While making the recordings in the Paris Metro, I carefully wrote down the entrances and exits of the Metro stations, the train numbers, the connections, the transfer stations, until I had travelled the entire underground network. It was important to me to record all the contact points with cartographic precision and to give myself a framework based on these fixed points.
Each sound excursion started up at street level; then came the sounds of the passengers' steps going downstairs and through the long passages and corridors underground, the wait on the platform, the arrival of the trains, their stops, and the re-emergence into the visible part of the city. Each sound journey lasts as long as the actual trip.
I have recorded/drawn this map with holophonic headset microphones. These register sounds the way they are perceived by the human ear. And I outlined, with great precision, each section of the Metro I found my way into. After a time, I felt like an endoscopic probe that penetrates a body. The holophonic headsets turned me into a pencil that jotted down my sound journeys and, at the same time, into a catalyst for the sounds around me.
The most surprising elements were, as so often happens, the peculiarities produced by everyday life that were digitally captured. Plan de poche embodies the image of actual physical presence and of actual space as an acoustic log. I have drawn an acoustic map that consists of the Metro lines, and was at times overwhelmed by the sonic beauty that people are capable of producing.

From the 13th trip
Viens de voir les monstres
Ah non, c’est pas le …
Qu’est-ce que tu veux dire …
Je regarde …
Ah oui c’est vrai, ah oui t’as raison, oui, oui
Il était passé vite en plus …
Je ne me rappelle plus, écoutes, je ne me rappelle plus
À jeudi
À jeudi d’accord …
À demain
À demain