2020 — present
Noisette started as a confinement project to produce music exclusively from electromagnetic feedback loops. This was achieved through by connecting speakers, copper coils, and an array of compact fluorescent and halogen lightbulbs—some reactive to the sound they produced—through a mixing table that also fed signals to itself. This intertwining of inputs and outputs, both auditive and visuals, meant that the setup played itself as much as it was played. From this resulted an extremely volatile, full-spectrum atonal pulsation oscillating between stacatto and vibrato, arranged into compositions merging musical performance, physical movement, and shadowplay.
A first iteration of the project focused on static, through a no-input setup amplifying the mixer's internal electronic digestion. Modulations were obtained by playing with conductive resistance, using cables of different lengths to patch outputs and inputs, and by plugging machines at various intervals of the power grid. in doing so, the physical aspect of the initial performance was altogether removed, allowing more space for control and nuance. This led to the recording of 'easy-listening noise' album 'One Hour of Near Non-Silence'.
2023 saw the addition of a second mixer, making Noisette's performances a single human making two machines feed electrons to each other. This new setup gave increased control, slowly distancing the project from the original use of incidental events to instead allow for more composition work, and birthing in the process a deep, granular, throbbing noise with sparkling bits that come out of nowhere. Six months after dual-mixer Noisette's initial performance at Countdown Grabowsee, a live album was recorded at Paris event Non-Jazz.
Desktop Tunes
2021 — commissioned by Creative Bureaucracy Festival
Exploring the musical life of an office, Desktop Tunes digs into the many sounds that permeate professional environments, revealing and exploiting their patterns. In doing so, the piece generates surprisingly colourful and absurd sound pictures in the form of four short snippets: a concerto for staplers; the magnetic sonification of electric devices; a piece of code turning the typing of an email into a jazzy bit; a play with the unique sonorities of convoluted administrative languages. A fifth, longer piece titled ‘The Grand Desktop Ensemble’ brings all these elements together.

The music was composed, performed and recorded as a commission from the Creative Bureaucracy Festival 2021. The entire showcase can be viewed here:
Lissajous is a live-coding performance based on the sonification of slowly-evolving graphs based on a system of parametric equations. One pixel row at a time, a digital FFT scans the display and interprets colour information into low-frequency soundwaves, effectively building a linear audio oscillator from perpendicular graphic oscillations.  The result is a deep, textured hum that slowly evolves at the images on the screen are completed, and which can be altered by changing the parameters of the graph.
25/7 Stars
2018 — at Seven Stars Gallery, Berlin
in collaboration with Diana Neranti, Dimitri Cacouris and Luke Swenson
Half concert, half poetry reading, half movement piece, 25/7 Stars likes to stretch limits. Melting ice, glowing with a different colour for each new sound, drips into a well seven meters deep, and the sound of each drop as it ripples on the surface is captured and amplified. Time goes by, and an absurd conversation starts between the musician, an audience member casually leaning on a pillar, and a performer in a strange attire—a quatuor of water, electronics, voice and movement.

Orbital Resonances
Orbital Resonance merges moving analog sounds and digital images into an impressionist patchwork, capturing and amplifying natural processes, vibrations and electromagnetic interferences, and feeding the result into itself until it gives birth to a unique live piece.

The show spans six acts translating the adventures of space probes Voyager 1 and 2, from launch to their escaping the borders of our solar system. A swarm of bristlebots is used to create a form of orbit, trapped as they are in the miniature gravity well that is the cymbal.

Although it officially premiered at Lacuna Lab during CTM Vorspiel 2019, fundamentals of this setup have been developed and showcased during a previous audiovisual performances as well as a deep listening session at Martin-Gropius-Bau.
Glass Nest
2014 — 2017
Glass Nest is a large-scale, performable 'electroaquatic experimental' sound sculpture for playing with the properties of water in its many forms—surface tension, steam convection, crackings of ice. Attached at the summit of a wireframe structure, a water lets drops escape one at a time, which a network of strings directs toward delicate glass bulbs, water harps, amplified ice cubes and other resonators. The disturbances they create are physical but also electric and magnetic, and the resulting sounds derive from the playing technique as well as environmental parameters such as light conditions, temperature, and atmospheric pressure.

This project has led to collaborations with german scientist Analytical Engine (Glass Engine) and italian noise legend DFVOKKLL (Glass Lärm). An album titled Glass Nest / Engine / Lärm, recorded and mastered by Samuel Moncharmont, was released in 2015.