Amongst the specific tools developed for this creation, scriptophonics curiously reincorporates the notion of “text” in this sound universe. This is indeed a question of offering “the grain”, “the touch” of a rubbed surface to be heard, as well as the infinite variations produced by accelerations, shifts, points, full and fine strokes, from a tip on this support.
In sum, it's a about a “reading needle” created not for playing a record, but walls. This tip can can follow existing graphs, translate the ordered joints of stones into rhythmic pulsations, or, on the contrary, translate injuries and cracks into sound accidents, or even leave calligraphic traces of letters, symbols, ideograms, signs. At the scale of a wall or a facade, the calligrapher's movement comes close to that of a dancer, and the beauty of the movement depends upon both the trace and the sound.
This is where we join the idea of the Glass Pearl Games: these traces are not complete poems, but enigmas, formulae, aphorisms, dates, rebus, “graphic puns” which play, once again, as much on context (the building's surface, reliefs, obstacles, functions and memory) as their own content in order to create meaning, and, of course, sound. What would our cities be if all of the tags covering walls were really graphic poetry, Chinese proverbs, mathematical demonstrations, astronomical constellations of glass beads? …