about the author
Pascale Criton studied composition with Ivan Wyschnegradsky, Gérard Grisey, and Jean-Etienne Marie. She earned a PhD in musicology (1999) and undertook a musical computing course for composers at IRCAM (Paris) in 1986. Her works explore sound variability, ultrachromatism, multi-sensoral receptions, and the spatialisation of listening. Artistic director of Art&Fact, she initiates concerts combining music, architecture, and materials that invite the public to experience new sound representations (Ecouter Autrement, Centre Pompidou-Metz, 2015). Her works are performed internationally by ensembles such as l’Ensemble 2e2m, l’Itinéraire, Aleph, Accroche Note, Taller Sonoro, and Dedalus, are commissioned by the French Ministry of Culture, Radio France, and Sacem, and are published by Jobert Editions. She is currently an associate researcher at the Lutherie Acoustique Musique laboratory (Pierre and Marie Curie University, CARS). Her encounter with Gilles Deleuze determined her interest in philosophy and from 1974 to 1987 she became one of his interlocutors concerning music. She recently co-edited Gilles Deleuze, la pensée-musique (Cdmc, Symétrie, 2015).
info & contact
Pierre et Marie Curie University, Paris, FR
pcriton [AT] club-internet.fr
(in DARE 2015: the dark precursor ) Clara Maïda, Deborah Walker, Pascale Criton
(in DARE 2015: the dark precursor ) aion, chronos, Pierre Boulez, singularity
(in DARE 2015: the dark precursor ) cello, Deborah Walker, Eric Alliez, individuation, Peter Pál Pelbart, smooth/striated, Two Regimes of Madness