Beginning to tell the story of Sigma Festival in Bordeaux is as impossible as trying to make an exhaustive list of the events organised between 1965 and 1996, unless one possesses an overwhelming taste for the most extravagant associations—indeed, what could be more far removed, and even contradictory, in its most fecund acceptation, than Karlheinz Stockhausen and Soft Machine, Nicolas Schöffer and Ben Vautier, Sankaï Juku and kinetic art, Lucinda Childs, Philip Glass and John Vaccaro’s Play-House of Ridiculous, Jan Fabre, the Living Theatre and the Performance Group, Sun Ra and his Intergalactic Research Arkestra and Cathy Berberian, Carmelo Bene and Werner Herzog, and also Miles Davis, Klaus Nomi, Pierre Henry, Carolyn Carlson, Lucinda Childs, Pink Floyd, Magma among many others… 
Sigma: thirty years of gatherings devoted to experimental creation in all its forms, thousands of shows, concerts, films, exhibitions, and debates, hundreds of creations and world premieres. And then there is what remains of it: ten thousand or so photographs, three hundred posters and flyers, forty or so publications, newspaper cuttings, all too rare filmed or recorded snippets, and the intangible, yet vivid and intense, memories of tens of thousands of participants, who were all shaken, moved, and transformed by this radical aesthetic adventure.
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