PROJECT NéMéSiS-303: FOCUS

"Demand a lot from yourself and expect little from others.

This way you will be spared a lot of trouble."

(Confucius)

From the very beginning of its elaboration, the NéMéSiS-303 project was circumscribed by a framework and a line of conduct dictated by the "sense of measure and reality" (lol). It is part of an "ethical" artistic approach in the sense that the soul and creative philosophy predominate over material and economic aspects. Therefore, the major challenge is to get rid of the "strangling" factors that "lock" the processes of expression! This is why, without being overly militant, the project revolves around a compromise between an "autarkic" artisanal approach (in the sense of subsistence on the bangs of systemic constraints) and the inescapable economic realities of the world and the music industry.

What does this mean in concrete terms?

To develop a coherent approach based on autonomy, independence and freedom in terms of creation, production and dissemination in order to circumvent both the "bait" and the traps of an "illusory neo-liberal system". In other words, without yielding to the easy way out, show resourcefulness, inventiveness and perseverance in order to keep the hand on all the processes as long as possible... So much so that by displaying in the background values and principles forging a foundation, i.e. by humbly putting forward the human dimension of an approach which is artistic only because it is "incarnated", the project consists, without pretension or demagogy, in trying to valorize electronic musical art and its culture within the heterogeneous community which makes them live! Because through their "psychostimulating effects", music, art and culture in the broadest sense contribute in a not insignificant way to the emancipation of individuals and communities. However, in terms of cultures, arts and music, we must not confuse the movement in all its components with the "standardization, commercialization, gentrification and consumption of its by-products!” For if the acoustic vibrations typical of electronic music can promote the development of individuals, it is not to mention the many aspects that make the experience as a whole more or less beneficial depending on whether it conveys a consumerist approach or, without confusing with the "religious", more "spiritual"...

In short, without nourishing the hope of changing the established ordwas circumscribed by a framework and a line of conduct dictated by the "sense of measure and reality" (lol). It is part of an "ethical" artistic approach in the sense that the soul and creative philosophy predominate over material and economic aspects. Therefore, the major challenge is to get rid of the "strangling" factors that "lock" the processes of expression! This is why, without being overly militant, the project revolves around a compromise between an "autarkic" artisanal approach (in the sense of subsistenon the bangs of systemic constraints) and the inescapable economic realities of the world and theee music industry.y.h the question... Because, if it is an undeniable fact that body movements are indispensable to the development and fulfillment of individuals, moving in space is a key factor, moreover moving in rhythm and shaking on iterative and cyclical sound vibrations, in other words dancing in cadence, are stimulating, even intoxicating, almost hypnotic activities, not to mention that it all happens within our bodies, our brains and our neurons! 🧠

Also, without demonstrating it here, one of the founding postulates of the NéMéSiS-303 project in itself, apart from its philosophical commitment, is to "capitalize" on the "power" of music on the human brain 🧠, which is moreover the specificity of the electronic sounds of a musical current that has gone from the status of "crazy weirdness" to that of "high added value product"! "At least, the world hadn't gone that far before the health crisis! The future, uncertain and unpleasant, is not yet written... However, do not fear for the music industry, like the phoenix, it always rises from its ashes! (lol) Because, in the end, what counts is rather to "invest" in people, individuals, women, transgender people, men, those who make up the communities and who keep the movement alive by taking part in it in one way or another... Because it is also these same groups and communities of human beings who come together under the leadership of designated facilitators: DJs officiating like "clergymen of a new kind" who, like "masters of ceremonies of midnight mass version 2. 0", give "communion" to the ever-increasing number of "faithful" gathered around their idolized "iconic" figures... There's a lot of that, isn't there? (lol) Apart from these considerations, let's try to give more and more meaning to what we do! Whether you're a music lover, a lover of electronic sounds, a fervent defender of different "stylistic" variations, whether you're a "raver" or an inveterate clubber, whether you're an artist, a musician, a DJ, a dancer or an event organizer, the deep meaning of life, existential questions, personal development and thinking skills are clearly not inseparable from the sensations provided by the sounds, synthetic melodies and atmospheres that make the techno movement a cultural current in its own right! Maybe we just have to realize from time to time that we all have a brain and that we can all learn how to use it better! (lol)

In short, here, in a few paragraphs, is expressed all the complexity of the ins and outs of a project that makes sense only because it conveys something other than the "cult of the person, of fame or of money..." Encompassing a maximum of parameters and components, the approach is nevertheless based on 3 pillars!

🔴 First pillar: to practice the concept of "happy sobriety" (lol) from the point of view of both means and results... In other words, to be satisfied with what one has at one's disposal, to invest what is strictly necessary (without unnecessary costs...), to compose on modest hardware and software bases (if not obsolete...), to show creativity and resourcefulness in order to compensate for the lack of means. The challenge taken up without complex is then to reach a certain degree of requirement that can fit into the boxes of the standards in force.

In other words: largely sufficient at this stage, the material used is however "old", second-hand, recovered, reused, tinkered with, patched up, recycled ... (Computer science dates back to the 2000s all the same! (lol)) The possibilities are naturally limited compared to what is done at the moment, bugs and crashes are regularly encountered. Which spices things up! (lol) Also, if not to be better equipped, the choice to make with the onboard means, certainly somewhat "radical", at least allows to exploit the potential of the "tools" available. To put it more simply, let's compare the principle to the use of a car to get from point A to point B. Whether the car is of any kind, or whether it is a luxury vehicle, if a second-hand car makes it possible to make the trip, even without displaying identical criteria of comfort and performance, can't we simply be satisfied with it? What's more, without going so far as to make the trip on foot or by bicycle, can't we already consider ourselves lucky to have a motorized vehicle and be able to get around with it? To meditate... (lol)

🔴 Second pillar: to anchor the project around a production and distribution structure which, relieved of the most burdensome constraints (especially economic...), offers the conditions for an adventure that is manageable at low cost and sustainable under this configuration. In short, to rely on an independent, autonomous, free label. But what does that mean exactly?

Even if the sector has never been a "choirboy", sharing its music with the greatest number of people now means entering the "mold" (in the rank, in the orders...) of an industry parasitized by the giants of the Net who have got their hands on all the distribution and promotion channels. And although alternative solutions have meanwhile emerged, the self-production business has imposed itself in the face of the growing increase in the number of artists and productions that has exploded with digital deployment. At the same time as production tools are becoming dematerialized and still facilitate access to the "big league", artists, art or culture (whether electronic or otherwise...) are more than ever blending more than ever into a landscape that rather "underhandedly" mixes acts of creation, composition, production, product, trade, sales, visibility, profitability, margin, profit, growth...

Also, given that the "free sharing" of sound affinities is at the source of the project, the economic components being minimized as much as possible (principle of sobriety), it is still necessary to have the tools and "keys" necessary for concrete existence within a system that cannot objectively be disregarded. So, rather than "act in rebellion" by opposing head-on with derisory means, the choice was made to use a "strategic" structure with one foot in the system and one foot out, with a view to keeping "hands and fists free to move!" (If you still manage to follow me in the metaphors that I am fond of, you will have noticed... (lol)).

🔴 Third pillar: work towards the sustainability of the project by developing a step-by-step design of the process from the very beginning. Or in other words, to be part of an evolutionary dynamic in order to progress at all levels (having started everything from scratch not even a year ago!), but also and above all with the idea of refining and sharpening both the tools and the methodology in view of a future that will depend on the outcome of the first practical applications... And, by focusing on the long term, the project will perhaps then be able to bear witness in its own way to the passion for the sensations generated by "electronic sound architectures with hypnotic tendencies!" (lol)

That is to say, to experience what the acoustic vibration manages to produce right down to the depths of our entrails and what happens afterwards! Because there is always an after! (lol)

Conclusion:

So what's all this for?

In s eeehort, without nourishing the hope of changing the established order of things, giving more meaning to the various components of the artistic and musical process constitutes the central axiom of a project that attempts to better define the contours of the underestimated, if not castigated, potential of electronic music and its adherents. But then how do we go about it? First of all, by taking t giving oneself the means, if not to get there at first, at least to get close to it. Then by calling upon various fields, even without direct link to support both words and deeds... In this respect, the field of Neurosciences is probably one of the fields of expertise best placed to approach the question... Because, if it is an undeniable fact that body movements are indispensable to the development and fulfillment of individuals, moving in space is a key factor, moreover moving in rhythm and shaking on iterative and cyclical sound vibrations, in other words dancing in cadence, are stimulating, even intoxicating, almost hypnotic activities, not to mention that it all happens within our bodies, our brains and our neurons! ns! s!

For the time being, in a pragmatic way, I should therefore invite you to support me if the content of my approach or my speech speaks to you... However, far be it from me to reiterate the kind of promotional approaches that flood the canvas, because by pouring into the "call for help", I would only be reproducing the scheme of an art, as modest as it may be, who seeks support to exist, when it will be a minima, "supported", if it has within it that extra soul that makes it modestly unique, rare, not by its market value or the "quality of the finished product" but by its ethical and philosophical values by placing the human being at the center! Also, if I started by taking up the famous quote from Confucius, it's because I don't conceive things differently!

End!

Thank you for your "courageous" attention! 😁

STAY TUNED!

nms303

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