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The area of Moure is a physical and representative site (at scale 0) of risk management of future disasters related to human activity. It is a symptom of this activity, the management of these risks can affect the change (makeup due to the retardant) of the ‘natural’ site: terrain modification (acidity…), its flora and fauna.
This area, unlike the rest of the massif, is watered periodically. Salt water and retardant — made of fire-retardant salt: ammonium phosphate; thickener: gum or clay; dye: iron oxide; andd some other components in small quantities — are dropped by the ballet of Pelicans (Canadair CL-415), Trackers (Grumman S-2), and other planes. The place has a symbolic function (stigmatizing, red) in an environment that consists of white limestone and scrubland, with slopes covered with Aleppo pines. The area is visible from a variety of places from the city of Marseille and its surroundings, such a monument making me strangely reminiscent of the sacred rock (for Aboriginals) of Uluru in Australia.
The book The Songlines by Bruce Chatwin has opened me to a vision of the Australian continent in particular. This fantasy is mixed with sandstone winds space crystallized by the theories of Paul Virilio, where speed and accident led me to the childhood: I wanted to become a flying being.
The genesis of my work has proven to be flying through sounds, words and images. The experience of traveling through the ends of the countries I’ve been through, gives me the feeling that the site of the area of Moure is not charged.
It was not my sense of telluric magnetic or vibratory power, as when one is facing with a glacier, a rainforest or when making the experience of being in the middle of the Roland rift…
The area of the Moure is masked and perverted to the needs of men, even in its linguistic morphogenesis: “l’amour”; the mourre of pouar: pig’s snout in Provence (characteristic fishing boat on the Mediterranean coast) [wikipedia].
At first, I had to unconsciously use the imagination of my childhood deprived of adult prejudice to enter into this landscape. The appropriation of the site by the imaginary (I), to whom I gave a symbolically (S) sacred or even magical sense, led me to create through existing holes, a third hole between the two dimensions (I, S). This third hole or void transmits in each listeners reality a kind of timeless instant of games, and the “I” of a speculative fiction, connected to a memory resource, a source of imagination.
[English translation: John Anthony Huss, iv-17]
L’aire de la Moure 2 was revised in 2015-16 at the composer’s studio in Marseille (France) from L’aire de la Moure of 2013 which was commissioned by GR2013 and Radio Grenouille for Marseille-Provence 2013 — European Capital of Culture. Text: À la flamme des fouets by Paul Éluard, © Éditions Gallimard. Recorded voices: Natacha Muslera, eRikm. Thanks to Jean Paul Barde (technical typology), Julie de Muer, and Bernard Clavier.