Aubrys composition LMakina is a haunting soundscape that combines AI-generated sound textures with modular synths. Structured in two parts, the piece explores the spectral possibilities of a virtual sound model developed using a machine learning algorithm, in collaboration with Moroccan musicians Ali Faiq and Idr Basrou. The title, LMakina, references a 1930s song about the phonograph by Amazigh musicianLHaj Belaid. In the original song, Belaid marvels at the machines ability to replicate human speech with uncanny precision, prompting the poet to question whether he should continue composing verses. This reflection resonates with current debates surrounding artificial intelligence and the interplay between humans and machines.

The composition features sounds created with a machine learning algorithm for timbral analysis (RAVE), using rwais instrument recordings as input data. The work prompts questions about artificial intelligence as a non-human entity in co-creative processes. It also underscores the limitations of a technology that has yet to fully comprehend essential aspects of human expression, such as the social function of music and ethical transmission of information.

The title refers to LMakina (The machine), a song about the phonograph composed in the 1930s by one of the most renowned rwais musicians LHaj Belaid (1873-1945). The lyrics of his song make clear references to the symbols of modernity: cars, buildings, and tea (which was introduced to Morocco in the 19th century), as well as other forms of motorized travel. His description of the phonograph as a faithful speech recording machine is not without irony; he realizes that it might well take his own job away from him. LMakina provides an early example of intellectual engagement with human/machine relationships in Morocco, which curiously resonates with current anxieties triggered by ubiquitous computation, artificial intelligence, and machine learning.
Aubrys LP LMakina features sounds based on recordings for Rwais Sound Model, a sound installation and performance he developed for an exhibition at La Coupole in Casablanca (Morocco) in 2023. The composition is created with a machine learning algorithm for timbral analysis (Realtime Audio Variational autoEncoder / RAVE), using recordings of rwais instruments, played by moroccan musicians Ali Faiq and Idr Bazrou as input data. The work prompts questions about artificial intelligence as a non-human entity in co-creative processes. It also underscores the limitations of a technology that has yet to fully comprehend essential aspects of human expression, such as the social function of music and ethical transmission of information.Thematically and aesthetically, Aubry picks up on current trends and themes and develops a very independent and impressive sound language. His research focuses in the last years on North Africa, with performances, installations and lectures about the convergence of so-called traditional and avant-garde musi