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We [at IRCAM] have a very important direction
which is to make more accessible the interface: man-machine. This involves
a higher level of language—language which is more symbolic and less
numerical.
For instance, if you see a curve it means more to your imagination than
figures. Also ‘real time’ work is important, so that you can
modify the
field of sound during a performance, as I do in Répons for
instance. It is an analytical process which is rather complex, but which
is instant, and for me this is very important for the future. In the past
there are these pieces with tape and always, as a performer, you are a
prisoner of the tape—for instance in Disintégrations of
Tristan Murail you have in your ear a click track with the tempo of the
tape and this is very limiting for you as a performer. Now, if the machine
can follow the performer, you reverse the situation; if the machine is
intelligent or has ‘qualities of intelligence’ it can even
tell when a
performer makes a mistake. That is really the direction that I want to
push everything. . . .
Pierre Boulez
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