At the back of their tiny glass office, on the footbridge of the building designed by Renzo Piano, a white board announces the color.
Covered with mathematical acronyms, computer acronyms and musical signs.
No doubt, we are at the heart of IRCAM, Institute for research and acoustic / music coordination founded by Boulez in 1977. This is where, since 2000, the thinking heads of the Musical Representations lab directed by Gérard Assayag, have been dealing with the "Machine" to teach him to interact with the musician.
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In these walls paraded the great improvisers.
From Bernard Lubat to Steve Lehman, via Raphaël Imbert or Hervé Sellin.
They all competed against OMax, SoMax or DYCI2… High-performance software developed by the institute.
Hervé Sellin renamed them “infernal machine”.
“At first, he didn't want to hear about improvisation with artificial intelligence.
Now, when he's in the studio, you can't stop him.
He let himself be surprised ”
, confides the researcher-composer
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