Current unPublic statistics
- 104 digital albums
- 211 artists ('the unPublicans')
- 33 nationalities
- 565 tracks
- total playing time:
4 days 8 hours 31 mins 25 secs

The most recent edition: PARIS, 22 JUNE 2024

On 18 October 2023, a Wednesday, we celebrated a decade of unPublic with the uP’s 100th edition, hosted —unpublicly— in the auditorium of La Générale Nord-Est.


Thank you Radio TT-Node, for broadcasting, on the occasion of unPublic's tenth anniversary, the 100 hours of recordings of 10 years of unPublic, on line, on FM and on DAB.


July 19th, 2018
We need and want to "promote" an art with no identity, without even the identity of art. An art that is no longer given as art, whatever its legitimating authority, and that so will manage to greatly increase its performative potential. An art therefore without spectators, an art without public. And, at the same time, an art that is not claimed by its author[s], able to intervene (per-formatively) with more efficiency in & on reality than through that which one labels as 'art', always suspect of pretence. » )
[ Freely adapted from Jean-Claude Moineau : L'art où l'on ne l'attend pas ? (April 2012) ]

unPublic AI

June 21st, 2022
"Despite (or is it 'thanks to'?) its fundamental un-ness, the unPublic project focuses on acts of making things public, and so creating publics in an age of post-digital networks."

February 9th, 2020
For his Symphony of Factory Sirens, Arseny Avraamov "did not want spectators, but intended the active participation of everybody in the development of the work through their exclamations and singing, all united with the same revolutionary will."

January 5th, 2020
(« "Das Publikum is wirklich komplett inexistent. Es gibt kein Publikum. Das wollen wir nicht in meinen Stücken haben. Wir spielen für uns. Bitte! Das Publikum darf zusehen." » )
[ German composer Karlheinz Stockhausen at a rehearsal of his piece 'Tierkreis', on August 5th 1998, during the first edition of his Stockhausen Kurse in Kürten, Germany. ]

January 10th, 2020
(« Another question that I ask myself is "Can we get rid of the audience?" How do we get rid of the audience?" » )
[ American composer Morton Feldman in a lecture given at the South African Broadcasting Corporation, Auckland Park, Johannesburg, July 1983 ]

October 18th, 2018
Πάντων γὰρ ὅσα πλείω μέρη ἔχει καὶ μὴ ἔστιν οἷον σωρὸς τὸ πᾶν ἀλλ' ἔστι τι τὸ ὅλον παρὰ τὰ μόρια, ἔστι τι αἴτιον, ἐπεὶ καὶ ἐν τοῖς σώμασι τοῖς μὲν ἁφὴ αἰτία τοῦ ἓν εἶναι τοῖς δὲ γλισχρότης ἤ τι πάθος ἕτερον τοιοῦτον.
( In the case of all things which have several parts and in which the totality is not, as it were, a mere heap, but the whole is something beside the parts, there is a cause; for even in bodies contact is the cause of unity in some cases, and in others viscosity or some other such quality [Aristotle, Metaphysics, book VIII, chapter VI, § 1])

August 7th, 2019
"Oh Musica Incignito! Per sempre schitterstralend in Silentio!"
[uit: Teuten's Uboeng, Willem Halbertsma (1998)]

June, 2021

unPublic · Yerma radio commercial

September, 2021

9 min read 🤓

unPublic 1, 2 (sauf riverains)

november 23, 2013.

"The difference with a concert is,
it is not a concert"

Read about unPublic on the SoundBlog:

(2023, november 3-..) - Ethereal Reverberations. A Decade of unPublic (« Dix ans qu'on fait la musique sans public ») (uP#100)
(2023, august 20) - Three days of residency at Les Ateliers Claus, Brussels (uP#65, uP#93, up #94)
(2022, september 2) - Three Musketeers Musicking Maastricht & La Générale (uP#86, up #87)
(2022, august 4) - Berlin: Zero Cohesion (3) (uP#84)
(2022, july 24) - Berlin: Zero Cohesion (2) (uP#83)
(2022, july 11) - Berlin: Zero Cohesion (1) (uP#82)
(2022, july 2) - X-unPub (uP#81)
(2022, march 13) - "Manifeste" (uP#80)
(2021, june 13) - Die Stillgestandenen (The Stillstands / Standstills / Stillstanders) (uP#67)
(2021, may 02) - Playing Apart Together: Chuncheon↯Paris (uP#73)
(2018, november 02) - "Five years stuck on my eyes" (Lustrum Non Publicum) (uP#56)
(2018, september 01) - t'Obsolete or not t'Obsolete ... [iv] (uP#54)
(2018, august 13) - Rage, rafts & refugees (uP#49, uP#50)
(2018, august 10) - t'Obsolete or not t'Obsolete ... [iii] (uP#45)
(2017, june 11) - Moving out, of, on ... [ii] (uP#42)
(2016, june 10) - unPublic #18 - 대부도 (Daebu-Do), 14 June 2015 (uP#18)
(2016, may 07) - In Praise of Slowness (uP#21)
(2015, july 15) - Bridges, troubles, water (uP#19)
(2015, april 14) - Mal-là--colisé dans l'espace et dans le temps (uP#16)
(2014, august 02) - Appearance and Reality (uP#8)
(2014, march 08) - "12 - 11 - 9 - 10 - 3 - 6 - 7 - 1 - 2 - 8 - 4 - 5" (uP#5)
(2013, december 31) - Candles, Cassettes & Champagne (uP#4)
(2013, november 23) - unPublic 1, 2 (sauf riverains) (uP#1, uP#2)

Read about unPublic on Medium:

April 16, 2022 - Playing Apart Together (uP#66-#69)
March 17, 2022 - All delusion is expansive (uP#80)
November 10, 2021 - The Future always was Yesterday

Read about unPublic in Gonzo (Circus) [Dutch]:

Gonzo #143, januari/februari 2018 - Met kop noch staart: muzhakdag! (uP#48)
Gonzo #139, mei/juni 2017 - De waan, de wil, de weg

Read about unPublic elsewhere:

Plus-X-Creative, january 2022 - Playing Apart Together
Electronic Cottage, november 2018 - unPublic - 'Five Years stuck on my eyes' -sketch as a memoire

To listen, download & support, visit unPublic @ Bandcamp.


An earlier paper of Rébus and mine, written and published a little while ago, was called 'Az elektroakusztikus improvizáció mint metanyelv és rögzített pont'. With the passing of time not only does the already then overwhelming evidence in support of the paper's thesis continue to grow (one day surely it will be among the truths that we hold to be self-evident), also I am totally convinced that this is as good and decisive a title as titles can possibly get. So why not have all of your next & upcoming papers bear that very same title? All of your books, all of your blogs? Inside the wheels of a polarity, with a drilling caught in the study of electroacoustic improvisation, including polished glass doors, the compact cassette and ancient Babylonian instruments?

It's like sitting opposite a huge, empty-space art work, with dazzling handmade audio. But also attempting to win - miraculously - against Brazil. All three of them, over and over and over again.


(Yoko Miura - photo by E_Rébus)

On the early evening of Friday October 18th, with Rébus, Jean Bordé, Yoko Miura and Doan Tri Minh we had tea in ceramist Marie Lautrou's Atelier PMPM ( * ) in the rue de la Forge Royale, Paris XI. Doan came with his laptop and paraphernalia, and Jean brought his double bass. I brought two small loudspeakers, along with my iPad, a dictaphone and two cassettes. Also Rébus, of course, had a dictaphone. But he also took along a few fine specimens from his collection of toy piano's and melodica's. For Yoko and Doan to play on.

Many of you will know our friend Yoko Miura, the equally kind and gifted Japanese piano player that every now and then is flying over from Tokyo to play in Europe, and who was with us in Paris, just to give you an example, in the Summer of 2008, in the period of our Cometian extravaganza's, like Diktat's Sturm der Liebe.

Fewer of you will also know Doan Tri Minh. He is a Vietnamese composer, musician, DJ and organizer, who recently spent some days in Paris for 'research and networking'.


(Doan Tri Minh - photo by E_Rébus)

We had tea, and then we played. And then we had some more tea. And we played some more. But what was the difference (give or take the tea) with the bulk of the concerts that we do here and there? The difference was, it was not a concert. Oh, not that there was no one and nothing there to listen, other than some microphones. Marie Lautrou, of course, was listening. It was, after all, her little beauty of a ceramics shop that we had come occupying. And - on his way to dinner elsewhere - Anthony Carcone dropped by and lend us his ears. So a realistic cynic (or a cynical realist) will observe that public attendance that Friday evening in the Atelier PMPM was not that far below our average... But that's beside the point.

What we did was not a concert.
Because it was not intended as such.

Intention makes a world of difference. In a public performance - also in the case of electroacoustic improvisation - musicians act and react (behave) differently. The socio-sonic network that they form is profoundly modified in a 'concert' situation. There is a lot of fascinating psychology involved that, if it has not been done already, I am sure someone sooner or later will pick up in academic research. ( ** )


It intrigues me that in many of the musical/artistic practices that I am involved in, the idea of 'the concert' to a large extent so clearly is based on a myth. It is an anachronism. It is a socio-musical convention that is being continued without questioning its (true) sense. I will have to come back to this at some later point in time. It is deeply related to the - paradoxical - label that presented itself as a name for the whatchamacallit that evening at Marie's and somewhat later that same night at La Générale; and, more generally, for this thing that we intend on extending to an ongoing practice. That thing was definitely not-a-concert. And it was not-a-rehearsal (we were not rehearsing for anything). It was too short and too focused to be called a workshop; but it was more than merely doing a bit of recording. I thought about jam session, but that expression has such a stale ring to it, does it not? [added 5.11.2023: Also, just observe that no concert of freely improvised music, of electroacoustic improvisation, is called like that.] As a recorded performance-sans-le-show, colorful and technology, the event in fact borrows a bit from them all. But none fits its particular size. I therefore began calling them unPublics. Recordings, made un-publicly in Paris and elsewhere, by 'ensembles' of variable geometry.

The (intended, blah, blah) 'paradox' is, that all recordings will be made available as high-quality digital downloads at Bandcamp's; which of course makes the unpublics many times more public than they would have been, had these been (just) - public - concerts.

So here then is to a hopefully long running series of non-concerts, that together will make for a fine collection of digital albums; each one a vertex in space-time, where musicians from wherever on the globe in passing met up in an ephemeral laboratory; strung together into an oeuvre-to-be, artistic and documentary, of many, many hours of potential sonic & musical research material. You can stream each of the albums online, or download the editions in hi-quality formats on a pay-as-you-like basis; all donations will be used to buy tea, food, wine, beer and ecological vodka for the participants of future unPublics. (We know that these are hard times. If you have but little money to spare, do not hesitate to download all your unPublics for free. If you like them or like the idea, you just spread the word :-)


(Jean Bordé - photo by E_Rébus)

After tea we continued the first unPublic at La Générale on the avenue Parmentier, where we set up in the storage room in the back, around two piano's: one for Doan, and one for Yoko.


(Bordé, Miura, Minh - photo by E_Rébus)

Here is a Bandcamp widget that allows you to stream these first unPublic recordings while you continue to read this SoundBlog entry.



We did the second unPublic almost a full month later, shortly before Yoko's return to Japan (after a short Finnish tour), in the living room of my Vincennes home, on Saturday November 16th .

We were six that afternoon: myself, Yoko, Anthony Carcone, Jean Bordé, Rébus and Marina Goussina.

A week earlier, on Sunday November 10th, with Rébus and Marina we had performed as a trio at the 10th edition of Cathy Heyden's Chantier(s) series, in the Espace en Cours, Paris XX. That concert took place under the sign of the 128 = 27-th birthday of Russian Cubo-Futurian Velimir Khlebnikov. It was the reason that, unpublicly, one week later not only in Marina's recitations there were more than just some faint echos of зáумь to be found.


But, like the month before, it all was ánd felt very different from doing a concert.
Refreshingly so.
Of course.
Because it wás not. A concert.


(Marina Goussina, Yoko Miura - photo by E_Rébus)


(photo by E_Rébus)


Added April 18th, 2020:


notes __ ::
(*) PMPM stands for: "par mes propres moyens", which in the given context probably is best translated by: "I do it all myself". [ ^ ]
(**) If this rings a bell, please do send me references! [ ^ ]

tags: unPublic

# .445.

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