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Abstract Long before 1977 marked the inauguration of Ircam and the start of his lectures at the Collège de France, Pierre Boulez had laid the foundations for his public activities. He had even done so by stirring up resounding polemics that left little …

Conference in English. Abstract Pierre Boulez reminds us that one of the sources of the form of Anthèmes 1 is the plainchant Lamentations of Jeremiah , which he sang in his youth during the First Nocturne service on Holy Thursday. The most striking …

Abstract The study of different types of statuary groups allows us to glimpse, when we know their exact position in a given part of a temple, the role and interference of the figures represented. King and deities For the most part, the statuary group …

Abstract "Music doesn't need a laboratory". With these words, the famous physicist and Nobel Prize winner Werner Heisenberg at the Max Planck Institute rejected Pierre Boulez's project for collaboration between science and music in 1970. Did Werner …

Abstract In November 1970, at the request of President Georges Pompidou, Pierre Boulez began work on a project to integrate a music research institute into the future Beaubourg Plateau art center. Over the next three years, Boulez consulted and assembled …

Abstract I will discuss the canonical quantization of quantum cosmology on toroidal universes. The wavefunctions are automorphic forms, and the Wheeler-DeWitt equation reduces to a dynamical equation on moduli space, so quantum cosmology can be viewed as …

This event is not broadcast online. Program Presentation by Nicolas Donin and Jonathan Goldman Pierre Boulez Dérive  1 , for six   instruments (the work will be performed twice) Répons , for six   soloists, ensemble and electronics (excerpt) Tristan …

Abstract The main part of Boulez's last lecture at the Collège de France - "L'œuvre: tout ou fragment" (The work: whole or fragment) - deals with the different types of relationship that the fragment and the whole can have within the work , depending on …

Abstract A landmark work, Pierre Boulez's Répons (1980-82) was written to showcase the technological potential of IRCAM, the Parisian Institute for Research and Coordination in Acoustics/Music that Boulez founded in 1977. This piece, like many others, was …

Abstract Pierre Boulez has a unique relationship with archives and libraries. The composer, who wanted to "burn libraries" and made them the site of the tension between memory and creation, was himself interested in the archives of others, and took care …

Abstract Quantum gases in optical cavities have shown many exciting phenomena such as the self-organization into superradiant phases. Additionally many complex phases have been predicted to be realizable in these systems reaching from topologically …

Abstract In 1986, Pierre Boulez signed a contract to donate his musical manuscripts to the Swiss conductor and patron Paul Sacher, a friend of many years. The collection was the cornerstone of the musical holdings that have since been preserved and …

Abstract Pierre Boulez has written and spoken surprisingly little about composers active in the second half of the twentieth century. A prolific author and passionate commentator on composers such as Webern, Schoenberg and Debussy, whom he integrated into …

Abstract The topic of musical material features prominently throughout Boulez's College de France lectures, and in this paper I set out to establish some of the principal elements of its elaboration. Boulez spoke of the dissatisfaction experienced by …

Abstract Thermalized elastic membranes show strong scale-dependence of their elastic moduli. A beautiful realization is in the physics of thermalized 2D metamaterials, such as graphene, where thermal effects already set in at microscopic length scales. …

Abstract Pierre Boulez was not only the composer of thirty-three works (and their revisions), but also the author of books of various kinds: compositional techniques, interviews, correspondence and three volumes containing one hundred and fifty articles …

Abstract Faced with the growing success of discourses that make climate change the driving force behind the successes and (above all) the failures of ancient societies, we need to give a voice to the actors -   humans and non-humans alike   - of …