Pierre Jodlowski

[4] After this period of study, Jodlowski continued to produce mixed music works and tried to establish multiple relationships between the instruments on stage and the sounds projected by loud speakers.

He very quickly identified the question of gesture as essential in the development of his writing, and in several works he gave it an important role: De Front (1999) (Prix de Bourges / Mixed Music category), Mixtion (2002), Barbarismes (2001) and Mecano 1 (2004), a piece for percussion opposing a musician to a small automaton, a kind of metronome, an essential tool for the musician.

[10] All these points were developed in an article published in the Inouï review of the Institute for Research and Acoustic Coordination / Music (IRCAM) in 2016, "The gesture, a question in composition".

[17] This work gave rise to a stage version presented in France and Canada with a video directed by scenographer Pierre Nouvel.

After L' Aire du Dire, his first truly vocal work, he composed Ombra della Mente, for soprano, bass clarinet and electronic, based on Alda Merini's poetry.

[20] Jodlowski is also interested in the question of interactivity, spectators take an active part in some of his works: with some gestures (spotted by sensors), they may control the evolution of sound and visual elements.

In this project, consisting of an interactive, 10-meter-long tunnel, the visitor is confronted to the memory of another individual which he can then explore by moving as he pleases in this space.

Éole Studio, located in Odyssud Cultural Center in Blagnac, hosts the productions of this group of artists and ensures the development of projects at national and international levels.

[23] During lectures or master classes, Jodlowski insists on the societal role of the composer who can no longer, according to him, stay away from the world but must commit himself in order to preserve a free and experimental expression of contemporary musical art.