After this year’s SO.UND.ING Acousmonium INput

This year’s SO.UND.ING Acousmonium INput, which took place at Kino Šiška on 16 and 17 March 2026, once again established a space for deep, focused and intense listening. Over the course of two evenings of acousmatic concerts, accompanied by a workshop, Komuna Hall was transformed into an octophonic environment in which sound functioned simultaneously as composition, movement and spatial experience.

This year’s programme brought together works by Armando Balice, Sophie Delafontaine, Andrej Kobal, Tetiana Khoroshun, Patrick K.-H., Tilen Lebar, Diego Losa, Alastair McNeill, Enrique Mendoza Mejia, Maja Osojnik, Christopher Sturmer, Qingqing Teng, Mauricio Valdés San Emeterio, and Brane Zorman. The curatorial selection by Brane Zorman and Patrick K.-H. once again connected reference electroacoustic compositions, current authorial practices, and several new or premiere presentations.

One of Akuzmonij’s key dimensions remains the way it shapes the conditions for listening. At a time of fragmented attention and rapid content consumption, the festival insists on an experience grounded in concentration, duration, and precise perception. The spatial arrangement of loudspeakers, together with the live performance and interpretation of the works, allows the compositions to unfold not only as temporal structures, but as sonic events that orient the listener in space, immerse them within it, and guide them through different modes of perception.

An important part of this year’s edition was also the workshop led by Diego Losa, entitled Composing and Mastering for Octophonic Sound Systems with GRM Tools Spaces, which further opened the festival as a space of professional exchange and knowledge transfer. In this way, Akuzmonij remains not only a concert platform, but also a setting for encounters between artistic, technical, and research-based approaches to spatial sound art.

Today, SO.UND.ING Acousmonium is recognized as Slovenia’s leading continuous platform for the development and presentation of acousmatic and spatial sound art. Its significance lies not only in presenting Slovenian and international authors, but also in establishing a space where listening takes shape as a cultural practice, as a mode of orientation, and as a possibility for a different relationship to sound, space, and time.

This year’s edition was also conceptually connected to the first edition of the ELX Triptih event in Lendava, thereby expanding the festival’s framework into a broader context of electroacoustic and spatial sound art, as well as further connecting artists, works, and audiences.

Among the responses published so far on this year’s Akuzmonij, we would particularly like to highlight the review by Lea Brinovec for SIGIC, as well as the Arsov art atelje programme featuring a conversation between Primož Trdan and Brane Zorman, the festival’s co-curator.

You can return to this year’s edition through the archive, photographs, programme materials, and published responses, which preserve its traces and open up further paths of listening.