaplay sought to offer a complementary tool, free of paradoxes, at the service of universal evolutions and "Birth". A formula which could only be a tool to live, with no compromise and concessions. In which (→ 1D reality ) is universally in expansion inside and in relation with (→ Reality of realities ) as the sole universal production source. Learn to travel without moving, so that the journey becomes a reality, when and if we move... The usefulness is precisely to avoid universal encyclopedias of communication attempts, which are paradoxical before change has taken place. The approach is identical to all the past and viral functioning not only of artists. The difference is that nothing is in "one more stage of evolution", when humanity knows more than ever, it has never been possible to be more wrong about "everything". "There is a theory which states that if ever anyone discovers exactly what the Universe is for and why it is here, it will instantly disappear and be replaced by something even more bizarre and inexplicable. There is another theory which states that this has already happened." (a number of times ?) - Douglas Adams. → Death - Birth ← Death - Birth. → Dictatures 1D                         - Démocraties 1D    ← La vie coordonne la vie: La Démocratie: → Déterminisme absolu 1D         - Déterminisme systémique 1D    ← La Démocratie: La vie coordonne la vie. If that macroscopic birth happens, after there are no "limits" and human civilisations seem to have always been "unconscious- conscious" about this. Exponential evolutions yet stayed inside 0% emancipation of ( 1D reality - duality - war). The most paradoxical, sacrificial and absolute possible "temporary" constraint.

Outside installation and travel inside the instrument-orchestra. Harmonic flutes of different sizes, forming chords and to be played directly in space, integrated to environmental furniture on which one can sit or lie down and that is part of the installation to play.

Air organ pipes activated by the air of the underground bellows of Klanken Isle, which collect the rain changing the note of each flute. The clepsydre drops activate percussions, while changing the note of the flute until the "empty" note. Still a system in which the notes of the flutes in space, change and cross, according to the setting of clepsydres. Also a system in which instruments are in continuous change, with the possibility to ad water and "tune" everything in the organised Chaos orchestra. the instruments clepsydres can also be part of gardens irrigation systems. Sound and music as everything being secondary byproducts, inside "no center and only centers" evolving architectures.

I had several years of experiments and experience of the potentials of the rain organs and creation of installations where one moves in the orchestra. Composing music by moving inside the orchestra, or a fixed place is a single perspective and omni-sense and sensory music. The sounds and music are no longer isolated from anything and the installation is vehiucle and interface, before being a finality.

The single perspective is not reality and everyone moves in omni "music". By moving a lot, little or not at all, allowing to live better than not movement at all, does not exist. That in "nothing" can be found "All" ?

Begining and "End-Begining" of evolutions:

At the beginning of evolutions "the chair" does not exist and at the "end-beginning" of evolutions, the chair no longer exists. But these two "nothingness" are paroxysms of opposites to infinity. It has become the absolute chair, the one that has reached unlimited levels of versatility and adaptability, its evolutions begining on the basis of this unlimited. Another process from a "blurred-unfocused" unlimited whole to "clear-focused", rather than from less to more. "Me = 1" and "Ma = All and 1" (→ Y) unlimited structural transfer- scission-fusion of (→ 1D Reality) and (→ Reality of realities ).

The organ keyboard to play and program:

With the bellows it was possible to feed air to between thirty and sixty flutes, according to air production and the sizes of flutes park. With or without valves, to change and select flutes of the organ the players program: On the drawing of the overview, the small cabinet above the Balassons is a taps keyboard, composition of the flutes and everything that is activated by air.

Exactly like the keyboard of the "Vélo d'appart" Cyclophone, but to pre-program before playing if there is only a single person playing the installation. A less immediate relationship and a direction of free composition of the space for all, opened multitudes of richnesses and relational evolutions. Including expansions of open and decentralized perceptions of reality and time. The marriage of Balaplay and Vélo d'appart forming Playtime in 2007, was to continue developing this project in a temporary exhibition version.

Temporary Installation ?

A permanent architectural base with all levels of infinite modulation, change and programming, is definitily the richest. A movable park of "Minecraft" components to create any infinity of temporary installations: Would depend on trucks and teams to create architectures, wich could make sense for yearly exhibitions ? Without the more fusional potentials of a permanent base. Balaplay basically only made sense as an embryo and first step. Though there can be "light" installations designed for more temporary exhibitions, it stays a satelite ?

Klanken Island was an early version of "Give someone a carrot and they will eat for one day, teach them how to farm and they wil play the flute all their life, while feeding everything" :-) The installation is alive, continuously regenerating and living "births" by stages. All parameters of modifications, plus the possibility to create channels and exchange channels with other "Islands": All unique and alive, with an identical-universal main structural architecture "cinema" to host films and programs. Theatre, game, forum, sport, dance... Interface and relational universal free "school" ?
 

The authors relational orchestra:

Everything was designed to be a modular sensory orchestra, composed and recomposed. While being in relation with nature and for the identity of the modular orchestra to be totally transformed by other channels, systems and reorganization of the whole Island.

In the annexes, there was a part dedicated to the developments of a geodynamic project, anticipating exchanges with other regional, national and global "islands-cinema-vehicle-boats"? Without being limited to physical movements and exchanges, an internet of relational evolutions. The discoveries and inventions of each, can move as ideas and not necessarily in material forms.

There was also a project of appropriation and realization with schools and local and regional populations. To be directly a collective project of the populations. To promote their appropriation, composition, knowledge and motivations to create their channels and new ones, in the evolutions of "their collective tool". (→ Réalité of realities ) is the "charter", the absolute universal constraint: Inside and at the service of universal unlimited freedoms, independence and evolutions.

The project was rejected by the selection committee "too simplistic and childish"?

The representative of Musica who had requested the project did not agree, but could do nothing about it. On the other hand, he was responsible for the educational project and asked me if I could create a project in the same spirit, based on "Table d'hôte musicale". The "Musiscopes" which were created for Musica and have since been integrated into the main Klankenbos project.

Death-Birth, change and resistence to change:

My lives are dedicated to the search for solutions that preserve all the advantages and richnesses of those that exist, losing all the disadvantages, paradoxes and limits. Opening unlimited omni-evolutions. Communication becoming paradoxical and impossible: Perceptions create realities in their constraints and limits. Hence the interest of "positive conspiracies" to "be reached" by change and expansions, through lived experiences and play, in autonomy.

In the study of bank loan systems, I discovered a "perfect" cooperative system. The losses, trial and errors indispensable to evolutions, are inside an only "win-win" system, at least for the banks. The system becomes "perfect" and unlimited for the totality of realities, by removing the intermediary " the banks":-).

Structurally the system has no limits of applications, offering among other things a cooperative solidarity self-managed system, of management of all forms of temporarily unused resources. Universal and in which all the limits and paradoxes of the system with intermediaries no longer exist.

Beyond the isolated illustration of banks. The systemic mutation based on solidarity cooperation, is omni "win win" for all realities, including the human beings dependent on the system "threatened of death?". The "loss" is a illusion and not a reality. It is only "loosing" the paradoxical and sacrificial system of all passengers, which produces exponential expansions of dependencies to problems and solutions.

Automatic war:

The banks and everything that may depend on them, have little chance of identifying that their disappearance is the key to open and unlimited developments for all realities, including themselves. Resistance to change and all forms of war are compulsive, automatic.

When someone identifies that a small and ugly carrot, is 5 times more nutritious than the large and beautiful carrots that represent almost the entire production. While losing a set of inconveniences, pollution, paradoxes and poverties. The maths are almost instataneous and the "superiority" of these carrots, really flourish only in the change of direction.

But if in one day no one wants of the big and beautiful carrots anymore, the whole system collapses: Producing the loss of the system and of the benefits of change.

Producing resistances and wars to avoid a brutal change, only producing losses and destructions to avoid the collapses of "win win" evolutions. "Unconscious" Changes, mutations and evolutions, are wars whatever their forms. "Conscious" changes, mutations and evolutions and cooperative solidarity, are only "win win".

Tragically simple in theory doesn't make it so in reality. Because it is impossible before the change of "paradigme-brain-vehicle", referential systems and systemic determinism: Producting infinitely fluid realities.

In 2007, the PLAYTIME version also exhibited at the City Sonics festival, became more complex and there were better proportioned windows, opening on transparent channels and a view of the floors. There were also aquatic systems, activating flutes, off-centered instruments and visual events. In addition to all the complementarities, contrasts and languages with the Cyclophone "vélo d'appart" in which the "motor" is air under pressure.

A single cyclist-musician and conductor in one fixed point, at the heart of an architecture of pipes in space where everything is off-center. Events are triggered all around us and sometimes distant or invisible, for the one who pedals and produces events for others, or gives them air and pressure to play instruments. Balaplay is the opposite, giving priority to free movements and choreography in space. Cyclophone and Balalplay becoming complementary.

Pour Playtime á Besançon, Vélo d'appart et Balaplay redevenaient deux installations autonomes, pour créer deux espaces dans un parc longeant le Doubs.

Ballad of a thin man - SEAWIND FLOWER FISH: Not produced. - CACHE Á L'EAU: Not exhibited - destroyed. - BALAPLUIE: Exhibited once - destroyed. - BALAPLAY: Exhibited 5 times - 2 versions - destroyed. - KLANKEN ISLAND: Commisioned - not produced. It may be a reason why I write so much about them ? :-)

La solidarité est toujours absolue: Plus et moins á l'envers dans les passés, á l'endroit dans tous les temps. Les plus riches de tous les temps ? Tout dépend des perceptions qui créent les réalités, dans leurs contraintes et limites. In an artist installation of written messages, there was "Oh God, protect me from what I want and help me being reached by what I need".     Alive Water Gardens: In 2025, "Aquatic Mechanical Gardens" seeks birth, a project of universal unification of human developments and inventions, at the service of nature and universally omni "win-win" relational systems: The same as Balaplay’s "mother" project, but the "universal interface" media becomes a universal "fusion". The relationship in phase with "reality". Humanity is "potentially" and more than ever, the most uniquely positive and unlimited gardener of life. Water can operate everything, including all technolgies, architectures, complexities, omni-inclusive beyond a Total Art of alive universal unification. The "birth and the beginning of evolution, the earth "living aquatic garden" a vehicle-tool at the service of the journey from the future to the past, from what humanity is to what it has become? (Being reached). What if everything was just "Sense-Meaning"?! The utopia beyond all conceivable and imaginable impossibilities is and must become reality, yesterday and retroactively. Everything exists to materialize the first step of universal unlimited win-win, in a second, a day, a year. A small scale "food forest" - At larger scale "The great green wall of Africa" (in illustrations among many others). Alive Water Garden is all that and all the tehnologies of the Futures "past-present-future", all in simultaneous relational expansions, unlimited only omni win win, for the totality of the realities. Each thing that happens and doesn’t happen is more essential than ever before And there are no solutions inside the problem. (→ Réalité of realities ) is the ultimate, absolute and unlimited "threat of life" (→ EVOL - VELO - LOVE ). → TOP