FIXIN, public rehearsal at Le Cube, Issy-les-Moulineaux (F), 21.11.2019 Premiere at the Théâtre de Vanves (F), as part of the Némo Biennale, 4.12.2019 Le Générateur, Gentilly (F), as part of the Sors de ce corps ! festival organized by the Némo Biennale, 25.01.2020 Espace multimédia Gantner, Bourogne (F), as part of the « Algotaylorism » exhibition, 19.04 – 11.07.2020. Teaser  : www.sylvaindarrifourcq.com/fixin.html 1 http://www.tricollectif.fr 2 IN LOVE WITH  : Sylvain Darrifourcq  : drums, composition ; Théo Ceccaldi  : violin ; Valentin Ceccaldi  : cello. 3 MILESDAVISQUINTET !  : Sylvain Darrifourcq  : percussion ; Xavier Camarasa  : prepared piano ; Valentin Ceccaldi  : cello. 4 Némo is a digital arts international biennale held in Paris and Île-de-France. 5 Zimoun & Sylvain Darrifourcq, Time at a Loss #3, Mechanical Rhythms and Repetition, Outbound Series, curator  : Mélodie Melak, Kunsthaus KuLe, Berlin, 19.12.2018. 6 FIXIN  : Sylvain Darrifourcq  : percussion, composition, design ; Nicolas Canot  : digital design ; Maxime Lance  : object design ; Liz Santoro  : choreographic advice. Co-production  : Hector/Full Rhizome ; Biennale Némo/Arcadi/le 104, Paris ; le Théâtre de Vanves ; le Cube, Issy-les-Moulineaux ; Le Lieu multiple, Poitiers ; La Muse en Circuit, Alfortville. With the support of  : CNC/Dicréam ; Fonds d’aide à l’innovation audiovisuelle ; Adami ; Spedidam. 4 Interview Sylvain Darrifourcq 4 Sylvain Darrifourcq — in conversation with Aude Launay If Sylvain Darrifourcq needs no introduction on the European improvised music scene—whether we have heard him play alongside the jazz eminences Joëlle Léandre, Michel Portal, Louis Sclavis or Émile Parisien with whose quartet he was awarded a « Victoire du Jazz » in 2009, or, more recently, explode alongside the prodigious members of the Tricollectif 1 Roberto Negro and Valentin Ceccaldi, and in his own trios with the selfsame Valentin Ceccaldi and his brother Theo Ceccaldi under the name of IN LOVE WITH 2 or with Valentin Ceccaldi and Xavier Camarasa in MILESDAVISQUINTET ! 3 — it is more recently that he has appeared on the visual arts scene. After a collaboration between MILESDAVISQUINTET ! and videographer Jean-Pascal Retel, notably presented at the 2017 Némo Biennale 4, and a performance with Zimoun 5 at the Kunsthaus Kule in Berlin at the end of 2018, he will soon premiere his first solo visual and sound creation, FIXIN 6. For it, at a time when artificial intelligences are « trying » to compose music as wellas humans, Sylvain Darrifourcq, percussionist and drummer, conceives his gesture as a click while submitting the machines to the individual will. In addition to your collaborative projects, which are more expected for a musician, with choreographers and set designers, you do not hesitate to claim literary influences and performwith visual artists. In particular, you place the music of your trio IN LOVE WITH under the aegis of Faulkner and Beckett, within a certain non-linear geometry, in order to avoid, as you put it, « the arrival point ». What is behind this intent ? If I had to summarize my current artistic concerns, I would say that I am trying to render a certain relationship to time geometric. Without wishing to reduce Faulkner’s writing to this dimension, his novels offer a very particular temporal experience (at least in his time), akin to deconstruction in The Sound and the Fury, and repetition in Absalom Absalom ! But I could also mention Bill Viola’s work on slowness, to change the subject. Anything that emphasizes the subjective experience of time interests me, beyond aesthetics. But to work on this notion, I need to imagine it in a geometric way ; for example, as a line that can be segmented at will. From this starting point, everything follows logically for an instrument like mine. Each impact could be a point, each rubbed sound, a segment, etc. FIXIN is like a logical continuation of my work with MILESDAVISQUINTET !, which was a purely percussive formof music produced with a piano-cello-drums trio. For it, we refined our language to keep just polymetric pulsations, very mechanical things ; which led us to make our gestures automatic. What was a consequence of the MILESDAVISQUINTET ! research thus formedthe origin of FIXIN ? I am really obsessed with mechanics, with playing like a computer, with acting like a computer, that is to say in an on/off way, relieved of everything that can be fleshy, human, of what I imagine as curves  : it is the points, the straight lines, the sharp angles that interest me. As it happens, the software I work with, Ableton Live, works the same way. Visualization is only done through small squares, bars, lines, points... It is really a decomposition of time. All of this comes together for me  : the way I see it, the way I write it, the way I think it and the way I see my body. The light system completes this, going in the same direction as a crisp geometry. The first light work that marked me was a piece by Philippe Parreno composed of about fifty neon lights placed in space whose sound, when they were switched on and off, created a real rhythmic piece. All these very rudimentary relations to information interest me. On/off, binary, computer... All this makes perfect sense. Right. For MILESDAVISQUINTET !, we were three musicians at work on this and, to pursue the logic of spareness... I replaced the others with motors ! (laughs) Then I discovered Zimoun’s work, which totally fascinated me. I contacted him, he was also impressed by what I was doing and we finally worked together last year. It was really when I saw what he was doing that everything came together and I began to fantasize about this kind of man-machine that performs FIXIN. You describe FIXIN as an installation activated by a performance  : the language here has clearly shifted to the visual arts... FIXIN is an intensely visual stage project. I am above alla musician, first of allan instrumentalist, and therefore pigeonholed as such ; taking this step aside to propose a visual artwork meant finding partners and support. With MILESDAVISQUINTET !, we had already created a somewhat hybrid piece in collaboration with Jean-Pascal Retel who produced a visual adaptation of our music. A video projector connected to our instruments via sensors projected