"Near Luz, there is, say, an almond tree (also called luz in Hebrew) at the base of which is a hollow by which one enters an underground; and that led to the underground city itself, which is entirely hidden. The word Luz, in its various meanings, also seems derived from a root denoting all that is hidden, covered, wrapped, silent, secret; and it should be noted that the words which designate Heaven originally have the same meaning. We usually closer coelum Greek koilon, "hollow" (which may also be relevant to the cave, especially as Varro says that reconciliation as follows: a cavo coelum); but it should also be noted that the oldest and most correct form seems caelum, reminiscent closely caelare the word "hide". Moreover, in Sanskrit Varuna comes from the root var, "cover" (which is also the direction of the kal root to which are attached the celare Latin, another form of caelare and his Greek synonym kaluptein); and the Greek Ouranos is just another form of the same name, var easily changing to heart. These words may therefore mean "that covers", "what is hidden", but also "what is hidden" and the latter meaning is twofold: it is what is hidden from view, the suprasensible field; and this is also in the blanking periods or obfuscation, tradition ceases to be manifested externally and openly, the "heavenly world" while becoming the "underworld".
Rene Guenon, King of the World.
Sample the track "Grapivide" from Glen or Glenda album www.lespotagersnatures.org/spip.php?article29
Active in the French underground artistic and musical scene since 2005, then trained in electroacoustic music
in Christine Groult's composition class in 2012, Céline Perier conducts poetic, plastic, theoretical and sound
research on the musical idea that is to say the timbre. The practice of music concrète, which appeared obvious
in his career due to his practice of drawing, poetry and instrumental music as well as his taste for philosophy,
then led him to carefully consider the notion of improvisation in his work:
The tragedy of freezing compensates for renewal, the fact of which escapes irreversible erosion. The negentropic
solution accelerates the frequency of improvisatory blinking – the paradox being that improvisation is nothing but
it can do everything: its power is extreme and its being is zero.
Writing and its reverse side are therefore at the heart of his research.
Impressed by Marguerite Duras' complete commitment to the fields of the soul and consciousness, she also
seeks to find a way of accessing the living in art and in her writing. According to Duras it would be a matter of
advancing on the crest of words and therefore moving quickly, sometimes violently, in creative action,
translating everything that this can generate on the state of matter. : fragmentation, assimilation,
transformation. Because translating is not a secondary act either. It is an operation which undoubtedly consists of
taming, of over-coding, of measuring smooth space, of neutralizing it, but also of giving it a medium of
propagation, of extension, of refraction, of renewal, of thrust, without which he would perhaps die of his own
accord: like a mask without which he could find neither breathing nor general form of expression.
In 2019, she proposed the concept of timbre lieu, that is to say musical timbre as a place of language
validating the very existence of music; support for the idea and/or semantic space, in which the
differentiation of the subject and the thing takes place, in other words where the genesis of the musical object
can be located.
She has since worked to develop this concept through sound and plastic experimentation.
She lives and works in France.