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Unique par l'ampleur de ses domaines reunissant la creation musicale, la recherche et la transmission, l'IRCAM est l'un des rares lieux ou l'intuition artistique, la formalisation scientifique et l'experimentation technologique se confrontent et avancent ensemble. L'histoire riche de l'IRCAM n'est pas qu'une succession d'oeuvres paradigmatiques, de noms de chercheurs pionniers ou de developpements de logiciels utilises par une vaste communaute d'artistes. Cette histoire tumultueuse qui est celle du developpement du materiau sonore et de la pensee musicale, repose sur l'effervescence intellectuelle, experimentale et artistique de l'institution. Les oeuvres de Pierre Boulez, fondateur de l'IRCAM, d'Emmanuel Nunes, de Philippe Manoury, de Georges Aperghis, de Jonathan Harvey et de compositeurs plus jeunes sont nees de l'echange intense entre la singularite artistique et les avancees scientifiques dans les domaines de la synthese sonore, du temps reel, de la lutherie numerique, de la composition assistee par ordinateur, de la spatialisation, de l'acoustique...Si l'histoire de l'Ircam est saisie par le concept d'ecriture autour duquel se noue l'intrigue entre le compositeur, l'assistant musical et la communaute des chercheurs, la presence d'artistes inclassables de l'ere digitale constitue une provocation stimulante ! Tout a la fois improvisateurs, performeurs , inventeurs d'une nouvelle lutherie, experimentateurs des technologies numeriques, ces artistes repoussent les distinctions entre ce qui est premedite et compose, et font de l'interaction leur principal credo. Ce champ dynamique, fecond dans le spectacle vivant, est appele a s'etendre dans les annees qui viennent. Les creations de l'Ircam sur les plateaux du theâtre, de l'opera, de la danse, rencontrent les questions soulevees par cette edition du NIME. L'avenir de l'IRCAM du reste, appelle la mobilite de tout le dispositif technologique, le renouvellement des presences creatrices, la convergence entre creation vecue et prospective. Entre le chercheur qui vise des valeurs de connaissance, l'artiste qui pose un monde et des problemes neufs, et le dispositif technique, le terrain de rencontre privilegie reste le surgissement d'une oeuvre. L'ampleur tumultueuse de l'Ircam qui entrechoque deux temps divergents, l'acte qui fulgure et la construction minutieuse qui formalise, l'impatience de ce qui va emerger et la lenteur de ce qui couve, l'intempestif et la fonction, cette ampleur, une synthese disjonctive et electrisante, constitue la singularite et l'originalite presente de l'IRCAM.Nous sommes tres heureux d'accueillir a Paris les participants de la sixieme edition du NIME au moment de l'ouverture d'Agora et des Rencontres Resonances, qui donne l'occasion de discuter, d'echanger, d'experimenter mais aussi de vivre la creation musicale au cours du festival de l'Ircam.Unique for the scope of its activities that bring together musical creation, research, and transmission, Ircam is one of the rare places where artistic intuition, scientific rationality, and technological experimentation intersect and advance together. Ircam's rich history is not simply a succession of paradigmatic works, of the names of pioneering researchers, or of software developments used by a vast community of artists. Its eventful history, which has led to advancement in both sound material and musical thought, is the result of the intellectual, experimental, and artistic effervescence of the institution. The works of Pierre Boulez (Ircam's founder), Emmanuel Nunes, Philippe Manoury, Georges Aperghis, Jonathan Harvey, and other younger composers were born of the intense exchange between artistic originality and scientific progress in the fields of sound synthesis, real-time, digital instrument-making, computer-assisted composition, spatialization, and acoustics, among others.If Ircam's history can be captured in the image of a composer, a musical assistant, and the community of researchers working together to write music, the presence of outstanding artists from the digital era represents a stimulating challenge! Improvisers, performers, instrument inventers, and experimenters in digital technology, these artists push the limits of what is planned and what is composed, and make interaction their principal credo. This dynamic field, so fruitful in the context of live performance, should expand in the coming years. Ircam creations for the theater, the opera, and dance are often faced with the same questions being addressed this year at NIME. For the rest of Ircam's activities, the future calls for technological mobility, the renewal of creative participation, and the convergence between past and potential creations. For the researcher who values knowledge, the artist who proposes new worlds and new problems, and the technical aspects, the preferred meeting place is still the production of a work. Ircam's cacophonous range of activities, which forces together two diverging tempos---the act that dazzles and the meticulous construction that formalizes it, the impatience of what will emerge and the slow progress of gestation, the incompatible and the functional---this range, a disjointed and electrifying synthesis, constitutes the uniqueness and the originality of Ircam today.We are very happy to welcome the participants of the sixth installment of NIME to Paris just as Agora and Resonances open their doors, creating a unique opportunity for discussing, exchanging, experimenting, and sharing the experience of musical creation throughout the Ircam festival.
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