Starting point   Lippit’s paradox: the animal reappears on screen as it fades from the real. Extinction, however, brings no silence — it recomposes, homogenises, replaces living frequencies with mechanical ones.

The observation   Listening to a blackbird, you hear a surface. Analysing its signal, you discover an architecture. Between the two lies a space at once scientific, artistic and political.

The question   Can signal processing be at once a tool for scientific conservation and a material for sensory creation? Can one and the same signal carry both conservation and sensation?

The form   A 70-minute film without words, shot in the wild, its music born from the signal of the living — Morphosis matches the timbre of a birdsong to that of an instrument — mixed in Atmos. Paired with an interactive version in which the viewer isolates a source, stretches a song, sets it in dialogue with an instrument. The cinema version is not the interactive one minus a layer: it is the regime of refused agency, of which the installation is the counter-form.

The method   Three interwoven strands. Ecoacoustic fieldwork in ambisonics — urban wildlife at Père-Lachaise, the special climates of the Jura, MNHN archives. Then analysis — ACI, NDSI and BI indices, BirdNET and Perch embeddings as an augmented ear. Then creation. A journey from day to night in five stations: the oak, the gourd, the wren, the fox, then the night — bat, tawny owl, the inaudible.

To take the hidden architecture of a birdsong and make it perceptible, so that the silence to come may seem neither natural, nor irreversible, nor unwitnessed. And to make of that gesture a piece of research, not only a work.