Draft:Myster Shadow-Sky

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Symbol opinion vote.svg Comment: Okie, a lot to take in here, I'll go from most to least important. Firstly, I don't see anything in the references other than to blog posts, random user pages, and links to his music. None of these help establish notability as per our inclusion policy. Secondly, this is written in an incredibly promotional tone. For example "In this peculiar context, how to qualify the Shadow-Sky's music?: INTENSE for audience & EXHAUSTING for musicians, this is it.", according to who? Comments like that, in addition to not furthering the reader's understanding of the subject, needs to be sourced. Thirdly, regarding your references, some are just quotes and have no sourcing (at least I'm guessing that's what they are), also quoting Wikipedia is useless since it doesn't consider itself a reliable source. Lastly, I see parts of this article is a direct copy and paste from here, and subsequently is a copyright violation, a big no-no, and I'll be stripping some of that out. Hopefully this is helpful in giving some context to my decision to decline it at this time. Drewmutt (^ᴥ^) talk 03:02, 24 June 2017 (UTC)

Symbol opinion vote.svg Comment: In addition, please see WP:MOS for the numerous formatting issues with the article. Onel5969 (talk) 19:41, 23 February 2015 (UTC)

Myster Shadow-Sky
Shadow-Sky after performing in 2014.
Background information
Birth name Mathieu Sadowski
Born (1961-01-26) January 26, 1961 (age 57)
Genres spatial music, microtonal music, alternative rock, hardcore rock, experimental music, electronic music, orchestral music, chamber music, world music, thought music
Occupation(s) Composer, musician, multi-instrumentalist, conductor, writer, freethinker, record producer, film score composer, sound designer, sound engineer, experimental musician,
Instruments Guitars, keyboards, voice, synthesizer, trumpet, sampler, computer programming music
Years active 1979–present
Labels centrebombe
Website centrebombe.org

Myster Mathius Shadow-Sky is a composer, freethinker, writer, theorist, performer, conductor, sound engineer, sound designer, born in Paris in 1961, described and considered as non-conventional composer, disobedient musician, and true philosopher, he explores the ignored unknowns with music resulting music works in writing, orchestral performance, and opera (as multisense show with voices). Music for Shadow-Sky is not an entertainment as we consider it nowadays, but after John Cage, Gilles Deleuze, Iannis Xenakis, John Blacking, Michel Foucault, and Karlheinz Stockhausen, he met in the 80s of XX century, "music gives a way of life, a way of being, of thinking through its vibrations to understand life, as life process": "with no vibration, there is no matter, no life, no things". Vibration is the basic of life condition and matter constitution: the possible, the needs (food) with what mankind can evolve (being aware to resolve problems to cultivate the human intelligence). In this way, "we can think the world outside the speaking language with music". "Music (according to Ferdinand de Saussure's researches) has a signifier (acoustic image) but not a signified, means music is not a language as we believe, but another way to feel ourselves alive and communicate what we are with everything vibrating." It is important for Mathius Shadow-Sky (as John Blacking) that music cannot be reduced to a tactical diversion, a distraction of the essential, as the music industry policy try to convince consumers to obey the tendency, "which considers human beings as goods, in state of being sold". Music as philosophy, sport, and science is an independent practice of knowledge. Myster Shadow-Sky gives us the keys to explore the unknowns fields of unknown links of all vibrated differences without fear in the new music theory: the Nonoctave Scalar Fields harmony-synthesis.




His musical involvement starts around 7 years old playing piano, then guitar (gypsy jazz, then classical, and finally blues). But his musical composition studies starts at the Warsaw Academy of Music in 1977 with among others professors: Włodzimierz Kotonski, and Zbigniew Wiszniewski, in composition and electronic music. The meeting with the German composer Josef Anton Riedl in 1978 from Munich, convinced him to compose unheard music out of "note", unknown music that needs to be explored to be heard. Going to Paris in 1979, he became a student at the University of Paris VIII, University of Paris VI Jussieu (science), University of Paris I Sorbonne, Collège de France, and at IRCAM. His most renown professors was the composers: Iannis Xenakis, and Pierre Boulez, the physician Emile Leipp, and the philosophers Michel Foucault, and Gilles Deleuze. He met or worked with the most renown composers of the XX century like among others Karlheinz Stockhausen and John Cage.

Archisonic Lamp 1980 - 2007[edit]

The Genoscopic Kalandar from the Indus Vally 3000 BCE culture as the Lamplayers score.
2 Archisonic Lamps ready to perform the Genoscopic Kalandar (1997).

The story starts with 2 ideas: one, the new music is an illusion, and second, any object can be a musical instrument. Things are new, because we have the ability to forget, and life does not give the possibility to humanity: the infinite memory, no. "Imagine what would do the accumulation of memories for humanity? It would drive human kind muted by over information: is false". The Genoscopic Kalandar, a clay tablet discovered in the Indus Valley at Mohenjo-daro site from 3000 BCE was the starting point to prove this idea. The Shadow-Sky transcription as a musical score could be an abuse or a well return to reality: imagination is one of the human skills that makes life real in excitement (the motor motivation to live), above all with passion..[1] To open larger the door for human kind acting music, started by John Cage, it was important to go beyond the quantified time. Quantified Time makes a product of time to be sold (illustrated by the awful lying liar slogan: "time is money") a corruption (making something else for something here and now). The play/game-form in music erased 2 things: 1. the fixed duration ("orgasm cannot be preprogrammed in music too") to escape from slavery as its life-time sold (possessed by another human being), and 2. the one direction of time giving by one path (for work obligation) rather than several paths (life choice) of what a human life can choose. Now the musical instrument. Why an anglepoise lamp (sorry this is now trademarked: a word being the property of Luxo company, now we have to say: a balanced-arm lamp) [2])? Simple: the "balanced-arm lamp" is the most common object for everybody writing, drawing, reading at night: it has springs that sound (everybody pulls it to sound). And "balanced arm" (arm extension) to fix strings, rubbers and other materials to sound [3]. At the beginning, the Archisonic Lamp, was a ready-made as Marcel Duchamp's idea of injecting art in common object. Then with time, it became a complex sophisticated musical instrument by the work of imagination. Why Myster Shadow-Sky stopped to perform the Lamplayer in 2007? Because of "too many aggressions from the audience and poor invitation from music managers". Ludus Musicae Temporarium (a music game/play of arm lamp not armed even disarmed) to free everybody from believes and slavery in music: a deconditioning cure? Last thing: to incorporate the Archisonic Lamp in the audio-media-chain to be amplified and spatial, as most musicians Shadow-Sky used the contact microphone as a sound microscope.

First scandal[edit]

The American composer Tod Machover noticed the Shadow-Sky music works to invited him at IRCAM for his score "IT IS IMPOSSIBLE TO GIVE A TITLE TO THIS PHENOMENON BECAUSE THE UNSPEAKABLE BEYOND THE EXTREME EDGES OF SPACE AND TIME HAS NO NAME" to be performed the June 21, 1984. Tod could not find any guitar player to perform the piece: they were too scared to dirt their instrument (sic). The music of IT IS IMPOSSIBLE TO GIVE A TITLE... is based on classical guitar using a wood stick as bow which different new technique generates a large spectrum of timbre variations: the first musical proposition after the orchestral spectralism, but with one solo musical instrument. A revolution the composer has to perform himself in front of half full hostile audience; as for the Igor Stravinsky The Rite of Spring premiere in Paris, people was screaming and fighting during the performance[4][5]. Shadow-Sky understood at this time, if he wants his music be performed, he has to perform it himself. [6]

1984: divorce[edit]

His expectation with the established world of contemporary music was to have tools to develop his research concerning: spatial music, new musical instruments, nonoctave pitch theory, transcultural symphony orchestras (including objects as musical instruments), composition-play/game, and so on, but the French institution IRCAM in the 80s was an appearance with no real means to work the music inside, and being founded only by the government who was waiting to have economical competitive results of its public investment in computer music (a non saying) competition with the MIT. A strange idea that survive since today ("inter nations artist competition" sic). Shadow-Sky expectation with contemporary music died in 1984, when contemporary music divorced with experimental music, to keep their subsidies from the government: "classical music is more prestigious than DIY music" was said, and contemporary music works only with classical musical instruments and computer. Shadow-Sky took this opportunity to create the "transclass music" mixing musicians from classical, rock, and jazz formation, which means: "to avoid racism in music" by creating something different. His band/ensemble Ono Lulu Filharmonia (1984/1990) is the first result of this musical "syncretism". In 1984, he left (as most other musical inventors) the closed world of "contemporary music" which became academic since today. 1984 was his biggest tour in Eastern European countries under communist regime performing freeing music (is a political paradox).

Paris in 80s avant-garde music undergrounded[edit]

The divorce between classical and experimental music, and "the murder of jazz music becoming free" [7] create an underground intensive music creativity mixing all music genre. Etienne Brunet from the band Axolotl after the 1984 Shadow-Sky IRCAM scandalous concert invited him to join his new band with Pierre Bastien, where Shadow-Sky performed his "arcoguitar" and "trombosax". They perform in hidden places, where one was called "the black hole" (le trou noir) a bar with a hidden back-room for clandestine music performance, emphasize the feeling of forbidden music.

Ono Lulu Filharmonia[edit]

6 years of existence, 2 albums: I am from Elsewhere in 1986 [8], and La Commedia del Suono in 1988. Both with opera singers, first with the mezzo soprano Justina Jarzabek, and the second with the diva soprano coloratura Olga Swajgier. The band was composed with the drummer Michal Zduniak who died in May 2009, the analogue EMS synthi AKS performer Tadeusz Sudnik, and Myster Shadow-Sky: voice, electric guitar, trombone, and all other instruments, and composition.


Shadow-Sky created original music for the 12 (even more) cubic (angled) strings musical instruments from Bauhaus (design by the Bauhausian Jan Weinfeld, 1905-1992) called FONICS (new forms for strings instruments) [9]: first, solo which Shadow-Sky gives the album Dïngx in 1985, and then calling Pierre Bastien to found the Trio Fonic (1989/1991) [10] with the cello player J.F. Ott [11] touring all around Europe, and record the album Bauhaus Neofonic in 1990. A short slice of Myster Shadow-Sky and Pierre Bastien musical life to show that any object can be well sounded for music, even experimental "sculptures sonores" from Bauhaus. These original music are the only ones attached to the Bauhaus from Dessau (1919 to Paris 1989) where the Trio Fonic performed in 1990.

1990: the centrebombe[edit]

Leaving New York, and Paris, he founded his independence with his recording studio called "le centre de la bombe" (the birth of vibration, as one says) in countryside near the Spanish/French Pyrenees mountains. The centrebombe, a high technological place for music with computers. With his devices, he contributed to create different spatial music i.e. a multiple trajectories of musical instruments through 3D space (including elevation) mixing different systems. The centrebombe researches, and results was shown in several concert until 1997 (like his 'spatial tones' from space vibration). The recording studio attracted a huge amount of musicians. This amount of musicians gives the possibility to create the first transcultural symphonic orchestra music with The Trans-Cultural Syn-Phônê Orchestra who released two syn-phônê in 1996 and 1997. Then, centrebombe became a mark of attitude by a way of making music with/from the origin and birth of audible vibrations, and the major Internet publisher of Shadow-Sky and friend's works since 1997: centrebombe website in 2015 is 18 years old.

Aloof Proof[edit]

The major British dark ambient artist Aloof Proof, and Myster Shadow-Sky met together (with PVH, the musician) in 1995. Before Shadow-Sky left for the US, they record in 1997 at the centrebombe their first album: "Aloof Sky is the Proof of Shadow". Then, each decade, they meet together to perform and record the next album: 2006 "Alive in Unbelievable Universes", in 2013 "A Brief Return to Earth". If they meet together for a new music each decade; the next album will be for the next one? But there is an unpublished recording of their astonished performance in November 2016: Total Extatic Music. [12]

S.P.O.R.T. the specialists of problems obscene racist, and taboo (1993-1997-2004-...)[edit]

S.P.O.R.T. is his rock band. The S.P.O.R.T. concept started with the actress-painter-singer Karioka (Agata Siecinska) and was continued with some French extreme bass guitar musicians such as MarkAnge starting in 1997 and Hervé Richaud starting in 2004 (which with released: Unreleased Rehearsals), and the drums player Donus. They release together 2 and ½ (the half is the Unreleased one) albums. The 1rst in 1997 called: To Be Definitively Done with Religion, and the second in 2004 called: To Be Definitively Done with Democracy (the false one). Text are politically engaged, but there is no real singing in the band, except some robots voicing what should be known, or Shadow-Sky voicing what it should be.


America (US, Brazil, Canada) France[edit]

Back to the US in 1997, he married the Brazilian-American pianist M. Mascarenhas who stopped performing piano recital at her pregnancy. He taught in 1998 a master class of collective music composition at the Houston University [14]. A strange story happened in 1999: Mathius Shadow-Sky was arrested at the American border in Montreal airport as "illegal immigrant" coming back home from giving a lecture at the uQuàM (université du Québec à Montréal) [15], being French-American, sounds strange. This story was never clarified. His US country was closed for him, forced to live in exile far from his American daughter, in Rio de Janeiro where he was called to teach composition at the music school and at the university, where he wrote and released among others: the albums: "The Raw Voice of Cooked Exile", "Winds of Skins", the scores: "Le Piano peut-il Sonner sans les Noirs ?", "3 éphémérôdes cardent quelques chrônes partis du milieu de la bombe" (included in the albums "Piano Works"), "Situations Innommables dans la langue où le goût étrange et étranger, à la parole incompréhensible" for strings orchestra disseminate in the audience. Then in Montreal where he develops his spatial music in inflatable music buildings as among others the interactive Ourdission generation 2 [16]. 2004: France, Toulouse became the less worst place for him where to live. Despite being censored by major city music institutions like the opera house, the city music school, and the Capitole symphonic orchestra. He found in Toulouse artists, friends where he could release some of his musical works.

Toulouse Shadow-Sky friendly ambitious music creations[edit]

After the censorship of the Toulouse Trans-Cultural Symphonic Orchestra by the city in 2004, without money, Shadow-Sky started in 2005 the saga: The Strange Lizards from Impossible Universes (Les Lézards Etranges des Univers Improbables). Each month, a new orchestra performing one of the 5 episodes, as spontaneous urgent written music (3 days rehearsal, 2 hours of music, no money) at the Mandala Jazz club. 5 orchestra called the Shadow-Sky Ensemble: #1 (11 musicians) #2 (12 strings musicians) #3 (12 female musicans) #4 (7 musicians) #5 (10 musicians). The following year Shadow-Sky break in Berlin, touring around, the Lamplayer [17].

In 2007 Shadow-Sky found with a collective of 22 artists the orchestra called: The Uncompromising Extreme Sonic Associated (l'Extrême Sonique Sans Concession Réuni) to create the oratorio (opera with no stage design): The Extreme Music from the Ecstasy (De l'Extrême, la Musique de l'Extase) based on Georges Bataille writings (L'expérience Interieure (Inner Experience), L'erotisme (Erotism), L'histoire de l'oeil (Story of the Eye), and other) to compose the libretto, with the first appearance of the Screaming Female Choir (le choeur de femmes hurlantes) for 3 hours of (written) music, with video shooting on 3 screens, with flying sounds from performing instrument in quadraphonic P.A. at Mix'Art Myrys (the Toulouse collective artistic marginal place for marginal surviving art creation leading by Joël Lécussan). "What are you hearing in the noise of silence? Myster Shadow-Sky: you make us touching the sound, where your music overflows to hit the limit, with the spirit of Georges Bataille" [18] [19].

In 2008 started the public open fight (public controversies, court trials, political street protest) with politicians and cultural state workers (directors from granted state cultural places) for art/music censorship abuse [20]. Shadow-Sky created the same year, 3 hours of urgent opera (made with no money, in 2 month): The Survivors of the Cultural Hegemony (Les rescapés de l'hégémonie culturelle) at the Ring theatre (the quasi independent peripheral surviving avant-garde theatre lead by the Belgian director Michel Mathieu) with 16 artists including the famous Canadian graphic artist Nataly Nato who realised the stage design. Everything in The Survivors of the Cultural Hegemony opera is a musical revolution: disposition, conception, composition. First appearance of singing artificial voices (solo, duo, trio, and in choir), first appearance of the luminous interactive artificial singing character mixed with alive human singing, screaming, and playing music [21] [22].

In 2012 Shadow-Sky recreates the 2008 censored music: A Journey Beyond the Edge of Possible Mankind (un Voyage au Bout du Possible de l'Homme/de l'Humain) with 2 orchestra, one in April, the second in October [23]. Shadow-Sky realised what he was dreaming since 1982: to mix the wind, the fog and the lighting design as music with spatial music with live musicians. First appearance of the Artificial Girls Choir singing Georges Bataille writings. These ambitious music works were never supported by any cultural institution or any grant music foundation "is normal". The consequences is: the sound of the music makes it feels as an emergency for freedom. Shadow-Sky had to work with the availabilities of artists giving their time and intensive work for free. Something impossible in our dominant world of our painful society. This unique situation asked him for a huge obstinate will, and demand, to pull up the music work until perfection for its premiere. In this peculiar context, how to qualify the Shadow-Sky's music?: "intense for the audience & exhausting for the musicians?" one says, this is it.

List of the Toulouse artist which came for free to participate to the Shadow-Sky music creations from 2005 to 2012:[edit]

  • Ahmed Azzouz (video artist)
  • Alexandre Piques (drums and percussions)
  • Anaïs Andret-Cartini (trumpet, slide trumpet, voice)
  • Alix Quéritet (contrabass)
  • Aurore Urribelarea (screaming voice)
  • Benoit Maestre (video grabber, film maker director)
  • Carine Vogel (screaming voice)
  • Carole Marche (opera contralto voice)
  • Caroline le Méhauté (hang, glass, sanza, claves, thundertube and art installation)
  • Cecil Signoret (actress)
  • Christophe Bocle (trombone)
  • Christophe Calastreng (electric guitar, spatial sound engineer and audio recording in quadraphonic P.A., live recording, quadraphonic spatialization & fx)
  • Christophe Deflorenne (light and fog design)
  • Christophe Rulhes (tenor voice)
  • Cyrille Marche (ghimbri, tampura, Ashbory bass, contrabass)
  • David Segala (sound engineer in quadraphonic P.A., live recording, quadraphonic spatialization & fx)
  • Dominique Regef (cello and vielle à roue/hurdy gurdy)
  • Elisa Trocmé (clarinet and contrabass clarinet)
  • Elizabeth Masse (dance and screaming voice)
  • EMB - Electro Magnetic Bomb - (sonic computer)
  • Eric Volpatti (percussion: 14 ugal pelog Bali plates, pebble lithophone, nonoctave tubalus, Bali Gong)
  • Fabien Binard (trombone)
  • Fabien Duscombs (drums)
  • Fanny Sauvageot (flute in C)
  • Fatima Guevara (screaming voice)
  • Fedaden (sonic computer)
  • Gaël Trellu (chef cooker)
  • GiL.G (bass clarinet)
  • Guillaume Gendre (contrabass)
  • Guillaume Pique (trombone)
  • Guy "Canard" Bayssac (free-jazz drums)
  • Hélène Sage (live "objets sonores", voice)
  • Henri Demilecamps (sonic computer)
  • Hervé Richaud (bass guitar)
  • Isabelle Lartigue (screaming voice)
  • Iris Lancery (mezzo soprano, and strings instruments)
  • Jean-Pierre Albert (drums)
  • Jeanne Ribis (screaming voice)
  • Johann Bourquenez (5/8 tone keyboard)
  • Laetitia Dutech (drums)
  • Leïla Saunier-Maciolek (screaming voice, poster design)
  • Laurent Paris (drums)
  • Laurent Pifinger "Macrocoma", "Pif" (electronics) † 2013
  • Marie Bunod (screaming voice)
  • Marion Raievsky (screaming voice)
  • Masako Ishimura (flutes)
  • Maxime Dupuis (cello)
  • Maylis Isabelle Bouffartigue (actress, director)
  • Megi Xexo (screaming voice)
  • Na/Da (live painting projection)
  • Nathaly Nato (stage design, screaming voice)
  • Nicoblast (grindcore drums)
  • No I.D. Clément Amira (sonic computer, and audio recording)
  • Philippe "Donus" Casadebaigt (drums and percussions)
  • Pierre Cuffini (Cristal & Structures Sonores Baschet from Baschet Brothers)
  • Rénaldo Gournier (spatial sound engineer and audio recording in quadraphonic P.A., live recording, quadraphonic spatialization & fx)
  • Reno Menat (VJ video screens Visual Shooter)
  • Robert Vucko (quadraphonic sound engineers)
  • Roger Cazenave (analogue synthesizer)
  • Saïd Daou (viola de gamba)
  • Stephan Garcia (bass guitar)
  • Stéphane Marcaillou (electric guitar)
  • Stéphanie Marchesi (soprano coloratura, keyboard, bass guitar)
  • Teddy Doris (trombone)
  • Thomas Fiancette (flute & clariflute + fx pedal, speech)
  • Yannick Puybaret (detuned sax alto & tenor)

35 years of unstopped music creation: writing/organizing/performing concerts, opera, books; realising what he cares for: "unusual and open-mind music", Mathius Shadow-Sky created many original music [24] and the major music theory of the XXI century: The Nonoctave Spatial Scalar Field Music Theory. His music shows a constant searching for "unknown sound-feeling-vibration to understand the ununderstable" which surprised constantly the audience (and himself as he said). But Shadow-Sky started being exhausted when in 2009 his illness was discovered at the same time of the death of his friend drummer Michal Zduniak had affected him deeply. A favourable (musical) context to over burn his life energy. This overdose of burning energy, in our hostile social cultural context, "to protect the original survival music creation", "is killing him being dead alive". Myster Shadow-Sky is the most censored composer ever in the Western history of music [25]

Everywhere or nowhere?[edit]

2013 restarted the recreation of 2 music written in 1984: first, The 7 Ephemerodes Card of Chrônes playing the meanders of time through its musical engine score (as a non-systematic operating system) with 7 characters telling a story with music performing 7 Pianomorphes where each one is a combination and a mix of approximately 30 different invented keyboards tuned on 500 nonoctave changing scales. The lack of means makes a spatial 'piano recital' by one character only. Second: The Atirnons Error wanderer of Time (Les Atirnones Erreures des Temps) for 7 choir and solo voices in relay which is not yet released in 2015 by always the same reason: lack of means.

2013 is also the birth of the shamanic ecstatic music (3 hours concert performance): The Secret, a trio composed by: Bertrand Fraysse (percussion), Christophe Deflorenne (lights), and Myster Shadow-Sky (jinghu, dan tranh, electric guitar, analogue synthesizer).

Philosophy/politics: creating open-mind music, and theory[edit]

"Understanding societies makes possible to increase the originality in music (in self initiative for others)"

It Starts in the 80s, originality in Western culture was definitively unwanted by the music industry, and banished until today by the national cultural policies. "Originality => independence => intelligence". Social changes as: the acceleration of the American globalization, the cultural war between the rich countries through contemporary stereotyped arts: "who has the most famous artists": "wins its legitimate domination" (sic), the standardization of human needs, the segregation between official obedient artists and non-official expelled original artists, the political and the economical domination in artist's work approach, the strong censorship in programming concerts and art exhibitions, in one word: the reign of mediocracy, decided Shadow-Sky to point all these fundamental inconsistencies driving forces of human society to decline: where most of attitudes are in contradiction for mankind freedom survival. Freedom for art creation is essential otherwise it dies to become a stereotyped decoration to mask the entertainment of the cerebral laziness. Which means cultivate stupidity, easier to govern.

By understanding the equivalence between political organization of human societies and musical theories as the strong hierarchy in Western tonal music theory, provokes Shadow-Sky to create the Scalar Field Theory to avoid (music) segregation, discrimination, and expulsion (attitude): as unnecessary act of pain and domination (putting others in voluntary danger). In the scalar fields theory, there is no "wrong note" (no excuse for racism and domination): the reason is: there is too many nonoctave scales to manage, and each field of scales has no frontier with others, makes it good and pleasant for new sonorities for music. The nonoctave scalar fields harmony makes consonant what was dissonant with the tonal harmony (based on one unique scale, dividing by 12 the octave). Music is not an act of hostility, but an act of sympathy by sharing our audible and inaudible vibrations. What it is revolutionary in Shadow-Sky's music and theories comes from a deep sympathy, to open closed doors, and leave them open.

These thoughts are developed in his book: In the Sky, the Noise of Shadow (Dans le Ciel, le Bruit de l'Ombre).

"What we can do for all these people who hate the music?...[edit]

...And pretend the opposite?". All these people who conquer a social hierarchical powerful position, to impose a strong censorship, according to the level of their frustration. Our hostile societies cultivate this banalized behaviour (to make violence and mediocrity seem ordinary, normal..[26]) where each one hides his/her terror (which cannot reveal his/her degradation). All these people are spending their life for revenge against what they hate the more: an individual original act of disobedience, especially for art and music. Art or music without originality: dies. The originality exists by imagination, imagination to flourish, needs to be free, without unwanted constraints. Without imagination, the human kind would live in the blindness of the boring standardization. The music (like all arts) is an occupation which reveal human kind attitudes, sociologically: how a society works, and individually: how the person who plays the music act, and on the whole, for what music is a necessary act for human kind?: "to live together some drops of sublime". The problem with dictators, it is not their dictatorship (within family or nation or elsewhere), the problem is: the people who obey to their insane and destructive orders. All these people who do not know what to do with their life. Boring and bored people are the real enemies of all human societies. They want to kill what they do not have: the ability to act the imagination to create something original and unique and give it to others. "To not exterminate all these useless people", they should re-learn how to speak true." [27] It is hard to rewrite or comment what simply says this Shadow-Sky's text from his book: In the Sky, the Noise of Shadow [28].


Nonoctave Scalar Field Music Theory[edit]

In 1982, he starts after Ivan Wyschnegradsky and Harry Partch to explore scales to escape the dictatorship of the Western 12 tone scale (dividing the octave) as the basic of the Tonal system (tonality) started with Jean-Philippe Rameau in XVIII century [29], finished by the serialism (twelve-tone technique) defended by Pierre Boulez in XX century. His purpose was to avoid the cyclic scale dividing the octave, and the octave division in general, to create new purposes of new sonorities for music (the way we think its political organization). His first concerned composition was 'Ourdission' (1982, with a world première in London in 1983 [30]) for flutes was to divide the full range of the flute by the prime numbers 41. Called therefore: Ourdission 41. The first non-cyclic nonoctave musical scale ever heard. Today, the shadow-sky nonoctave scalar field theory of new "artmony" has 532 scales to chord used in his music compositions [31][32].

Flying music in space[edit]

His specific approach of music moving in space by 3D trajectories, in XYZ space coordinates (to go through body listeners) created spatial ballets with different sounds from different musical instruments flying in space with these attributes for his specific mixed spatial techniques:

  1. VCA (voltage controlled amplifier) matrix (today, DCA matrix: digitally controlled amplifier)
  2. Microphones spatial technique
  3. Delay (audio effect) and Phase (waves) spatial technique
  4. Reverberation and Doppler spatial technique
  5. Clones spatial technique, giving his unique "spatial tones" by using very high speed sound projection in space

Shadow-Sky always regretted having a non-homogeneous system to performed his 4D space-time music (while the end of XX and the beginning of XXI century was still stuck in 'cinematic (2D) surround').

Open score Game-music[edit]

Mathius Shadow-Sky is the composer developping the foundation of game music (out of strategy as started Iannis Xenakis followed by John Zorn) to create a new kind of musical (score) proposal. Impulsed by Roger Caillois with his book Le Jeu et les Hommes (Man, Play and Games), and Lewis Caroll's logic. He starts in 1980 with the music for anglepoise lamps= balanced-arm lamp consort of instruments (the principle of the shadow-sky consort created his spatial ensemble) to conceive the game-music: Ludus Musicae Temporarium (1980), then the door was open to evolve the new musical form with: Before Eve & Adam & After (1983), It is Impossible to Give a Title... (1983), the Parasites Game for DJ and drummers (1984), and almost all his music, like the Ephemerode Cards of Chrones written in 1984 (recreated in 2014 as recital). Or 'Le Jeu de Dégoût et du Désespoir (des dessous de la foire)' (1987) for 9 musicians developing a network of links connecting several musical situations at the same time. The Shadow-Sky music game-music form focused on linking networks between musical attributes in constant move.

Parasitic music[edit]

The Parasitic music use a music host to generate itself. The idea started in 1983 with the music proposal: Before Eve & Adam & After (in 1983) performed the same year at the university of Paris VIII. Parasitic music as a state of mind musical form shows that every being depends from another to survive: the essential life chain.

Flux (Flow) writing music technique, écriture ondale (in French)[edit]

Page 7 of the score for 3 flutes: Ourdission (1982).
Page 7 incorrect 5 lines stave transcription of the original 1982 score Ourdission for 3 flutes

After Iannis Xenakis' stochastic writing technique based on cloud of notes/sounds, Shadow-Sky created the flux writing technique based on concept of turbulence study by the fluid mechanics, and deepest by the quantum mechanics. Shadow-Sky put Xenakis' stochastic cloud in different currents, and unexpected appearance/disappearance. Giving senses (directions) by fluxing (to make fluid) chaos (knowing that chaos means: what we cannot understand). The flux writing creates "deterministic" scores for classical context as orchestras, musicians, and computer: educated in classical music school (attached to the note, as centrebombe = birth place of sound). The flux writing technique needed a field or several fields to exist: the nonoctave scalar fields theory is the birthplace of the flux writing technique giving different directions by different sonorities by different scales, tunings each musical instrument of the orchestra (graphically, a field in music is an extended stave). The flux writing technique by flows generates different time trajectories as torrents with several forces/gravities. The divorce of classical music context with "avant-garde" in 1984, put most of his compositions like XØ for symphonic orchestra on hold, until today, only Ourdission using this technique was performed.

Copyright and music[edit]

Mathius Shadow-Sky fight all his life against the abuse of property. For music it is a nonsense. As parasitic music, everybody needs to be fed by the same food, stays and walks the same land (Earth surface). Create a property is to forbid all others to enjoy the same things; the owner keep selfishly for himself to not share with other. In music it does not work like that: a performed written music does not belong anymore to the composer: the music passed through the musician by giving its own interpretation for the audience where each one own the music according to his life experience. Mathius Shadow-Sky was during his life abused by the French copyright company SACEM stilling his money since the beginning of the 80s of XX century. In 1996, he reopens the forgotten activity for composers, forbidden by copyright: the recomposition. He starts a series of XX century contemporary composers re:composed, where the first was Karlheinz Stockhausen [33]as an homage: the SACEM forbid the release of the album in 2003. The same year, he creates the Foundation Anti-Copyright (anti-SACEM [34]) showing the globalization abuse, and by giving for free all his albums, writings and scores on the Internet network. Mathius Shadow-Sky considers all his musical works as public domain (including all media concerning himself and his music).

New approach of Musical Instruments[edit]

1. sophistication of Object As Musical Instrument:[edit]

The plucked Archisonic Lamp (2003)

The Shadow-Sky purpose was to show that any object become a musical instrument with an appropriate musical technique. He performed mainly with his Archisonic Lamp[35][36] started writing and performing with an usual anglepoise lamp in 1980 (for the game score Ludus Musicae Temporarium for an anglepoise lamp orchestra: world premiere in 1988 by Les Percussions de Strasbourg at Manca Nice, invited by the composer Michel Redolfi) finishing in 2007 with a sophisticate musical object instrument flying in space: "a musical instrument could be any object: it is your manner how you can, through its sounds, play a story". The Archisonic lamp: an anglepoise lamp being a musical instrument. 'When an object can tell a story, it becomes a musical instrument.'[37]

2. New technique on classical musical instruments:[edit]

Also, his purpose was to sound classical musical instruments differently. Starting with the classical guitar in 1983 with the score "It is Impossible to Give a Title to this Phenomenon, Because the Unknown Beyond the Extreme Edges of Space and Time has No Name" (with its world premiere at IRCAM in June 1984) where he introduced the first speed-pressure play on bow instrument. Following by several other instruments like: the trumpet, the trombone, percussion, string instruments bowed and plucked, voice, electronic instruments, etc.: as an usual approach (a necessity) with the help of the "error" to perfect and broaden musical instrument technique to sound an original music.

3. Erre (wandering) playing technique (slipstream music, la musique des sillages)[edit]

In the continuity of musical flux writing technique (écriture ondale) for audio-torrent-form, Shadow-Sky introduced the concept of wandering in music: without pitches and rhythm scaling marks, or reference point. The sense of this music was given by the autistic art children, wandering in the land, drawing their roaming with "wandering lines", taking care by Fernand Deligny. In the free world of making music without obey to a writing, a written order, musicians refuse to perform as mechanical machines. The purpose was to free music from the control strain, constraint disorder: makes, we are approaching the limit of writing for music. "Continuous scores attached more to sonic gestures than to the expression of quantified parameters". The whole concept of "wandering lines" is based on hesitation (the opposite of sureness) in mind, in gesture, in attitude and in play where musicians become autistic by open-minded kindness: to try to touch the world in its real absence. This state of mind changes the way of usual playing musical instruments: which is anti-demonstrative and hypersensitive. Music of wakes approaches spatial music when each musician together forming a wake: play furrows, long traces of moving sounds.

Trans-Cultural Symphony Orchestra, Transclass Orchestra to: Symphonic Space Orchestra without conductor[edit]

"Symphonic orchestra do not belong exclusively to classical music" was his starting idea to assemble musicians from all culture in a symphonic orchestra: of 100 musicians. Started in 1996 with his Trans-Cultural Symphony Orchestra, continuing in 2005/2006 with his Transclass ensemble, continuing in 2014 with his Anarkhia Symphonic Space Orchestra without conductor, putting each musician from different culture and genre in a musical and social responsible attitude [38]. The collective 'The Flying Guitars' (= Les Guitares Volantes) born in 2017, is the first electric guitars orchestra dedicated to polyspatial music, with their instrumental sounds flying in 3D space [39].


Music, Compositions, Scores

  • 1979 - 'Cauchemar Atomique / Atomic Cucumber' (for 5 to 500 electric guitars surrounding the audience)
  • 1980 - 'Ludus Musicae Temporarium : Jeu de Lampes d'Architecte / the Play/Game of Archisonic Lamps.' For Archisonic lamp consort orchestra (with unlimited musical anglepoise lamp) including the String Puppet loudspeakers.
  • 1981 - 'Tension' (for 6 musicians using their muscles contraction, heart and fluids for music playing double bass, viola and violin, percussion, 1 stuntman and stage design installation.)
  • 1982 - 'Cage's Music' (music for bird cage, cat, and 3D sound projection.)
  • 1982 - 'Rion Riorim / Black Mirror or Rewarmed Riot' (architectural huge installation-concert for voice, grimaces, dummies, old used TV, lightwalls, and complex stage building for 33 people in audience.)
  • 1982 - 'Ourdission' (for 3 flutes piccolo, alto, bass, 3D spatialization device in an inflatable refuge.)
  • 1983 - 'il m'est impossible de donner un titre à ce phénomène car l'indicible au-delà des bords de l'espace et du temps ne porte pas de nom.' Arco-guitar (stick bow classical guitar and 3D space installation: the Abstractor IV system.)
  • 1983 - 'Over Gap, mirror? / Au delà du Gouffre, du Mirroir ?' (for the Daniel Kientzy contrabass saxophone and IRCAM's 'espace de projection', 2 bass drums, electronic transformations in real time, 4 dancers speakers, 4 ceiling speakers + one speaker on big central spring, 3D sound trajectories for an audience mid height above dancers.)
  • 1983 - 'Déviation pour d'eux / Deviation for 2 for them' (outdoor ludic electronic sound system installation performance transforming usual sound environment in original music.)
  • 1983 - 'Miss Terra' (for solo Michael Levinas piano and his Double poorly sampled piano, both in spatial rebounds trajectories under the buttocks of the listeners.)
  • 1984 - 'Avant Eve & Adam & Après' / 'Before Eve & Adam & After' (parasitical music for any instrument like apple and others.)
  • 1984 - 'The Parasitic Game' (music for 6 DJs and drummers, music generates by the game 'les parasites gonflés' a plate game.)
  • 1984 - 'les Ephémérôdes Cardent des Chrônes' (Perpetual ceremonial installation for 7 bad state piano, drop shape building, god’s costumes, planet-loudspeakers, stage design…)
  • 1984 - 'les Atirnons Erreurs des Temps' (for 7 choirs linked to the Ephémérôdes' music)
  • 1984 - 'Erre' version 2 (for Diamanda Gallas singing around a sphere of 14 microphones -each one attached to a loudspeaker- her voice projected in space according to her dance like in Ourdission but with 4 -in quadra- microphones)
  • 1985 - 'Erre' (version 1: music for female voice, laurel branch leaves, big drum, sinus and 3D moving sound device.)
  • 1985 - 'Erre' version 2: music for female voice around the microphones sphere : mic tree, linked with The Ephemerôdes.
  • 1985 - 'Erre in the forest: the Tube-Space-System in the Forest / Erre dans la forêt' (installation, live sound delocalization complex of clear corridors in the forest for Erre live performance.
  • 1985 - 'The Brownian Escape' / 'Brown s'Echappe !' (permanent indoor installation with 24 parabolic shaped loudspeakers and sound projection. The audience to listen to the music has to run after it.)
  • 1985 - 'The Escape of the Idiot' /'La Fuite de l’Idiot' (same as 'the Brownian Escape' but with 2 loudspeakers.)
  • 1986 - 'Concert Bouffe, Food Concert' for 2 used Institutional chairs as percussion increased by electronics to create several different characters.)
  • 1986 - 'Je suis d'Ailleurs / I am from Elsewhere' (with his Polish band Ono Lulu Philharmonia: an opera without lyrics: the SpectàCul.)
  • 1986 - 'Dïngx' (8 stories for 3 BAUHAUS string instrument.)
  • 1979/1987 - '6SSSSSSeX+2eX' (8 music for objects, tourist and unmusical instruments.)
  • 1981/1986 - 'Momus' (Opera-Happening for bells keyboard (carillon), characters, choir, actors, percussion, tapes, narrators & church.)
  • 1987 - 'Maîtrise d'un Matériau, théorie des cortèges musicaux'
  • 1987 - 'Score Out' (unwriten music for subsidized symphonic orchestra in workshop)
  • 1982/1987 - 'les Lignes d'Erre / wandering lines' (for huge scattered orchestra on several miles in calm countryside.)
  • 1987 - 'les Voix des Airs' (landscape electronic music installation in the sky)
  • 1987 - 'les Explorations Saint Ethique / The Saint Ethics Explorations' (12 pieces with the Shadow-Sky's nonoctave electric guitar.)
  • 1987 - 'Quasi Mortal Bedroom' (for solo percussionist, bed and his clumsy melodic instrument)
  • 1988 - 'La Commedia Del Suono' (the Ono Lulu Filharmonia spect-à-cul art opera in 14 acts.)
  • 1988 - 'Bogota' (1 minute miniature for solo violin or other melodic instrument)
  • 1989 - 'Bauhaus NeoFonics' (entertainming music for the Trio Fonic with Bauhaus strings instruments, music by Pierre Bastien and Mathius Shadow-Sky)
  • 1990 - 'Opera Spect à Cul air, hein!' (for soprano coloratur, basso profondo, synthesizer, percussion, sonic giant puppet drum: Ono, and sonic giant puppet bell: Lulu on stage and the QuadraphonicSoundPyramide above the audience.)
  • 1991 - "Formalisation et expansion des systèmes de champs scalaires = music materials' mystery" (Infinitely development of nested scalar fields into each other, as a basic universe as vast as possible to make music without limits.)
  • 1991 - '4 songs for Karioka the Divine' (4 songs for the Polish singer Karioka.)
  • 1988/90/93 - 'Opera-tion Della Bocca d'Amore' (3 works with Myster Shadow-Sky's solo voice.)
  • 1992/95 - 'La Farsa del Sonido, movimento uno' (music for 2 trumpet, 2 trombone, 7 keyboards, male and female choir, strings & percussion.)
  • 1993 - 'Mangé - Eaten' (8 Myster Shadow-Sky's voice in computer piece)
  • 1993 - 'Boring Space' (10 years after remix of the arco guitar's music in computer with the Digital Interactive Noise Random system.)
  • 1994 - 'Strange Night with Myster Shadow-Sky' (musique-concrète to dance with Teub-Up-Style speach.)
  • 1995 - 'Shadow-Sky-Teub-System' (very fast MIDI spatialized quadrasonic loud impact sounds with subliminal quadragraphic sex macro pictures. First Spatial Tones experience.)
  • 1995 - '5000 Years After Music from the Genoscopic Kalandar' (18 pieces of protohistoric-music for 2 Lamplayers extracted from the Genoscopic Kalandar dated back 3000 BC.)
  • 1991/96 - '6 000 000 000 de voix sans air' (10 music for artificial voices. The concept of Shadow-Sky-Voices-System is to mix voices beyond time and space, put together different aspects of voices historically and geographically.)
  • 1996 - 'Syn-phônê NO1, le boxon ensemble' (first release of "Score Out" with unsubsidized free orchestra: the Trans-Cultural Syn-phônê Orchestra: the first syn-phônê music for free transclass trans-cultural symphonic orchestra.)
  • 1997 - 'Syn-phônê NO2, le beau chaos' (Second syn-phônê music for the Trans-Cultural Syn-phônê Orchestra.)
  • 1997 - 'To Be Definitively Done with Religion / Pour en finir définitivement avec la religion' (for S.P.O.R.T. the Specialists of Problems, Obscene, Racist, and Taboo, 12 rock music for drum & bass & guitar.)
  • 1997 - 'Aloof Sky is the Proof of Shadow' (8 music for Aloof Proof guitar & Shadow-Sky cellocubic.)
  • 1997 - 'aLive in New Europe AD' (live music by 2 Lamplayers in tour.)
  • 1998 – www.centrebombe.org (Myster Shadow-Sky official web site opened with more than 1000 pages, pictures, and music.)
  • 1998 - 'Digital Matters,' 'Sound does not exist,' 'Conceiving Music philosophically,' 'Hauteur', 'a computer music controversy,' 'A quoi à servi la musique contemporaine ?', (musical papers and theories for student-composers.)
  • 1998 - 'the Collective Composition Music Makers Workshop program' (CCMM Collective composition workshop for artists working in arts of time, commanded by University of Houston and for all art of time schools and universities.)
  • 1998 - 'The Houston CCMM Artchestrâ' ("Renowned French composer Mathius Shadow-Sky leads the Collective Composition Music Makers (ten local composers) in presenting a collaborative multimedia composition that includes music, dance, video, spoken word and noise. This breakdown of artistic genres and categories to arrive at adventurous music takes place at C-SAW (2315 Commerce ST.) beginning at 7 p.m.")
  • 1998 - 'Knots System in Miami' (live chamber opera for 2 speakers playing badminton, one multi-instrument player, badminton game, white costumes and twenty inflatable 30 meter white tubes.)
  • 1977/2002 – Poésies sans date : "ma peau-aime les mots" recueil de poèmes, "l'artsonique médical" poésie psychoéconomique, "mal&bien?" poésie-philosophique, "sait-on ?" poésie-article, autres.
  • 1999 - 'Knots System Boxed' (opera version of Knots System + masked choir and stage video installation.)
  • 1999 - 'Infected or Imperfect Life' (Incomplete music for dance floor, 161 bpm 66:16 mn set 4 dj 2 mix, to be mixed with other sounds and music.)
  • 1999 - 'Multimedia ou Multimania' (paper, lecture at UQAM, Montreal)
  • 1999 - 'the Sound Trap Balloon' (for spheroid concert hall to avoid permanent sound in the middle of the sphere building.)
  • 1999 - 'The Inflatable Tubes-Space-System version' (for sound and people transportation.)
  • 1999 - 'l'Or.ggonfle' (Giant inflatable musical building organ composed with 200 tubes of 50 meters high.)
  • 1999 - 'Sensual Electronic Pictures : 8 caresses electroniques' (Electronic painting.)
  • 2000 - 'A Floresta' (1 square km installation of sonic inflatable 1000 white trees with complex inflatable clear path on a lake surface . Live concrete music travelling between trees.)
  • 1998/2000 - 'Oh, a Shadow in the Sky!' (6 electronic music made with a basic PC computer.)
  • 2000 - 'The Raw Voice of Cooked Exil' works for Mathius Shadow-Sky's solo raw voice and clones, alternated with electronic dance music.)
  • 2000 - '3 éphémérôdes cardent quelques chrônes partis du milieu de la bombe' (for 3 pianos positioned in triangle with audience inside.)
  • 2000 - 'Le Piano peut-il Sonner sans les Noirs ?' (For 4 hands piano.)
  • 2000 - 'Winds of Skins' (silent music with Myster Shadow-Sky playing Trumpet in C and Jorge Ribeiro playing bowed doublebass.)
  • 2000 - 'Situations Innommables dans la langue où le goût étrange et étranger, à la parole incompréhensible' (For strings orchestra disseminate geometrically in the audience.)
  • 2000 - 'La bourgeoisie coloniale de Rio apprécie la musique romantique de ses compositeurs contemporains' (in 4 movement for oboe, célesta, tubular bells, and strings orchestra.)
  • 2000/01 - 'Ourdission generation 2' (giant robotic aeolian harp inflatable refuge building.)
  • 2001 - '2000 Electronic Museum' (web art exhibition)
  • 2001 - 'No Things' (mischievous robotic opera, for 8 robots singing 87 different voices, 1 chimpanzee without hair (screaming tenor,) 1 encyclopedia: hermaphrodite soft voice, 3 dolphins: (clic tenor,) and virtual huge orchestra in space trajectories.)
  • 2002 - 'Trans Cultural Music in Bali' (music with myster shadow-sky: Turkish clarinet & Ketut Pasih: Bali drum + Bali mixed soundscapes.)
  • 2002 - '23 miniatures for TV' (TV spot.)
  • 2002 - 'Jeux Interdits' (concerto for nonoctave electric guitar, voice, and clones orchestra, with 2 types of spatialisation: trajectories with spatial processor, and "spatial tones" generation by clones.)
  • 1995/2003. - 'XX Century Contemporary Composers Re:composed project' first album released: 'Karlheinz Stockhausen Re:composed vol. 1.01' compilation of 12 different composers who remixed Karlheinz Stockhausen music: Myster Shadow-Sky, Nicolas Brasart, Toy Bizarre, David Fenech, Acapulco Laps & Le Vieux Thorax, Techtel Mechtel, Falter Bramnk, Alfred Harth, Andrea Martignoni, Matthew Ostrowski, and Pvh.)
  • 2003 - 'contes pour enfants' (3 tails in French)
  • 2003 - 'ti.Me has No Age' by The Lamplayer & the Machines (concerto for archisonic lamp, voice and 161 virtual sonic lamp orchestra performed by Myster Shadow-Sky and produced by Garp.)
  • 2004 - 'le rêve des femmes-poisson' (Sound installation, for the artist Dorota Sadowski, where the composition is hidden by the sound of water.)
  • 2004 - 'Waiting Music for Boring Rooms" (4 sound installations for boring spaces based on musical concept of "waiting music" 1993 (Boring Space), 2002 (3 bêtes etherees à la gare & au musee d'art moderne), 2004 (waiting room - if we don't move nothing will happen, yes let's stay quite).)
  • 2005 - 'Inside Of My Aliveness' (The Lamplayer & the Machines' European tour)
  • 2005 - 'To Be Definitively Done with Democracy' (rock music for S.P.O.R.T. with Donus (drums) and Myster Shadow-Sky (guitar, synthesizer, sampler).)
  • 2005 - 'Les Lézards Etranges des Univers Improbables_episode 1: ouverture de la 1ère porte: Musique imprOBaBle' (for The Shadow-Sky-Ensemble #1 transclass orchestra.)
  • 2005 - 'Les Lézards Etranges des Univers Improbables_episode 2: derrière la 2de porte: cOrdes spirOphanes' (for The Shadow-Sky-Ensemble #2 transclass strings orchestra.)
  • 2005 - 'Les Lézards Etranges des Univers Improbables_episode 3 : 9 novembre 2005 : derrière la 3ème porte : fiLLes parA dé-fiNes' (for The Shadow-Sky-Ensemble #3 transclass orchestra women orchestra.)
  • 2005 - 'Les Lézards Etranges des Univers Improbables_episode 4 : 7 Unoctavians Strange Lizards from Improbable Universes [7 U.S.L.I.U.] : 14 décembre 2005 : derrière la 4ème porte : sOuffles ArgOtiques = "Voilà que revient l'insistance du têtu qui s'accroche aux rondeurs glissantes des actes impossibles' ((for The Shadow-Sky-Ensemble #4 transclass orchestra.)
  • 2006 - 'The Censored Orchestra (the Lezards Etranges des Univers Improbables_episode 5, was not released) : 11 janvier 2006 : derrière la 5ème porte : ils tOurnent Ailleurs : ƒinale_(Finale anti-) CONCERT ORIGINAL de l'orchestre CENSURé...' (for The Anti-Shadow-Sky-Ensemble #5 transclass soloist)
  • 2006 - 'Alive in Unbelievable Universes' (Second album of Myster Shadow-Sky & Aloof Proof : cello & guitar duet.)
  • 2006 - 'le film rouge / the red movie' (for Les Entreprises Glorifiées, 3 musicians met together to mix their different experiences in music: Donus (rockdrum), Macrocoma (electronicelectronics, died in 2013) and Myster Shadow-Sky (contemporary music archisonic lamp & voice): gives to the music something else. Les Entreprises Glorifiées performed with the movie 'le film rouge' on 3 screens, pictures by Bill Morrison, processing and editing by Mathius Shadow-Sky.
  • 2007 – 'HELP inTension de secours' (Concerto for double trumpet and four orchestra : symphonic, insects, noises from broken machines, sounds with no matter, and vidéo projection. The trumpet player walking continuosly from left to right and rigth to left on the stage, ignoring the audience. The trumpets play calls: One trumpet for inside calls, and one for outside calls.)
  • 2007 – 'De l’Extase, la Musique Extrême' (3 hours oratorio for mezzo soprano, the Screaming Female Choir (le Choeur de Femmes Hurlantes) created for the purpose, 4 trombones, 2 drums (grindcore & freejazz), electric contrabass, electronic guitar, noise computer, cello, electric guitar, sampler, 2 analogue synthesizers, video texts, 3 screens video projection. l'Extrême Sonique Sans Concession Réuni project # 1.)
  • 2007 - "Les Tueurs de Trombes", The Waterspouts Killers (score for 4 or 8 or 12 or 16 trombone in space)
  • 2007 - "Dans le Ciel, le Bruit de l'Ombre" [In the Sky, the Noise of Shadow] (book in progress about Shadow-Sky's new musical theories, and politics. free online.)
  • 2008 - 'Explosions' andor 'le centrebombe 5' (5 experimental hardcore pieces garage album for blastdrums and electric guitar. l'Extrême Sonique Sans Concession Réuni project # 2.)
  • 2008 - 'Nous sommes là pour troubler nos sens au-delà des limites du possible de l'Homme et percer la supercherie dans l'extase'(30 mn of extreme performance with the Screaming Female Choir (le Choeur de Femmes Hurlantes) drums and guitar. l'Extrême Sonique Sans Concession Réuni project # 3.)
  • 2008 - 'les Rescapés de l'Hégémonie Culturelle' (Opera for contralto, OVO (Organized Virtual Orchestra) in 3D space trajectories, the Screaming Female Choir, blastdrums, electric bass, contrabass, electric guitar, cello, Bali flute, and two actresses. l'Extrême Sonique Sans Concession Réuni project # 4.)
  • 2008 – 'un Voyage au Bout du Possible de l'Homme' (Concerto for fog, lights, 3D space trajectories hexaphonic OVO (Organized Virtual Orchestra), the Screaming Female Choir, blastdrums, electric guitar, cello and arco guitar couchée. l'Extrême Sonique Sans Concession Réuni project # 5.)
  • 2009 - 'Reconciliation' (2D spiritual encompassing electronic music to understand the sound of Universe.)
  • 2009 - 'Les Complices du Silence' (Concerto for nonoctave electric guitar, Bali & Irish flutes, voice and quadraphonic OVO (Organized Virtual Orchestra), and live quadragraphic video projection. The video is performed live on four screens surrounding the audience in counterpoint with the music of sounds.)
  • 2010 - "Les Parasites Gouvernants. La leçon du masque africain" (artificial being voice and video mask speaking instructor)[40]
  • 2010 - "ASSEEEEEEEEEEEEEEEZ" (live act on analogue synthesizer)
  • 2011 - "Paye toi une nouvelle tête" video with the Canadian artist Nataly Nato's drawings, and a part of the solo performance on analogue synthesizer "ASSEEEEEEEEEEEEEEEZ"[41]
  • 2011 - "Bellone, the slope of war ou l'Espoir des Rats" (a hope-rat for Den Haag home city of the International Justice Court in an ancient offices: AXA insurance and Europol (ice) buildings for 4 voices outside the Western culture: Egypt, China, Indonesia, Bulgaria: unreleased).
  • 2011 - "Bang Bang .0" (for orbital orchestra of 61+1 musicians: unreleased)
  • 2011 - "Comment je t'aime" (How I Love - you have No Idea) spoken trance music
  • 2012 - "un Voyage au Bout du Possible de l'Homme" + "un Voyage au Bout du Possible de l'Humain" (2 recreations)
  • 2012 - "Envoûtant d'Amour" ~ Captivating Love (score for strings trio: Va, Vcl, Cb)
  • 2012 - "Try to catch me, Charles!" (small wood percussion huge virtual spatial orchestra ready to be recomposed by keyboard live performing)
  • 2012 - "Love thy Neighbour" (commanded music for the movie)
  • 2013 - "A Brief Return to Earth" (Aloof Proof & Myster Shadow-Sky 3rd intent)
  • 2013 - "The Secret of the Strange Modules" (shamanic ecstatic music for 2)
  • 2013 - recreation of 1984 "the Ephemerode Cards of Chrones" for the new nonoctave pianomorphe flying in space with its ghosts
  • 2014 - The Ghost of the Ephemerode (record)
  • 2014 - The Ephemerode live in Krakow" (record)
  • 2016 - ADAPTATIO. Hey! Babies are Escaping! (commissioned work by Art Zoyd)[42]
  • 2017 - Human Music (record)

Some publications, books and papers[edit]

  • 1979 – Mains & Faces (copyart)
  • 1983 - Sound does not exist (university Paris VI Jussieu, laboratoire d'acoustique musicale)
  • 1987 - Maîtrise d'un Matériau (théorie des cortèges musicaux 1987, university Paris VIII)
  • 1991 - Formalisation et expansions des systèmes de Champs Scalaires (1991, university Paris I Sorbonne)
  • 1992 - A quoi à servi la musique contemporaine ? (online)
  • 1998 - Digital Matters (1998, university of Houston, free online)
  • 1999 - Multimédia ou Multimanie ? (1999, uQuàM, free online)
  • 2003 - Anti-sacem (online)
  • 2007 - Dans le Ciel, le Bruit de l'Ombre (free huge html book in progress online)
    • including: la Théorie des Champs Scalaires nonoctaviants (the Nonoctave Scalar Fields Theory)
  • 2007 - La France, censure les Artistes (5 juin, ROBOT PARLANT 1 et 2)
  • 2007 - Conflict between knowledge & mediatization (September 21)
  • 2008 - Le Désastre de la Politique Culturelle (lettres août 2008-décembre 2009+2010)
  • 2009 - We are really sorry - Nous sommes réellement désolés (January, online)
  • 2009 - Festivals en peril (+2010, free online)
  • 2009 - La Perception DE LA Musique - ROBOT PARLANT 6 (free online)
  • 2010 - Education et conception civique de l'obéissance (mars)
  • 2010 - WHAT IT IS & WHAT IS NOT (August, free online)
  • 2010 - Le concept De La CROISSANCE économique (août, free online)
  • 2010 - L'origine de L'Obéissance (août, free online)
  • 2010 - Le rôle de l'Hypocrisie (août, free online)
  • 2010 - XXIe SIECLE : LA DISPARITION DE LA MUSIQUE (octobre, free online)
  • 2010 - Tentative d'organiser des ren-contres pour sauver la musique de sa médiocratie actuelle par ceux qui la conçoivent l'historique de cette initiative (lettres de juin à décembre 2010), 1ere Ren-contre de Musiciens Qui Pensent (Bordeaux 2011), Janvier 2011 : ouverture du réseau sur internet : préparation à l'échange in vivo
  • 2011 - Musique & hétéronomie (11 janvier, pdf free online)
  • 2011 - Journal Vigilant d'Exemples Médiocratiques (free online)
  • 2012 - Creativity Between Science and Music: questions by The College of New Jersey (13 January)
  • 2012 - Le Mouvement du Monde (free online)
  • 2015 - The Lamplayers' Book (publication of the unpublished 1995 booklet of 2 Lamplayers 5000 Years After)[43]
  • 2016 - NAKED, the book of the Forgotten Reflection (the contradictions of the Social Sexuality)[44]
  • 2017 - The Book of the Ephemerodes (Frédéric Acquaviva publishing, Berlin)

Invented musical instruments[edit]

  • the Archisonic lamp (anglepoise lamp as musical instrument: 1980-2007) starting with a ready make, finishing with a high sophisticated musical instrument.
  • the Arco-guitar (stick bow classical guitar: 1983) or how to play complex sounds of music with simple tools.
  • the PVC slide sax (1984) [45] "It came 'naturally' after performing the Trombosax (the trombone with a saxophone mouth piece)."
  • the Convex-nonoctave scale electric guitar (1985) (between 9 and 10 pitches per nonoctave define it as a macroscale) "How to explore unknown scales (convex and concave ones) and sounds by simply displacing the bridge between the 2 microphones and other minor modifications." Was in the air with Pierre Bastien to put together and continuously to experiment various objects to sound unexpectedly.
  • the Nonoctave Harmonic Tubalus (1986) a logical aftermath to sound tubular (aluminium) bells nonoctave.
  • the digital live electronic devices (1980-1990-2014 combining and mixing usual audio hardware/software equipment not conceived for stage performance used for stage performance, like the "Shadow-Sky Teub System" in 1994 generating the "spatial tones" was a "recording studio on stage", or like the complex diffusion system for 2 Lamplayers 5000 Years After (1994-1997, and the last 2003 Lille (France) performance [46]) with the sound engineer Fabrice Gares and the musician the second lamplayer: Vincent Favre). Designing electronic system devices for spatial electronic sound metamorphosis, is one of the major several hearts and cores of the Myster Shadow-Sky music, since its beginning.
  • the Pianomorphe (2013, unidentifiable morphing keyboards tuned on morphing nonoctave scales)[47] [48] [49]

and like other composers:

  • objects as musical instruments (since 1980) chairs for "Concert Bouffe" in 1986, apples for "Before Eve & Adam & after" in 1983/84, bird cage for "Cage music" in 1982, radio waves in "Boisterous turbulence of electrical parasites in a magnetic storm" (Parasites électriques et turbulants dans un orage magnétique) in the album 6sex+2ex (1982), and so on.
  • disposable musical instruments (since 1980) as stones, branches, herbs, water, stick, panes, and so on.


  • 1979 - CAUCHEMAR ATOMIC [NOVA MUSICA?] (first noise music with electric guitar).
  • 1985 - DïNGX (with musical instruments from Bauhaus).
  • 1986 - JE SUIS D'AILLEURS (with the Polish ensemble Ono Lulu Filharmonia).
  • 1979/1986 - 6 sssssseX+2 eX (music with objects).
  • 1987 - LES EXPLORATIONS DE PAROLES ST-ETHIQUES (music with the convex-scale electric guitar).
  • 1988 - LA COMMEDIA DEL SUONO (with the Polish ensemble Ono Lulu Filharmonia).
  • 1990 - BAUHAUS NEOFONIC (music composed with the composer Pierre Bastien with musical instruments from Bauhaus).
  • 1988/1993 - OPERA [TION] DELLA BOCCA D'AMORE (a capella music).
  • 1994 - STRANGE NIGHT WITH MYSTER SHADOW-SKY (musique concrete dance music).
  • 1994 - MANGE (voice through computer).
  • 1994 - LA FARSA DEL SONIDO (orchestral music).
  • 1995 - L'HISTOIRE INCROYABLE DE RANGOUN KLOBLAR (stolen music of a classical guitar quartet).
  • 1995 - 5000 YEARS AFTER, MUSIC FROM THE GENOSCOPIC KALANDAR (second music with the archisonic lamps in duet with Vincent Favre: 2 Lamplayers 5000 years).
  • 1991/1996 - 6 000 000 000 DE VOIX SANS AIR (sampled voice music).
  • 1996 - SYN-PHÔNÊ NO1 (first transcultural symphonic music).
  • 1997 - 2 LAMPLAYERS aLIVE IN NEW-EUROPE AD (third music with the archisonic lamps in duet with Vincent Favre: 2 Lamplayers 5000 years).
  • 1997 - TO BE DEFINITIVELY DONE WITH RELIGION (music with his rock band S.P.O.R.T. the Specialists of Problems Obsene Racist and Taboo).
  • 1997 - SYN-PHÔNÊ NO2 (second transcultural symphonic music).
  • 1997 - ALOOF SKY IS THE PROOF OF SHADOW (music with the British composer performer Aloof Proof).
  • 1998 - KNOTS SYSTEM IN MIAMI (transcultural music).
  • 1998 - THE HOUSTON CCMM ARTCHESTRA (Mathius Shadow-Sky conduct the collective composition by the artists from the university of Houston).
  • 2000 - WINDS OF SKINS, WE SPEAK WHALE'S SONG (with Jorge Ribeiro: bowed doublebass, and Myster Shadow-Sky: trumpet in C).
  • 1995/2000 - OH! A SHADOW IN THE SKY (electronic cheap PC music).
  • 2000 - PIANO WORKS (1983/2003).
  • 2002 - 23 MINIATURES FOR TV.
  • 2002 - JEUX & INTERDITS (concerto for electric guitar and virtual orchestra).
  • 2003 - TI.ME HAS NO AGE (third album with the archisonic lamp in orchestra).
  • 2004 - WAITING MUSIC FOR BORING ROOMS (8 sound installations for boring spaces, based on his 'waiting music' musical concept).
  • 2004 - LE REVE DES FEMMES-POISSONS (hidden orchestral music with the sound of water: sound installation for the artist).
  • 2005 - TO BE DEFINITIVELY DONE WITH DEMOCRACY (music with his rock band S.P.O.R.T. the Specialists of Problems Obsene Racist and Taboo).
  • 2005/2006 - LES LEZARDS ETRANGES DES UNIVERS IMPROBABLES in 5 episodes by 5 different Shadow-Sky-Ensemble.
  • 2006 - ALIVE IN UNBELIEVABLE UNIVERSES (SECOND ALBUM with the British composer performer Aloof Proof).
  • 2006 - LE FILM ROUGE - THE RED MOVIE (with the band The Glorified Enterprises).
  • 2006 - INSIDE OF MY ALIVENESS (fourth album - live - with the archisonic lamp).
  • 2007 - HELP inTension de secours (concerto for 2 trumpets and recorded 4 orchestra).
  • 2007 - DE L'EXTASE, LA MUSIQUE EXTREME (oratorio).
  • 2008 - LE CENTREBOMBE 5 (with the grindcore drummer Nicoblast).
  • 2009 - LES COMPLICES DU SILENCE (second concerto for electric guitar and quadraphonic orchestra).
  • 2010 - BACH, CHOPIN, SATIE RE:SOUNDED (piano music).
  • 2010 - ASSEEEEEEEEEEEEEEEEEEEZ (analog synth live performance).
  • 2012 - COMMENT JE T'AIME (with the voice of Agata Siecinska).
  • 2013 - L'AMOUR DE SON PROCHAIN (music for film).
  • 2013 - A BRIEF RETURN TO EARTH (third album with the British composer performer Aloof Proof).
  • 2013 - LE SECRET DES MODULES ETRANGES (with the drummer Bertrand Fraysse).
  • 2014 - LES FANTÔMES DE L'EPHEMERÔDE (pianomorphes recital).
  • 2014 - L'EPHEMERÔDE CARDE DES CHRÔNES (live in Krakow, Poland).
  • 2015 - DOES IT RAIN IN OUTER GALAXIES? (4 analogue synthesizers polyphonic music)
  • 2015 - THE VIBRATIONS EXPLAINED (the music of the experimental documentary on Myster Shadow-Sky)
  • 2015 - PAR LES PLIS, PASSE LA BOUFFE ? (instrumental electronic music)
  • 2016 - ÀDAPTATIO. HEY! BABIES ARE ESCAPING! (the 1st movement on 4 commissioned by Art Zoyd)
  • 2017 - HUMAN MUSIC (with the voice of Minami Saeki)
  • 2017 - THE UNANSWERED & UNASKED QUESTIONS (music to colour silence)



Myster Mathius Shadow-Sky avoid and escape all recognition which is for him 'a form of hypocrisy, and narcissism: a show of lack of intelligence. Award should be appreciated as legacies for human kind, but it is not. Generally, awarded people are not the people who gave something to humanity, but people who cultivate glory (among people who do not understand and do not care about the awarded works). A culture of hypocrisy.'

"Questions to the next generation of music composers"[edit]

Out of 2D fixed music notation?[edit]

Music composition is a job attached to printing (visual: which is for music a paradox) and all its consequences of publishing industry who deals properties: the ability to copy and to sell the bigger amount of copies + the exclusive property of the acquired copyright (stolen from the artists and from public domain) by the publisher: is the capital game of our societies. These 2 things, creates the most profitable deal industry created by the human kind, means: a very small part enslaves the bigger part with a proportion of: 1% to 99% of approximatively 100% human beings on Earth. Being published and copyrighted participates to human global enslavement. "Nowadays in XXI century, we know that."

The clash between the Parisian music score publisher, the Editions Salabert and Mathius Shadow-Sky in 1983 started because of his out-of-format unsellable music score, as the aggressive new direction was convinced (also the decision was taken and not frankly said: to not publish any new young composer). Ludus Musicae Temporarium is an octagon score format. [51] Tension (1982) is a 0,40 x 16,32 meters format continuous music score [52], The Ephemerode Cards of Chrones score (1984 first version) is a Möbius strip [53] [54], and so on.

Most of music graphics representations stay with the idea of horizontally representing time and vertically what it is stacking (as tracks in multitrack recording for example) at the same time (even if it is twisted up side down). This vision (with points and lines) is a reduction of what music can do. Also it is a tool for localisation (as maps): what to do when (with clock). The logical step that took Shadow-Sky to evolve the concept of music notation, was to compose not a piece of music with graphics, following John Cage, but to create engines generators for the music or operational system (being a system by its rules of several operations at the same time) of active moving links creating the 3D networks representation, not by machines (calculators = robots), but by humans beings playing free, the music. These ideas was thought by Gilles Deleuze in the early 70s and the 80s of the XX century: referring to his rhizome roots concept [55]. This 3D Shadow-Sky moving score stays in the brain of the musician performing at the same time. The Ephemerode Cards of Chrones restarted and recreated in 2013 (lonely digital) context, is the result of the 3D unpublishable music score [56]. We are here on the edge of: what one needs for intelligence in music to grow up, has to be written or not? And written how? Knowing a simple recording is already a writing. As Shadow-Sky says: "its phase 3 of writing [57] is an invisible electronic computation making automatic invisible operations (to manipulate the users). We are already elsewhere. With written questions here."

External links[edit]

  1. Les Chercheurs de Sons, (book at Editions Alternatives (Decembre 9, 2004) ISBN-10: 2862274348: presentation of the Mathius Shadow-Sky's archisonic lamp) website at http://www.chercheursdesons.com/archive/2007/01/25/mathius-shadow-sky-et-le-centre-de-la-bombe.html http://neospheres.free.fr/disques/nicollet.htm http://sonhors.free.fr/kronik/leschercheursdesons.htm
  2. shadow-sky nonoctave scales at Native Instruments Kontakt User Library: 53 shadow-sky nonoctave scales v1.0 + 60 shadow-sky nonoctave harmonic scales v.1.0 at https://www.native-instruments.com/fr/community/user-libraries/kontakt/
  3. http://centrebombe.org (official website of the composer)
  4. Radio France, France Culture, Jean Couturier radio program (INA, 1984)
  5. Public News, Houston, (http://publicnewsonline.com) giving a year master class of composition at the University of Houston, and conducting the Houston Collective Composers Music Makers Artchestra, the June 3, 1998.
  6. Subtropics 1998 where he performed Knots System in Miami: http://articles.sun-sentinel.com/1998-03-08/entertainment/9803050191_1_public-places-dog-years-festival/2
  7. Portrait sonore by Falter Bramnk (2003) http://falter.bramnk.free.fr/portraits.html
  8. Radiom, radio program by Ahmed Azzouz (2013) https://www.radiom.fr/podcast/77-tequila-vroum-vroum/788.html
  9. The Ephemerode in residency at Mix'Art Myrys, Toulouse 2013 : http://mixart-myrys.org/programmation2/2013/les-ephemerodes-cardent-des-chrones/
  10. Audio Art 2014 concert of The Ephemerode Cards of Chrones: http://www.ustream.tv/recorded/55713405
  11. Myster Shadow-Sky conference introducing the Nonoctave Scalar Field theory (Krakow, Audio Art November 2014) http://www.audio.art.pl/

See also[edit]


  1. ^ The details of this transcription is reported and published by the centrebombe.org as PROTOHISTORIC MUSIC in his book: Dans le Ciel, le Bruit de l'Ombre (In the Sky, the Noise of Shadow) here: http://centrebombe.org/livre/1980.html, lamps, also: 9.2.2, 1980b.
  2. ^ see the talk at the article anglepoise lamp
  3. ^ see the Archisonic Lamp schematic, in the book: Les Chercheurs de Sons (ISBN-10: 2862274348) drawn by Vincent Bruno
  4. ^ Recording available at Internet Archives: https://archive.org/details/ItIsImpossibleToGiveATitleToThisPhenomenon
  5. ^ Tod Machover MIT http://www.media.mit.edu/people/tod
  6. ^ "Being a composer is (known as) a social privilege. When a composer writes a music, it means s/he has the ability to provide payment of all musicians involved in the music. An awarded composer is a person who has money or and efficient influences to provide payment (as a company manager) for the concert. This is why most of composers stay away from revolutionary "aleatoric music", and "free music, free improvisation" which appear after the Second World War. Starting at the end of the 70s, these music was "avoided" by music industry and most composers. If the "avant-garde serious music" became "neoclassical" in the 80s among young composers, it is because: money is available for classical music and not any more for "extravagant" experimental music. Experimental music is politically dangerous, because it frees people's minds. Nowadays, people obey, and do not understand what is going on. The new generations does not know anything about the "free jazz" or the "aleatoric music" or the fight of underground music to be heard, from the 80s until today. Shadow-Sky's music is censored because his music gives the ability to make think and to orgasm (not to entertain, and submit). The paradox is: it was an American composer who had impulsed the freeing of the "serious music" (with ideas coming from the Chinese philosophy such as the Yi Jing, and Lao Tseu through the Japanese Zen: "the Second World War losers"). Knowing the US had sealed, after the Second World War its domination of the world with its US dollar. John Cage died in 1992 and was the happiest composer Mathius Shadow-Sky ever met."
  7. ^ "imagine music invented by African-American slaves becoming free! Music producers and distributors could not tolerate that. They kill the jazz who was growing free." Anthony Braxton one the free-jazz leader, experimented this abandonment in ultra-poorness living as a tramp in the 80s, said to Mathius Shadow-Sky when they met in 2002."
  8. ^ https://archive.org/details/JeSuisDailleurs
  9. ^ http://www.luthier-amateur.org/weinf1.php
  10. ^ At the beginning Shadow-Sky wanted to found an ensemble of 12 musicians performing the 12 Bauhaus instruments he could not find.
  11. ^ http://www.chercheursdesons.com/tag/Mathius+Shadow-Sky
  12. ^ http://www.aloofproof.com/archive
  13. ^ this 3 albums are available at centrebombe.org web site: http://centrebombe.org/myster_shadow-sky_discography.html, and at archive.org here: https://archive.org/details/ToBeDefinitivelyDoneWithReligion, and here: https://archive.org/details/ToBeDefinitivelyDoneWithTheDemocracy
  14. ^ Public News, Houston, (http://publicnewsonline.com) giving a year master class of composition at the University of Houston, and conducting the Houston Collective Composers Music Makers Artchestra, the June 3, 1998.
  15. ^ Mathius Shadow-Sky, Blacksburg, September 1999. MULTIMEDIA OU MULTIMANIA ? ou le rôle de l'artiste multi-média dans nos sociétés technologiques. REALITES VIRTUELLES / VIRTUALITES REELLES : LE RÉEL EST-IL VIRTUEL ? LE VIRTUEL EST-IL REEL ? Conférence prononcée le 29 septembre 1999 à l'Université du Québec à Montréal. http://centrebombe.org/ImaginaireCollectif.html
  16. ^ http://centrebombe.org/ourdissionG2/1.html
  17. ^ video excerpt of the Lamplayer in Berlin 1: https://www.youtube.com/watch?v=hqR6DmI9r2w, and 2: https://www.youtube.com/watch?v=VVK4Q1HJIA4 both shot by Lan Hunghsiang
  18. ^ « Qu'est-ce que tu entends dans le bruit du silence ? : Myster Shadow-Sky. Tu nous fais palper les molécules du mur des sons où « ta musique déborde pour se cogner aux limites du possible », avec l’esprit de Georges Bataille (1897-1962) pour ce premier essai renversant. »
  19. ^ A short video of the oratorio at TV Bruits http://tvbruits.org/spip.php?article849
  20. ^ A Shadow-Sky video about governing parasites at TV Bruits http://tvbruits.org/spip.php?article1495 "Governing people, if they lose their political power, they loose their function in society: they are useless. Their fight to keep the control to deceive people, for them is vital. People for politicians are at the same time: food and enemy."
  21. ^ A short video collage of the opera at TV Bruits http://tvbruits.org/spip.php?article1039
  22. ^ 2 commercials of 6 from the opera http://tvbruits.org/spip.php?article1527
  23. ^ one of the rehearsal of the second orchestra by Benoit Maestre http://tvbruits.org/spip.php?article1886
  24. ^ See his list of works here and his music around the web
  25. ^ 2007 Wikipedia example: http://en.wikipedia.org/wiki/Myster_Shadow-Sky
  26. ^ translator's note
  27. ^ Rewarmed Riot (Rion Riorim), shadow-sky 1982
  28. ^ Dans le Ciel, le Bruit de l'Ombre (centrebombe 2007)
  29. ^ The eighteenth century called "the century of lights" (sic) has sealed domination makes it to believe as freeing people. 1789 French revolution is the aristocracy's power of the monarchy who passes to the bourgeoisie's power of the imperialism. In music, one notices by established (still in use today) of the music theory: the tonal harmony which includes power of the hierarchy domination. Although, alternatives theories are proposed since the early twentieth century: by Ivan Wyschnegradsky the European and by the American Harry Partch, nobody has developed. And now with the Nonoctave Scalar Fields Harmony by the American-European Mathius Shadow-Sky. By fear of being marginalized, any composer (being already in submission) develops musical theory to free music. Exceptions are: Julián Carrillo, Jean-Etienne Marie (with his essential book: 'L'homme musical' (Musical Man) 1976, or Gérard Grisey who tried to found an exit from tonal harmony with spectral harmony. The musicologist John Blacking with his book: 'How Musical is Man?' 1974, showing the link between social culture and musical system. Iannis Xenakis always wrote his scores to be performable by classical musicians, stays in 12 tone octave theory as well as 1/4 or 1/8 tone.
  30. ^ performed by the British flute player Simon Desorgher and Lawrence Casserley controlling the moving sound in space
  31. ^ shadow-sky nonoctave scales at Native Instruments Kontakt User Library: 53 shadow-sky nonoctave scales v1.0, 60 shadow-sky nonoctave harmonic scales v.1.0
  32. ^ Mathius Shadow-Sky conference introducing the Nonoctave Scalar Field theory (Krakow, Audio Art November 2014, http://www.audio.art.pl)
  33. ^ https://archive.org/details/KarlheinzStockhausenRecomposedByArtistsInTheCenterOfTheBombVol.1.01
  34. ^ http://centrebombe.org/anti-sacem.html
  35. ^ Balanced-arm lamp
  36. ^ The Archisonic Lamp exhibition at STEIM in 2011: http://steim.org/archive/patternsandpleasure/index99a0.html?p=2366
  37. ^ "Gérard Nicollet, Les chercheurs de sons" (2004) ISBN-13: 978-2862274348, considers Myster Shadow-Sky as the unique creator of the anglepoise lamp as musical instrument
  38. ^ Anarkhia.Symphonic.Space.Orchestra_proposition.operatoire.pdf
  39. ^ http://www.centrebombe.org/livre/guitares.volantes.html
  40. ^ the video at TV Bruit: http://tvbruits.org/spip.php?article1495
  41. ^ the video is at TV Bruits: http://tvbruits.org/spip.php?article1664
  42. ^ https://www.artzoyd.net/mathius-shadow-sky/
  43. ^ https://independent.academia.edu/MathiusShadowSky
  44. ^ https://independent.academia.edu/MathiusShadowSky
  45. ^ http://www.zzounds.com/edu--pvcinstruments
  46. ^ the January 25, 2003: the last performance of The Lamplayers 5000 Years After http://crimeasso.free.fr/dotclear/index.php/?2003
  47. ^ the Ephemerode's pianomorphe: http://www.ustream.tv/recorded/55713405
  48. ^ "We know that Myster Shadow-Sky is not using our Pianoteq as it should be, but his pianomorphes sound like nothing else" Philippe Guillaume, designer of the Pianoteq https://www.pianoteq.com
  49. ^ "Mathius Shadow-Sky is not using my spatializators as I designed them. First by using several at the same time, and then making unusual programming: but it works, the flying sounds go through the bodies of the audience! It is a way I would never expect." Nicolas Holzem, designer of the Orfeusz 206 http://www.waf-audio.com/products.php?pos=2&sub=1&lang=en
  50. ^ Myster Mathius Shadow-Sky 1979-2017 discography [[1]]
  51. ^ published now for free as public domain in pdf format available in the center of the bomb at http://centrebombe.org/livre/Ludus.Musicae.Delirium(partition.score)1980.version.pdf as the first 1980 version which the word 'Delirium' was chosen before the word 'Temporarium' as the place of time to play, and at http://centrebombe.org/livre/Ludus.Musicae.Delirium(partition.score)1985.version.pdf as the second version, the first 1981 stage design at: http://centrebombe.org/livre/Ludus.Musicae.Delirium(mise%20en%20scene)ARC.1981-83.pdf, and the last update at: http://centrebombe.org/livre/1980.b.html. Unfinished music score is important for Shadow-Sky as leaving doors open.
  52. ^ available for free at: http://centrebombe.org/livre/TENSION%20(png).A3.(30.pages.score).pdf explained at: http://centrebombe.org/livre/1981.a.html
  53. ^ available for free at: http://centrebombe.org/livre/Ephemerodes.Cardes.des.Chrones.(score).pdf + the additive one at: http://centrebombe.org/livre/Ephemerodes.Cardent.des.Chrones.(additive.score).pdf, and explained at: http://centrebombe.org/livre/1984a.html
  54. ^ centrebombe is a free publisher for free access publishing financed by Shadow-Sky himself (US$60/year to the host + US$12/year to keep his name centrebombe.org)
  55. ^ Gilles Deleuze & Félix Guattari, Mille Plateaux, 1980 (A Thousand Plateaus)
  56. ^ While the computer programmer David Venancio de Campos is working on it, at the Tetalab, in Toulouse since 2014
  57. ^ L'objet de l'écriture, sa phase 3 (the purpose of writing, its phase 3) at http://centrebombe.org/livre/0.12.html in Dans le Ciel, le Bruit de l'Ombre (In the Sky, the Noise of Shadow)