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CAMILLE D’ARC - I COME FROM SEXTA
CASSETTE - TRANSVOICES SERIES 01
ERRATUM MUSICAL 037
Les voix des IA nous parlent sur la plage, il y a des voix qui parlent de partout. Encore, encore des voix! Toujours des voix!! écoutons les ou pas, elles nous font réagir ou respirer un peu, qu’elles soient IA ou autres, écoutons aussi nos propres voix. 
Premier album de voix pour Camille D’Arc. Camille est artiste et poète. Poésie ou musique peu importe, il s’agit ici d’une unité sonore qui parle par elle-même. I Come From Sexta est le fruit lentement cristallisé d’une myriade de voix de Camille, captées lors de moments de méditations / retraites qu’elle traverse par sas de conscience où elle canalise des langages qu’elle reçoit et retransmet dans une langue qu’elle appelle DXDA. Ici pas de poésie écrite, mais une écriture de sonorités buccales ancestrales, de voix antennes libres directes ou transformées, à un endroit où la poésie orale et sonore se tissent. Parlons plutôt de poésie canal, médium et sonique, ou d’une musique vocale reliée au soin, qu’elle reçoit et qu’elle transmet, des invocations entre cosmos et chaos. Sa discipline vocale est sans appartenance, chants, souffles, bruits, elle joue avec la gorge, la langue, les dents, le ventre, phonèmes, sifflantes, explosives, spirantes… des paroles manifestées et étirées, des formules vibratoires pour mettre en mouvement.
Le poème se fait dans l’intention, les voix ont le pouvoir qu’on leur donne. Sexualités et extase pour relier, chanter ouvre l’espace du verbe, du son, du silence vibrant qui relie à l’éther, à l’invisible, aux mots qui n’ont pas encore pris forme. La voix ne dit pas toujours, elle ouvre, relie et guérit. Le silence contient le son. Nāda comme origine du monde de sonorités, de cette langue des oiseaux qui active comme le chant des oiseaux active le monde végétal.

SIDE A : Eli ša qibītU īnī (りゅうどうてき - Arde y resbala)     22:34
SIDE B : Zera (Caveerne - É-an-na)   19:02

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First vocal album from Camille D’Arc. Camille is an artist and poet. Whether poetry or music, it doesn't really matter—this is a sonic unity that speaks for itself. I Come From Sexta is the slowly crystallized fruit of a myriad of Camille’s voices, captured during moments of meditation and retreats she moves through as thresholds of consciousness, where she channels languages she receives and transmits in a langage she calls DXDA.
There is no written poetry here, but rather a composition of ancestral mouth-sounds, of free antenna-voices—raw or transformed—woven at the intersection of oral and sonic poetry. Think of it as channeled poetry, sonic mediumship, or vocal music rooted in healing, which she both receives and transmits—invocations oscillating between cosmos and chaos.
Her vocal discipline belongs to no tradition: chants, breaths, noises—she plays with her throat, tongue, teeth, belly; with phonemes, hisses, spirants, sibilants... spoken formulas stretched and vibrating, sonic mantras that set movement in motion.
The poem emerges through intention; voices carry the power we give them. Sexualities and ecstasy connect, and singing opens the space of the verb, of sound, of vibrating silence—a link to the ether, to the invisible, to words that have not yet taken form. Voice does not always speak—it opens, connects, and heals. Silence contains sound. Nāda, as the origin of the world of vibrations—a language of the birds that activates, as bird songs awakens the vegetal world.
AI voices speak to us on the beach—voices coming from everywhere. More voices, more again! Always more voices!! Whether we listen or not, they stir us or allow us to breathe—whether AI or otherwise—let us also listen to our own.

CAMILLE D’ARC - I COME FROM SEXTA
CASSETTE  - TRANSVOICES SERIES 01
ERRATUM MUSICAL 037

CAMILLE D'ARC - I COME FROM SEXTA - extract side B : era (Caveerne - É-an-na)

CAMILLE D'ARC - I COME FROM SEXTA - extract side A : Eli ša qibītU īnī (りゅうどうてき - Arde y resbala)

Although languages have been studied and described in some manner as far back as they have been spoken, the “scientific” or “explanatory” study of language (modern linguistics) dates only from the second half of the last century. That said, even the most ardent linguist would be forced to admit that, to date, no truly complete grammar of a natural language, as modern linguistics defines those terms, has been produced. Competing theories of grammatical explication and approach have been many and varied, with disagreements even as to first principles, yet none has succeeded in the primary task set before the linguist: the creation of a complete and integrated grammar (syntax, morphology, semantics) of a language. It will be herein submitted that an inquiry into the analytic properties (and premises) of a dualistic approach to cognition and scientific description may help reveal why positive results in this enterprise have remained elusive, and how elements of philosophy, chemistry, and physics may be meaningfully reflected in the workings of any complete grammar.

Prior to receiving his Ph.D. from the University of Hawaii (UH) Linguistics department in 1984, Gregg had spent much of his time in the UH Indo-Pacific Languages department, where he studied Chinese, Japanese, Burmese, Thai, Khmer, Tibetan, Sanskrit, Pali, Hawaiian, and even Arabic. Upon graduation, he embarked on a long and tortuous road as an attorney, first in Chicago and finally returning to Honolulu in 1990. During that 40 year odyssey-like detour in the legal world, he nevertheless continued his studies in Sino-Tibetan historical-comparative linguistics, and also developed an interest in the interface between law and language: specifically, a comparative study of how cultures derive their legal systems from sacred texts. Currently teaching an introductory course in Classical Tibetan at UH within the Department of Religions and Ancient Civilizations, he has also broadened his investigations into the comparative syntax of modern Tibeto-Burman languages, particularly those using arrays of copular verbs to express tense, aspect, mood, and evidentiality.

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