https://tanguypocquet.com 2026-06-23T11:18:15+00:00 always 0.5 https://freight.cargo.site/t/original/i/G869893239669391294007305120348/horizontal.svg <b><br /> Text on text<br /> <span style="color: rgb(156, 156, 156);">April 2026</span><br /> </b><br /> Based on the writings and recordings of Julien Gracq, this piece pushes written and spoken text towards abstraction, encouraging the listener to question text as form over content. <br /><br /> The resulting digital palimpsest retains just enough of the original meaning to offer glimpses of the author’s thoughts and prose; while artificially reconstructing a commentary on meaning, perception and surrealism in literature and music.<br /> <br /> <br /><br /> https://freight.cargo.site/t/original/i/E2475901135031071456739796532998/orch.jpg <b><br /> Mythe de l&#x27;artiste taciturne, insomniaque, dépendant à la caféine, attablé jusqu’à l’aube à un bureau mal éclairé et jonché des ébauches d&#x27;œuvres incomplètes, griffonnées dans la marge de quelques carnets aux feuilles jaunies, dans le désordre rassurant d’une chambre nimbée de fumées troubles<br /> <span style="color: rgb(156, 156, 156);">April 2023</span><br /><br /> </b>Written for the RNCM Brand New Orchestra, this piece explores movement within stasis; unstable intervallic relationships within an immutable harmonic block; dissonance between the constituent elements of consonance; perpetually moving parts in an immobile whole. It also delves into questions of individuality of acoustic lines within a sound masse, of noise foregrounding or drowning-out pitch, of the interests of non-narrative structures.<br /> <br /> All materials are drawn from a single chord; lines move between its pitches, horizontally, changing the overall sound, vertically. In this aspect, it owes something to works like Justė Janulytė’s Sleeping patterns; Bryn Harrison’s Shifting light; or Gérard Grisey’s Partiels, that impose tight limitations on the music’s harmonic content to focus in on variations in timbre, texture, density, pace.<br /> <br /> The electronics are similarly focused, consisting of pink noise being progressively filtered to the same chord as the orchestra, over the 8 minutes of the piece.<br /> <br /> I think its title, somewhat acerbically ironic, partly acts as a commentary on other – often older – orchestral works, where harmonic tension and movement are inherently tied to the music’s structure and sense of narrative. Perhaps these are works that many are more familiar with, works that revolved around myths, grandiose ideals, and whose composers are often revered as brilliant, solitary, virtuosic creators, no lesser myths than the ones they would compose about. In any case that is something I had been thinking about when I was writing it.<br /> <br /> <a href="https://freight.cargo.site/m/Q2475916609893994427240389885702/Mythe.pdf" target="_blank">→ <span class="slide-text"><b>score</b></span></a><br /> <br /> <br /> <br /> https://freight.cargo.site/t/original/i/Z2488880402272106377120227081990/frame-00410.png <b><br /><a href="noise-through-to-twos-and-sevens" rel="history">Noise through to twos and sevens</a></b><br /><b><span style="color: rgb(156, 156, 156);">July 2025</span></b><br /> <br />This piece is the result of the mapping of an artificial neural network’s processing data onto sound and visuals. At its core, it’s an attempt at making art from AI with a non-generative approach, leaving all creative agency to the artist; at exploring structures inherent to the operation of neural networks; at commenting on the nature of these ubiquitous, yet notoriously unintelligible algorithms. <br /><br />It does so by focusing on some of the network’s internal data streams during training, looking at their gradual movement from noise to order, and mapping this information onto sound and visual materials and processes derived from ‘glitch’ and drone traditions, that offer interesting aesthetic parallels to this evolution of the data.<br /><br />Read more about the details of it <a href="https://freight.cargo.site/m/I2480636088705100029887166365446/Noise-through-to-twos-and-sevens---companion-paper.pdf" target="_blank">→ <span class="slide-text"><b>here</b></span></a><br /><br /><br /> <br /> https://freight.cargo.site/t/original/i/N2488894922663597485741200719622/frame-00070.png <b><br /> <a href="reiterate-something-so-many-times-that-it-changes" rel="history">Reiterate something so many times that it changes</a><br /> <span style="color: rgb(156, 156, 156);">October 2025</span><br /><br /> </b>The direct visualisation of an artificial neural network trained on the classification of non-linearly separable data, a foundational problem of machine learning, this piece attempts to ‘open the black box’ of AI networks.<br /> <br />The limits of this approach are the high degree of abstraction and complete unintelligibility of the many simultaneous streams of numerical data that flow continuously through even a very simple neural network.<br /> <br />The loop-based music offers a semantic and poetic parallel to the iterative nature of these processes.<br /> <br /> <br /> <br /> https://freight.cargo.site/t/original/i/W2490659796160957668203157077766/Cover.png <b><br /><a href="cut-through-and-from" rel="history">Cut through and from</a><br /> <span style="color: rgb(156, 156, 156);">January 2025</span><br /><br /></b>Filtering pink noise to a chord (increasing the Q-value of tens of bandpass filters), while having an increasingly high amplitude sine wave exert a pull on visual particles.<br /> <br />Audio and visual representations of noise to pitch transitions, of randomness to order.<br /> <br /> <br /> <br /> https://freight.cargo.site/t/original/i/T2490665164274163582124934643462/Cover.png <b><br /> <a href="spin,-split,-spread,-splatter-(in-eighths)" rel="history">Spin, split, spread, splatter (in eighths)</a><br /> </b><b><span style="color: rgb(156, 156, 156);">December 2024</span><br /></b><br />An 8-channel piece, in which an artificial neural network learns (at first unsuccessfully) to arrange a set of points in eight evenly spaced gaussian distributions, resulting in the sound being panned more or less evenly between eight speakers.<br /> <br />A spatial audio representation of machine learning for simple point distributions.<br /> <br /> <br /> <br /> https://freight.cargo.site/t/original/i/X2490669950429487458657777827590/Cover.png <br /> <b><a href="letter-upon-letter-of-meaninglessness" rel="history">Letter upon letter of meaninglessness</a><br /> </b><b><span style="color: rgb(156, 156, 156);">March 2025</span><br /></b><br />What if telegraphic morse code was transmitted as chopped-up organ notes instead of analog sine waves? <br /> <br />What if the operator was an infinite monkey, who would’ve ditched its typewriter for a telegraph key?<br /> <br />What if another monkey was playing with the contents of a digital Snellen chart?<br /> <br />From there, how do you make sense of seemingly meaningless information?<br /> <br />And is anything really senseless if it’s encoded using a painstakingly conceived standardised system?<br /> <br /> <br /> <br /> https://freight.cargo.site/t/original/i/P2490686417210732760668380675846/Cover.png https://freight.cargo.site/t/original/i/Q2490689147144388228944924327686/Cover2.png <br /> <b><a href="threaded-|-spinning-|-abrading-|-possibly-breaking-4-3-3_m" rel="history">threaded | spinning | abrading | possibly breaking</a></b><br />Co-created with Sam Longbottom<br /><b><span style="color: rgb(156, 156, 156);">May 2022 — </span><br /></b> <br />This installation centres on the automated playing of string instruments tuned in just intonation. In it, a loop of fishing line is threaded through the strings, and drawn tight around pulleys secured to turntables. With the turntables switched on, the loop of fishing line rotates, bowing the strings. Unpredictable variations in sound arise with each new performance, despite the work’s automated nature.<br /><br />It is an exploration of fragility; of subtle yet detailed organic shifts and variations in timbre, pitch, volume, texture; of the simultaneous harmonic complexity and aesthetic simplicity that emerge from tuning strings in just intonation. Variations in physical parameters (bowing speed, amount of rosin, string tension, etc.), in preparations, in materials, etc. allow for a wealth of intricate changes in the sounds produced, even within a well-defined sound world. <br /><br />This work also has a strong visual identity, and questions the use and re-purposing of the sound-related objects it features (instruments, turntables, hard-bound music scores, etc.).<br /> <br /> <br /> <br /> https://freight.cargo.site/t/original/i/K2490704225826588728385477623558/Cover3.png <br /> <b><a href="music-for-gently-pressurised-air,-organ-pipes-and-colourful-hard-bound-music-scores" rel="history">Music for gently pressurised air, organ pipes and colourful hard-bound music scores</a></b><br />Co-created with Sam Longbottom<br /> <b><span style="color: rgb(156, 156, 156);">April 2023 —</span><br /></b> <br />This installation is a study of the automated playing of wind instruments. It uses organ pipes, tuned in a 7-limit tuning, forming a rich, consonant chord, whose pitches are gradually introduced, and from which particular intervallic relationships are foregrounded by changing the pressure of air brought to the pipes. It is an exploration of the beating patterns that emerge from pipes tuned in close proximity, of the simultaneous harmonic complexity and aesthetic simplicity of a chord built around justly intoned sevenths, of the subtle pitch and timbre variations obtainable by varying air pressure, closing or opening the pipes or isolating specific subsets of the entire chord. <br /> <br /> <br /> <br /> https://freight.cargo.site/t/original/i/M2490712215277467748655668477702/Cover.png <b><br /><a href="ce-que-le-givre-conserve-d'une-empreinte" rel="history">Ce que le givre conserve d’une empreinte</a><br /> </b><b><span style="color: rgb(156, 156, 156);">March 2021</span></b><br /> <br />A short piece exploring the glacial timbres of clainet multiphonic trills and viola harmonic trills; the perception of repetition; the foregrounding of jarring contrasts.<br /> <br />Written for a trio from the Riot ensemble.<br /> <br /> <a href="https://freight.cargo.site/m/R2487154946773607077208479579910/Ce-que-le-givre-conserve-d-une-empreinte-score-en.pdf">→ <span class="slide-text"><b>score</b></span><br /> <br /> </a><br /> <br /> https://freight.cargo.site/t/original/i/F2490720267447276619538334826246/Cover.png <b><br /><a href="coagulant" rel="history">Coagulant</a><br /> </b><b><span style="color: rgb(156, 156, 156);">June 2021</span><br /></b><br />Made from recordings of <i>Ce que le givre conserve d’une empreinte, </i>this acousmatic work explores the electronic moulding of acoustic textures; the compartmentalisation of specific spectral configurations; and the stretching and chopping up of discrete sounds to make up continuous backdrop lines and rumbles.<br /> <br /> <br /> <br /> https://freight.cargo.site/t/original/i/N2490745870993095350258400837382/frame-02129.png <b><br /><a href="de-part-en-part-de-part-et-d'autre" rel="history">De part en part de part et d’autre</a></b><br /> <b><span style="color: rgb(156, 156, 156);">February 2023</span><br /></b><br />This work is the realisation of a two year collaboration with Manon McCoy, looking at harp repertoire and techniques; thinking about how to collaboratively develop an idiosyncratic vocabulary for the instrument, and about how to use electronics to complement and expand its sound without denaturing it; and workshopping multiple drafts of the materials and piece throughout the compositional process.<br /> <br />Split in two parts, it explores the timbral richness of the harp’s tone through unconventional playing techniques, and its fragility through the use of carefully selected harmonics within a semi-modular structure. The electronics are the bridge between these two sections, as signal from the harp is processed in real-time, and elements of acoustic material from each part are used to expand the sound world of the other. Through this sole use of acoustic sounds, the electronic part explores the harp’s resonance to create a soundscape continually reshaped by the live signal.<br /> <br /> <a href="https://freight.cargo.site/m/H2487162409496155816776133590790/de-part-en-part-de-part-et-d-autre.pdf">→ <span class="slide-text"><b>score</b></span><br /> <br /> </a><br /> <br /> https://freight.cargo.site/t/original/i/J2490752176477601369731043770118/frame-02090.png https://freight.cargo.site/t/original/i/R2490752854303212358188517900038/frame-00295.png https://freight.cargo.site/t/original/i/Q2490753585569040928182563061510/frame-05434.png https://freight.cargo.site/t/original/i/N2495606940758264506435843735302/Cover.png <b><a href="tidal-forms" rel="history"><br /> Tidal forms</a></b><br /><b><span style="color: rgb(156, 156, 156);">May 2023</span><br /></b><br />Sonification/visualisation of tidal patterns from six locations on the Atlantic coast of France over a week.<br /> <br />Read more about the details of it <a href="https://freight.cargo.site/m/I2501758770471637612828125118214/Tanguy-Pocquet-Dissertation.pdf" target="_blank">→ <span class="slide-text"><b>here</b></span></a><br /><br /><br /><br /> https://freight.cargo.site/t/original/i/P2627632040110215656063639568134/Screenshot-2025-11-01-at-15.49.59.png <b><br /> Somewhere between self-similar and repetitive<br /> <span style="color: rgb(156, 156, 156);">October 2025</span><br /><br /> </b>This piece is an exploration of repetition, layering, and decay. Each part is assigned a basic short phrase — each tightly restricted harmonically — repeated again and again with subtle timbral and dynamic changes. This structure invites the listener to notice minute movement within the shape of the resulting loop; to shift their focus between the parts of the orchestral whole; to eventually notice the decay and loss of integrity of the original material.<br /> <br />With the orchestra split into arbitrary sections of instruments, coming in and out to thicken and thin out the texture, the highly repetitive materials are also ever-changing. The electronics, made up of organ drones and similarly static harmonically to the orchestra, act to cement the discrete frames of the instrumental part into one cohesive stretch.<br /><br /> Perhaps more obviously than anything, this work looks at cross-media materiality, deriving visuals from the live sound of the ensemble and blurring the line between literal and representational paradigms. This cross-fertilisation between audio (acoustic and electronic) and visuals, introducing representations of one in the other, is central to my practice, through which I like the audience to realise the inherent materiality of the sounds presented to them.<b><br /> <br /> <a href="https://freight.cargo.site/m/N2627642258462734358585242631942/Somewhere-between-self-similar-and-repetitive---Score-in-C.pdf" target="_blank">→ <span class="slide-text"><b>score</b></span></a><br /> <br /> <br /> <br /></b> https://freight.cargo.site/t/original/i/J2662820455802594354006012542726/frame-00531.png <b><br /> Text on text<br /> <span style="color: rgb(156, 156, 156);">April 2026</span><br /> </b><br /> Based on the writings and recordings of Julien Gracq, this piece pushes written and spoken text towards abstraction, encouraging the listener to question text as form over content. <br /><br /> The resulting digital palimpsest retains just enough of the original meaning to offer glimpses of the author’s thoughts and prose; while artificially reconstructing a commentary on meaning, perception and surrealism in literature and music.<br /> <br /> <br /><br /> https://freight.cargo.site/t/original/i/S2680251456661663996041127345926/run_loop_1.0_img.png https://freight.cargo.site/t/original/i/U2680251456643217251967417794310/run_continuous_2.2_img.png https://freight.cargo.site/t/original/i/R2680251456680110740114836897542/run_mitosis_1.0_img.png https://tanguypocquet.com/pieces-1 2025-08-24T14:05:25+00:00 always 0.5 https://tanguypocquet.com/noise-through-to-twos-and-sevens 2025-08-24T14:05:25+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2397721903010455622102839803654/Noise through to twos and sevens https://tanguypocquet.com/texte-sur-texte;-en-lisant-en-écoutant 2025-11-24T21:31:44+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2397721903010455622102839803654/Noise through to twos and sevens https://freight.cargo.site/t/original/i/Y2664667162819801303075686006534/Text on text; en lisant en écoutant https://tanguypocquet.com/reiterate-something-so-many-times-that-it-changes 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/Z2478160705987642984694298787590/Endless iterations towards incremental change - Tanguy Pocquet https://tanguypocquet.com/cut-through-and-from 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/A2397728006742921707414116712198/wave_01 https://tanguypocquet.com/spin,-split,-spread,-splatter-(in-eighths) 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/S2397723279856986539710062870278/GAN_1_ https://tanguypocquet.com/letter-upon-letter-of-meaninglessness 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/G2463713511564400468769374027526/Letters upon letters of meaninglessness https://tanguypocquet.com/viderunt-omnes 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/Y2479494634452925907790542487302/Viderunt omnes - Tanguy Pocquet https://tanguypocquet.com/beata-viscera 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/W2479684433961930997200016195334/Beata viscera - Tanguy Pocquet https://tanguypocquet.com/sederunt-principes 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2479917376457721261476875681542/Sederunt principes - Tanguy Pocquet https://tanguypocquet.com/threaded-|-spinning-|-abrading-|-possibly-breaking-4-3-3_m 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2397739761985922911047012663046/threaded | spinning | abrading | possibly breaking 4.3.3_m - Tanguy Pocquet & Sam Longbottom https://tanguypocquet.com/threaded-|-spinning-|-abrading-|-possibly-breaking-4-3-1 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/A2398063017176600631489633009414/threaded | spinning | abrading | possibly breaking 4.3.1 - Tanguy Pocquet & Sam Longbottom https://tanguypocquet.com/music-for-gently-pressurised-air,-organ-pipes-and-colourful-hard-bound-music-scores 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/V2463767418300139629454965948166/Music for gently pressurised air, organ pipes and colourful hard bound music scores https://tanguypocquet.com/ce-que-le-givre-conserve-d'une-empreinte 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/Y2476267114670358063207109443334/Ce que le givre conserve d'une empreinte - Tanguy Pocquet https://tanguypocquet.com/coagulant 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/N2475971191319398083852832161542/Tanguy Pocquet - Coagulant https://tanguypocquet.com/de-part-en-part-de-part-et-d'autre 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/L2466643718421224005531716108038/De part en part de part et d'autre https://tanguypocquet.com/mythe 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/S2475916001797076037405020864262/Mythe de l'artiste taciturne, insomniaque, dépendant à la caféine [....] https://tanguypocquet.com/mythe_orig 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/S2475916001797076037405020864262/Mythe de l'artiste taciturne, insomniaque, dépendant à la caféine [....] https://tanguypocquet.com/tidal-forms 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2495614502964104035519109611270/Tidal forms - Tanguy Pocquet https://tanguypocquet.com/somewhere-between-self-similar-and-repetitive 2025-11-23T17:45:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2495614502964104035519109611270/Tidal forms - Tanguy Pocquet https://freight.cargo.site/t/original/i/Q2627633521143957101982410161926/Somewhere between self-similar and repetitive - Tanguy Pocquet https://tanguypocquet.com/morph-out-into-itself-i-continuous 2025-12-04T16:15:58+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2397721903010455622102839803654/Noise through to twos and sevens https://freight.cargo.site/t/original/i/P2680255729665461230121663676166/Morph out into itself - I: continuous - Tanguy Pocquet https://tanguypocquet.com/morph-out-into-itself-ii-cyclical 2025-12-04T16:17:31+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2397721903010455622102839803654/Noise through to twos and sevens https://freight.cargo.site/t/original/i/V2680256405129888977144315199238/Morph out into itself - II: cyclical - Tanguy Pocquet https://tanguypocquet.com/morph-out-into-itself-iii-mitotic 2025-12-04T16:17:31+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2397721903010455622102839803654/Noise through to twos and sevens https://freight.cargo.site/t/original/i/A2680257190463124427181056147206/Morph out into itself - III: mitotic - Tanguy Pocquet https://tanguypocquet.com/nav---desktop 2026-06-22T14:50:57+00:00 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