Access to the texts associated with Gilles Laval:

A. Gunkanjima par Noemi Lefebvre : Gunkanjima – English
B. Reflections on some walls of misunderstanding between musical practices : Gilles Laval – English

Accéder aux textes originaux en français :

A. Gunkanjima : Gunkanjima
B. Réflexions sur quelques murs d’incompréhension entre pratiques musicales : texte original en français
C. Lisières – Gilles Laval : texte original en français

Edges: Gilles Laval Contribution

Is there an improvised present, at instantaneous instant T? What are its edges, from the instant to be born or not born, or not-being, the instantaneous not frozen at the instant, right there, hop it’s over! Were you present yesterday at this precise shared but short-lived instant? I don’t want to know, I prefer to do it, with no return, towards the commissures of the senses.
Is improvisation self-deluding? Without other others is it possible/impossible? What target, if target there is?
Instantaneous stinging interpenetrations and projections, agglutinating morphological introspective replicas, turbulent scarlet distant junctions, easy or silly combinations, sharp synchronic, diachronic reactions, skillful oxymoristic fusions and confusions. If blue is the place of the sea, out of the water, it is measured in green, on the edge it is like a rainbow. Superb mass of elusive waves where inside shine and abound edges of gradations, departures with no return, unclear stops, blushing pink blurs, who knows whether to silence, to sight land or say here yes hearsay.

I’ve yes heard the hallali sensitive to the edges of improbreezation, (sometimes gurus with angry desires of grips tumble in slow scales (choose your slope), when others sparkle with unpredictable happy and overexcited surprises). End-to-end, let us invite ourselves to the kairostic heuristic commissures of imagined spaces and meanders, alone or with others, to moreofdames [pludames], to moreofall [plutoustes].

“commissure: (…) The majority of 19th century and 20th century dictionaries also record the ancient use of the term in music to mean: Chord, a harmonic union of sounds where a dissonance is placed between two consonants.”
cnrtl.fr

“The end-to-end principle is a design framework in computer networking. In networks designed according to this principle, application-specific features reside in the communicating end nodes of the network, rather than in intermediary nodes, such as gateways and routers, that exist to establish the network.” (Wikipedia, End-to-end principle).

“Kairos (Ancient Greek: καιρός) is an Ancient Greek word meaning the right, critical, or opportune moment. The ancient Greeks had two words for time: chronos (χρόνος) and kairos. The former refers to chronological or sequential time, while the latter signifies a proper or opportune time for action.” (Wikipedia, Kairos)
Kairos is the god of opportune occasion, of right time, as opposed to Chronos who is the god of time.

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