I/E is a collective instrument and housed inside a sound-proof shipping container that can become a studio space, a listening station, and a performance platform. Placed in an exterior space for long periods of time,  I/E creates different performative situations in which musicians can explore new models of collective performance and composition. Several performers can connect to this instrument at the same time, and I/E functions as a sound router, transformer and generator – allowing players to create sonic material, at the same time as others to rewrite and alter their contributions.
Through the specific software of the instrument, the players leave the shared and evenly negotiated space of the usual concert situation and enter a multitude of unbalanced relations in which the sound of each player can transform, control or overwrite the sounds and timbers of the whole collective. In this process, agency and personal contribution are seized and detoured to create performances that have a unique physicality, sound quality and tension. The activation of I/E, the invited musicians, their collaborations and interrelations are defined according to the environment and the context the instrument is implemented in. Following Atoui’s methodology, each environment produces a unique score that becomes part of the instrument and basis for its future activations.
For FIAC and the Carrousel du Louvre, Atoui chose to work on a specific esthetic of electronic sound inspired by electro-acoustic, free jazz and noise music. He therefore thinks of new techniques of sampling and sound processing and invites composers and performers Kazuyuki Kishino (electronics) and Uriel Barthélémi (drums & electronics) to work with him.