Ouroboros series (1992-97)

In 1992, I decided to create a series of sound compositions on the relationship between Man and the Environment. In these pieces, these relationships are always built according to the myth of the Ouroboros (which lent its name to the series), or even according to the Eternal Return. It is about following a specific sound story that tells a story:
Nature is, with the man who has no name. Then, man names himself, and is distinguished from natural elements. We begin to experience his presence in the Environment, before he chooses to impose himself there. He manages to transform the (sound) landscape by shaping it according to his own needs. Thus, he sculpts the new (sound) territories of his world, in the sense of its modernity. It now imposes its concept of urbanity on Nature. But, can Man exist within the limits of his creation alone? Be that as it may, its space (mainly the city), all its tools and objects have specific acoustic features. However, in this sound chaos, Nature cannot totally disappear. In the heart of cities, of men, she never stops breathing. At the same time, excessive modernism seems to be running out of steam in its frantic race. So, Men open the doors of their cities again. And, Nature takes its importance again, with the man who has no name.
As you have understood, I am trying to create, from this ecological tale, a (sound) reflection on our world while developing a soundscape motif.

Each piece is created as a variation on the theme of Ouroboros. The sounds used was recorded mainly in France. City sounds are exclusively from Paris. No sound is manipulated by electroacoustic technics. The presence of digital or other audio effects is very minimal. The sounds affirm a non-aesthetic bias, through a simple composition. This simplicity is based on the acoustic properties of each one.
It is about reinvesting Reality, Time, in order to develop a sensitive listening, not a "hearing", of our world.