Between the poetics, the word and the deconstruction, a window opens, and sound spaces are invented. In « Cartography of the senses », Bruno Letort initiates, from a classical structure and in a rigorous framework, the search for a writing of the counterpoint, a system of the delay, a deconstructed phrasing. Aesthetics of deconstruction that takes shape in « Rebath », title itself recomposed from Breath, a piece for flute still exploring and otherwise the breath, its erasures and tensions in a tablecloth of electronic space, or in « Fables électriques », no-wave composition in three movements. Less destructured than dislocating its own perceptive effects, « Fables électriques », with its convulsive guitar inputs evoking the systems of Glenn Branca, suggests the imaginary dusting, sound, noise, of metallic volumes, crystalline, random, asymmetrical, loop and repeated, minimalist , perforated, perforated. These « Fables électriques » (Electric tales) are those of a plastic volume, its development and its ethereal implosion. From then on, the aesthetics of the deconstruction that crosses « Cartography of the senses » finds, like the carnal voices of « Absence » or the four movements of « EXIL », again its resolution in the words: the title as inversion of the maintenance of the instrument, in « The Cello stands vertically, though … », announces a disorientation of the cello's single body, and, the graphic movements of these pulsations. A research on space, perceptive, metaphorical, plastic, political follows, resulting from the inalienable and incompressible adventure of music and sound, their temporality: poetics and literature, like the deconstructions of Bruno Letort, in include openness and variations.