PROJECT...

In a "few" points...

PROLOGUE:

In "minor" mode for a good twenty years, the experimentation of musical expression is at the base of the project.

At the heart of an "artistic" approach (without much pretension...), the project refers to its creator (his experiences, his intentions...) and vice versa.

The so-called (experimental) approach raises the question of the so-called "artist!"

For those who express themselves through creation, the question of the meaning of their approach is raised.

Reflecting a part of his being, his values, his ethics and his state of mind, the artistic approach as a "subjective" mode of expression is a form of commitment without confusing freedom of tone, position-taking and militancy.

The artist's commitment is above all that of constantly questioning himself.

Humbly questioning oneself and questioning the "world" are the very essence of the approach, the experience and the artistic act...

The "electro" culture, its "rites" and its codes are no exception to the rule...

Taking these few notions into account, the NéMéSiS-303 project reflects them by being part of a thoughtful approach dictated by one watchword: its coherence!

By having it in the line of sight, it constitutes its central pillar.

Aiming at the respect of a philosophy, an ethic, a personal will of the designer/artist, the goal being that everything holds together, nothing more, nothing less.

By assuming certain choices, certain values or certain principles, the artist's posture (nms303) reveals part of his mode of operation translated within the eponymous project (NéMéSiS-303 project), quite simply. Nothing more, nothing less.

By drawing up here a list of precepts (not rigid rules!) resembling a form of "charter" or "code of conduct", the objective is clear: to draw the contours of the project in order to establish it on concrete and coherent bases.

Solidly anchored, it is also what makes it possible to circumscribe the method and the means developed to satisfy certain ambitions, however modest they may be.

In terms of method and means, the notion of a certain form of "sobriety" deserves some additional information.

Dealing with what is available in the absence of any other solution is at the heart of the process.

The tools at hand, sometimes even considered obsolete, those in the public domain or at a low cost sufficient to get the project off the ground.

Humility and coherence, fearing neither confrontation nor criticism, freedom and self-education prevail at the risk of displeasing.

Also, without being satisfied with an overly restrictive minimum, the project tends to demonstrate that creativity at all levels can meet the requirements of a qualitative minimum.

Aware of the improvements that need to be made, the future development of the project will depend on its echo with the public. Otherwise, it will at least have come full circle, as it did thirty years ago, without "getting confused" or getting lost...

A process in perpetual evolution, finally seeing the light of day thanks to the conjunction of several factors that have favoured its gestation, maturation and hatching, the project finally takes on its full meaning. At least I let you be the judge of that.

PROJECT DESCRiPTiON:

As a mode of expression, ELECTRONiC MUSiC is the starting point.

Technological advances and the democratization of production tools allowing anyone to improvise as a composer, the musical project in itself is hardly different from the many others that abound on the web and the international scene.

The project, just like its "artisan", hardly aspires to meet all audiences, nor to expand exponentially by following to the letter the classical rules and codes.

Not by opposition or contestation, the approach simply aims to keep the keys to the experimental process and the project in "hands..."

As freedom and autonomy of action are cherished precious goods, the (relative) control of both the components of the process and the image conveyed is at the heart of the whole process in order to avoid any harmful use and/or disguise.

No more in search of recognition than in the lure of gain, the energy devoted to the project is only devoted to satisfying the imperatives set upstream.

Respecting oneself and others at the top of the list of forbidden values, the various components of the project are examined through self-analysis. Any external criticism added to the willingness to move forward together...

Perfectible and transparent, the approach is perfectible and is at the initiative of the project.

By clearly stating certain basic principles, the aim is to establish a list of the precepts that have been put into practice as best as possible.

Hardware, software, dissemination, communication methods, presentation, layout and illustration elements, for example, are in line with the philosophy and ethics of both the project and its self-taught designer.

In this sense, rather than using the most modern configurations, the entire project was thought out in terms of economy: of resources, money, material, time and energy! "Recycling", resourcefulness and DIY are even sometimes seen as added value...

If it is to evolve, the founding criteria of the project will be respected, apart from the possibility of some "adaptations" for justifiable and thoughtful purposes.

This does not imply that one should turn one's back on opportunities, but that to each decision, orientation, should be added reflection, common sense and responsibility.

By keeping as far away from the existing system as possible, while not abandoning its dynamics, it is nevertheless by making moderate use of the well-oiled workings of the music industry that the principle of sharing can be fully exploited.

This is perhaps why so many precautions are taken to ensure that the whole process as a whole is balanced, both feet in the air, head firmly on the shoulders, clear ideas, awareness and a sense of responsibility awakened...

EPILOGUE:

Project based on the self-production of electronic music on the basis of a minimum of available means, it is displayed with the will to preserve the essence of the initial approach without the imperative to comply fully with the standards in force.

Starting from the principle that musical composition does not need the latest software or hardware versions to exist, the evoked principle of "sobriety" (dear to the model of a sustainable ecology...) is applicable to electronic music composition, the exploitation of human resources, logistic and technological infrastructures as well as communication means, now almost within everyone's reach.

Considering the fact that the Net makes it possible to acquire certain information, or even skills, the wide range of tools and services (those that are paid for, those that are free "not really free", open-source etc.) that we use on a daily basis should not make us lose sight of the implications of increasing digitalisation.

Here too, for those who are concerned, the question of ethics arises!

Just like the staggering energy costs of the cloud, the time spent on high-speed connections for trivial reasons, or the simple fact of twittering, chatting, conversing in "Face Time", "WhatsApp" and other banalities, the time spent behind the screen composing, producing, exploiting, promoting oneself by "feeding" one's Facebook account is not without consequences! The environmental, social and human cost of the technologies we use is hardly a cause for concern!

Over-consumption, over-bidding, gigabytes and terabytes of high-definition images, videos and streaming music should make us think before acting. By letting new technologies into our lives, we become dependent on them. As with tobacco, even with full knowledge of the facts, we still continue to maintain our addictive behaviours, even if it means dying from them!

Becoming "aware" of what is essential is at the heart of the development of the project, of the means and processes used to carry it out.

Without claiming to be able to do so, having it in focus already helps to pave the way.

Moreover, these positions resonate with contemporary issues raised by the "eco-sensitivity" of our societies and communities.

Why then associate a modern and technological musical trend with ecology?

Would ecology and "electro" culture be reconcilable?

Why not? It is the individuals who claim to belong who are the actors of ecology in the field. We can just as easily let off steam in environments that are not really eco-responsible and still act in parallel. Whatever its contribution... The politics of the hummingbird fable: "everyone has a part to play! »

Perhaps it is no longer so inconceivable to select the news, messages, images and videos we share? Why do we do it anyway? What message are we sending? With what interest? For what result?

What else can social networks be used for, except to build relationships?

Shouldn't making people think and getting them out of a childish & toxic manichaeism be at the forefront of the roles they undeniably have to play?

What are we waiting for to filter ourselves and the published content?

Can't we discipline ourselves not by social or moral pressure, but rather by concern for self-respect through reflection, coherence and common sense?

The ways we "consume" music, events, festivals, concerts, parties, probably need to change in the medium term. Unless other events force us to do so...

Therefore, it is appropriate, certainly at the beginning of this hectic twenty-first century, to be able to reinvent ourselves, to reinvent the scene, the celebration, the sharing, the "communion", the diffusion, the promotion, etc., in order to be able to be able to be a part of a new world.

We will speak about it again. We'll go into more detail, if you like. If not, too bad! That's how life goes!

nms303