Offworld a focalized outgrowth of 1979 Nature Phylletique.
The Offworld saga of projects, the 'Poirier' versions, semantically, has been borrowed, extracted, from the 1982 Ridley Scott masterpiece Blade Runner (script written by Hampton Fancher and David Peoples as a loose adaptation of the 1968 novel Do Androids Dream of Electric Sheep? by Philip K. Dickinson).
I did not understand at the time that Ridley Scott's off-world colonies were pointing out to the SSPs (Secret Space Programs). I was though intuiting and conceiving that my own version of off-world, which I rather coined into OffWorld, had its force-focus "off this planet", but, somewhat, all around it.
Following Stephane 1995 solo move to incorporate Offworld Technologies, without informing me, I eventually (circa '97) decided to bring the Offworld enterprise to its next level by superevolvimg the meaning of this excitingly mysterious Offworld conceptual enterprise. I thus further defined it into codename OvvWorldz (Oosferykll Vortexez Vorce Worldz).
Of course I would hardly discuss these conceptions seriously with anyone at the time.
I had tough envisioned since the early 80s to add, incorporate, a computer operator-performer as a fully participating instrumentist within any given type of formation.
In 1985 I had been approached by Simon Carpentier to be a part of his quite ambitious commercial project Productions L'Idee which I assisted in starting up. I learnt a lot about commercial project implementation there which would soon serve me well. During this period, I was still studying in composition, electo-acoustics, and, later, in classical guitar, under Armando Santiago, Yves Daoust and Paul-Andre Gagnon respectively, at the Conservatoire De Musique De Quebec.
Even if pop and dance music were a part of the genres I was projecting to composite within the multi dimensional fusion effort I was after, commercial confinement was intolerable for me, and for that matter, even research/serious music
The preOffworld burjoning idea/derivation was first sketched out from the semi-theoretical Karl Burt Art concept (circa 1984/85 - no associated performances) which further evolved and materialized into the Simple Science project (1986) - the effort to comprehensively/definitely fuse/mary science and art together in a meaningful/useful manner.
This new preOffworld phase was strongly inspired/influenced by the outstanding and pioneering work of such researchers as Iannis Xenakis and Pierre Boulez (IRCAM) as well as fuelled by ongoing Carl and Stephane endless discussions about Arts vs Sciences.
In 1986 I presented 2 very significant concerts which provided effective proof of concept but also established the basic financing method Offworld would principally utilize until 1990...
In 1987 I made 5 Simple Science concerts
In June of 1987 I founded Offworld following 1986/1987 successes (February '86 (CWBP at Laval University in Quebec city) & November '86 (first concert of Simple Science - the initial effort of preOffworld to fuse science and art) in establishing/securing the basis of the financing model for the 1988-1991 subsequent Offworld phase characterized by our association which materialized during my Boston/NYC trips in 1988.
I required the full reapropriation of all of my titles in 1995 following your (late) announcement to me regarding the incorporation of Offworld Technologies which you did without informing/consulting/including/referencing me anywhere in those transactions.
Great men and women do not hesitate to acknowledge their sources of inspiration, even more the contributions of anyone's significant input into their works and creations.
There is no merit in the undue appropriation of someone else's labors. Furthermore, the truth always ends up eventually surfacing, being revealed.
You created there an opportunity for us to bring about much overdue clarity within our many cocreative interassociations.
Of course, this is primarily/essentially about your own advancement, but honest recountings regarding myself will only strengthen your now culminating path.