January 1916 to December 1919, Albert-Birot edited the avant-garde art magazine SIC, which featured writings by Futurists, Surrealists, and Dadaists. SIC became a focus for many avant-garde initiatives, even those which Albert-Birot himself disliked, he believing in independence and objectivity. New Birth Pierre Albert Birot escaped general mobilization due to respiratory insufficiency during World War I, and, according to his own words, was really born during the creation of the magazine SIC in 1916, when he definitively adopted his artist name, adding his second name to his surname. The title of the review, represented by a SIC carved into wood framed by two symmetrical F's, has two meanings; it is firstly the Latin word yes, standing for "a desire to constructively oppose the war that negates human values" and more generally, a desire "to assert oneself through a complete acceptance of the world," and it is also the acronym for its subheading "Sons Idées Couleurs, Formes," which for now is only an expression of the multiple activities of the Albert-Birot couple – Sounds for Germaine's music, Ideas for poetry, Colors for painting, and Forms for Pierre's sculpture – but will soon become the moto for a "synthesis of modernist arts." Issue number 1, sold for twenty centimes, appears in January. For now, it has been entirely written and illustrated by Pierre Albert-Birot. The publication stands out for its modernism, especially coming from a painter and sculptor trained by traditionalist Achard, a self-taught "Adamite poet" who has not yet encountered the avant-garde. "Our desire: to act. To take initiatives, not to wait for them to come from across the Rhine," is the first of the "First Words" displayed by SIC; further on we read this affirmation of originality as a condition of Art, "Art begins where imitation ends " which is not without evoking, although in a much less radical form, Dada's rejection of all imitation and literary tradition and life. With a one-month advance, Albert-Birot is not far from the vitalist affirmation of the Dadaists of no longer imitating life but creating life.. But above all, we must see in the publication of this first issue the call, the outstretched hand of an isolated artist to avant-garde circles of which he is both completely unknown and ignorant. When he mockingly calls Paul Claudel a ″beautiful poet of the day before yesterday″ and continues with ″I would really like to meet