From Extasium to Kalioscope Alain Gabriel obtains his degree in architecture at the School of Fine Arts of Paris in 1971.The reality of the architecture, discovered by having worked in many agencies to pay for his studies, not meeting his expectations, he exiles himself in Brazil in 1973 in São-Paulo, where he becomes an art dealer. He organizes silkscreen and lithography exhibitions in several cities under the aegis of the Alliance Française. The works he presented proposed a wide range of artists, but those who had most success and what he appreciated because of his architect's training, proceeded of the fashionable geometrical current at that time. More particularly, he was touched by the relief balls of Vasarely. He did not have the commercial fiber and wanted to live free. Encouraged by the French-Brazilian painter, Eduardo Delhomme, he thought that to paint paintings in the manner of Vasarely — what seemed to him in his reach— could allow him to make a living without the stress of the office, without boss and in a pleasant way. Yet, from the first painting, realized with house paint in Rio, he felt an artistic force pushing him straight. This picture announced all the unpredictable continuation at this moment, especially the link with the music. Aware of having to find a personal expression, Alain Gabriel understands that to reach there, he will have to paint a lot. His first exhibition in São-Paulo, at the end of 1974, was a great success which encouraged him to continue on this path. But, it was the only one who had such a success and after several disappointments he returned to Paris. He sublet a room which he transformed into workshop at a friend's ex-electronics engineer who told him one day that this technique could allow him to animate a painting. This suggestion appealed to him, which gave him a night of insomnia during which he discovered the principle allowing him to make "live" a painting by music. The first painting of this type — called « Symphonie Spatiale »— is painted on a translucent surface arranged in front of a flat box containing a second composition of small lamps colored one by one and animated by commercially available kit electronic modules. He immediately gets a big hit. Fascinated by this original work of art so captivating, a princess of Saudi Arabia buys it immediately. Encouraged beautifully and his new paintings finding many buyers outside the world of art, Alain Gabriel seeks to make his works more captivating. Commercial kits prove insufficient, he strives to improve the process. His meeting with an electronics engineer, very famous for his competence is determining. Together, they create an electronic modular system allowing to transform paintings into ballets of light. We've been talking for a long time about hypothetical links between music and painting—that is the light— and by means of experiments and observations of its visitors, the artist discovers a special relationship between music, light and electronics. Now, electronics being pure logic, Alain Gabriel had the intuition or inspiration that pushing this logic to the extreme, he must be able to realize a picture more captivating than any other form of show. He discovered the basic drawing of this work on October 27, 1981, his birthday. From then on, strange phenomena began to occur. Among others, the artist began to perceive numerous Visions which had nothing in common with "religious trinkets". Most of them were geometric shapes that he thought it was destined for the painting he was looking for. But, reproducing them, he realized that if they corresponded well some times, many had no obvious relation. Another phenomenon, visitors, after contemplating the painting, sang songs — far removed from terrestrial melodies— without any preparation or influence of any belief. A group was made which received the name "Dream Maker" after the name of a painting of 1981. Around thirty people of any origins sang these magnificent songs without being able to identify the least criteria to participate. It was enough to want and to persevere, but without it is sufficient. After singing while uttering sounds that we are unable to produce in normal times, everything is forgotten and it is impossible to remember anything. Since its beginnings in 1984 his contemplative and vocal phenomenon of the painting continues, but Alain Gabriel remains to this day the only singer. Wishing to make known these strange songs with the sound as close as possible to the natural sound, Alain Gabriel was forced to attack the acoustics of the room, besides the sound system reproducing the music. Create a recording studio for voices traveling in the same space  which has to become an auditorium, it was like squaring the circle. It never happens, the many problems to be solved being too much complicated. To these difficulties was added the very complex realization of the painting. The contemplation of the painting in the acoustic setting of the room provoked a very powerful and fast sensation of deep well-being and ecstasy. That's why we called this installation EXTASIUM. During several years, the artist discovered numerous light effects which he could not assemble. By rereading an old text, he found many analogies there and realized that it contained the plan of the structure of this well hidden picture. To make it appear it needed a decryption key and he had found it with the relation painting (light) -music-electronics. This book is the Book of John's Apocalypse, the last one of the Bible. This proves that the mystery of this text— very obscure and misunderstood—written nearly two thousand years ago, could only be pierced at our time. Most people are afraid of this word meaning for them wars and destructions, yet apocalypse means in Greek revelation. What a revelation to announce cataclysms when there have always been? The revelation is elsewhere. In the Middle Ages, the monks who wondered about the meaning of this text written by John under the dictation of an angel speaking in the name of Jesus who himself speaks in the name of God— as it is written in the preamble — thought that the Heavenly Jerusalem announced at the end as descending from the sky, can not be a city because of its dimensions given in the book, they hypothesized that it could be the Paradise Gate. But, a celestial paradise. Yet the so beneficial sensations produced by this painting and its music in its acoustic setting is something that makes you think a lot. Thirty-seven years of research and ninety-three versions of Extasium have been necessary to finally complete this project, which is so difficult to finalize. A research done without any financial help, but, curiously, the funds needed for this quest have always arrived at the right time. This kind of psycho-visual-acoustic machinery that is the Extasium is a cosmic connector intended for the greatest number. Its power is exceptional. It allows to reach the highest levels of consciousness easily, quickly and very pleasantly. We feel an intense sensation of well-being, an incomparable enjoyment moving from head to foot. The daily observation of this phenomenon has shown that the sound of this unique acoustic space acting on the cranial box excites a center of the brain: the pleasure center, which says a lot about the felt effects. We discover an internal look situated on the back of the skull contemplating a ball of bright energy in perpetual transformation, as if the neurons were illuminating. We feel fun internal, hot and cold fire at the same time. We have the sensation of meeting the divine particle that inhabits us. A sensation that exceeds all others If the secret hidden in the text of the Apocalypse essentially concerns the visual part, Alain Gabriel discovered the secret in the secret With this invisible sculpture of the sound which we call acoustic and who has such a great acting action. It is not evoked in the text, but if it's good The Gate of Paradise,it becomes obvious that the sound that accompanies it must be paradisiac. It is this obvious fact which supported the artist in his long quest. Unfortunately, this room cannot be transported. It is currently reserved for its creator who took the precaution of taking all the plans to replicate elsewhere. Maybe one day it can settle down in public places, but in the meantime it is reserved for "the Powerful of the Earth » as it is written towards the end of the Book. Fortunately, the visual part can now be freed from the place and make a wide public of his beneficial effects benefit. The painting whose Extasium is the case, « The Door of Ecstasy », is filmed when it is animated by the music of Dream Maker. The songs are recorded beforehand and then "dressed" with synths. The resulting visual is reworked on a computer with light brushes using various software to complete the search for "The Gate of Paradise" in the form of short films of musical animation. It becomes the first virtual and ephemeral painting, electronic and digital at the same time, the magic painting that sings and dances, the KALIOSCOPE.