SO.UND.ING Acousmonium: INput

19.00–22.00, live performances

• Diego Losa: Cronicas del Tiempo (15’14), 2005
• Tetiana Khoroshun: tournesol (9’13), 2025
• Patrick K.-H.: fwer series (c. 15’00), since 2021, selected movements from 2025–2026
• Mauricio Valdés San Emeterio: Mutable Audiotecture (10’00), 2026
• Tetiana Khoroshun: Madrigal (15’00), 2025
• Brane Zorman: Orchestrated Attack (13’00), 2026

BREAK (15 min)

• Maja Osojnik: Blende #01 (20’04), 2024, and premiere of video Into Everything, Into Anything (6’46), 2025, by Maja Osojnik and Christopher Sturmer
• Mauricio Valdés San Emeterio: Subterránea (8’35), 2026
• Tilen Lebar: Līmen IIb (18’00), 2022
• Qingqing Teng: Lune à quatre heures du matin (13’13), 2025
• Sophie Delafontaine: Creux-du-Van (11’56), 2014

ABOUT THE SOUND PIECES

Diego Losa: Cronicas del Tiempo (15’14), 2005

“This is an acoustic evocation of memories of the past and images of the present and future, in the story of a traveler: mental impressions confronted with the collective memory of a country (mine) vis-à-vis the world. It’s a work on the unconscious, a reflection on deep sensations based on original sounds captured in different parts of the world (Buenos Aires, Cape Town, Durban) and at different times (from 1980 to 2004), moving from the political reality of my country (Argentina) to this same reality, but worldwide (from the Malvinas War, 1982, to the Second Gulf War, 2004). These violent events upset me so much that it was only through music that I was able to exorcise them,” wrote the author.

Tetiana Khoroshun: tournesol (9’13), 2025

Despite all the darkness, we turn to the sun.

Patrick K.-H.: fwer series (c. 15’00), since 2021, selected movements from 2025–2026

The series is framed by two citations from William S. Burroughs: “Fear of death is a form of stasis horror. The dead weight of time.” and “Love? What is it? The most natural painkiller there is.”

William S. Burroughs, Everything Lost: The Latin American Notebook of William S. Burroughs, 2008; Last Words: The Final Journals of William S. Burroughs, 2000.

Mauricio Valdés San Emeterio: Mutable Audiotecture (10’00), 2026

The work treats sound as 2D architecture to construct lines and dots around the room, applying hybrid techniques from direct sound to ambisonics. Close to pointillistic music-writing from the author’s early instrumental years, it revives selected elements in a more controlled spatial projection within an octophonic system, where space becomes the primary musical parameter. The loudspeaker field acts as both instrument and medium: layers articulate walls, corridors and openings that merge into shifting acoustic geometries, proposing listening as a form of spatial orientation.

Tetiana Khoroshun: Madrigal (15’00), 2025

The piece originates from a personal connection to Zaporizhzhia and the Zaporizhstal steel plant. Field recordings made during an expedition (September 2025) reveal technological power alongside ecological and social precarity. Inspired by Anna Lowenhaupt Tsing’s The Mushroom at the End of the World, it explores coexistence in polluted environments through morphing: factory sounds merge with instrumental timbres and the Sukha Moskovka river, while electronics increasingly dominate.

Brane Zorman: Orchestrated Attack (13’00), 2026

A series of continuous bursts of high-energy sonic particles pulse through frequency and time fields, cutting space into layers. It reflects, in utopian form, the echo of informational, financial, social, moral-ethical and personal chaos, and the collapse of rules and values. It recalls a morning of searching eyes, moving through ruins under drones and laser-guided metal objects that turn light into darkness.

Excerpt from a song: Kudhsinte Kanneer – Malayalam

Maja Osojnik: Blende #01 (20’04), 2024, and premiere of video Into Everything, Into Anything (6’46), 2025, by Maja Osojnik and Christopher Sturmer

The work explores change, transformation and mimicry. It draws on motifs related to Daphne and the paradox of Eros’ two arrows: eternal love and the inability to receive it. Metamorphosis sits at the centre, where the old is released and the new remains uncertain. Through abstraction, subtle shifts and layered field recordings, it becomes a collage, a pas de deux between nature and cyborg, inviting active deep listening.
The work will be acompanied by the premiere of minimalist short film and experimental music video Into Everything, into Anything which the artist created together with Christopher Sturmer. In stark black and white, a crouching figure moves through a claustrophobic white tiled room where glass offers no exit. Physical struggle, obscured gazes and surreal prostheses, including VR visions, fracture inner and outer worlds into twitching memory. Frosted, foggy, drought-scarred landscapes promise neither arrival nor home. Silent-era cinema, expressionist angles and grunge symbols surface in a film organism suspended between decay and redesign.

Mauricio Valdés San Emeterio: Subterránea (8’35), 2026

Composed from personal recordings made inside natural caves across Slovenia and the Trieste region of Italy, the piece explores the acoustic life of underground spaces: stone resonance, water’s sound forms, and microtemporal play between silence and echo. Spatialised across eight channels, it turns the cave interior into an audibly navigable terrain, inviting listeners not only to hear sound but to inhabit the memory of underground places.

Tilen Lebar: Līmen IIb (18’00), 2022

A continuation of the Līmen cycle, focused on the transience of abandoned spaces and structured through Van Gennep’s three-part initiation model. The piece unfolds as pre-liminality (static tremolo and harmonics on a prepared piano string), liminality (expanded techniques, e-bows, microtonal interference and spatial motion), and post-liminality (bright percussive colours, magnets, glass impacts), moving from stasis toward destructiveness and back, transformed.

Qingqing Teng: Lune à quatre heures du matin (13’13), 2025

The work lies on the border between dream and wakefulness, built from silent breaths, whispers, struggles and desires. It is both a woman’s personal narrative and a reflection on society, using dreamlike symbols and metaphors to question social norms and seek truth within madness.

Commissioned by ici l’onde – National Center for Musical Creation, with support from the Ministry of Culture and DRAC Bourgogne–Franche-Comté.

Sophie Delafontaine: Creux-du-Van (11’56), 2014

“Although I spent all my childhood in Lausanne (Switzerland), my family comes from the Jura region. I did not go there often, but I keep a vivid memory of a stroll in Creux-du-Van. It is a huge rock amphitheatre. From its heights, one has a spectacular view over a large part of the Jura region, but what struck me most is how the various layers of rock inside the amphitheatre remain exposed by the slow erosion of a glacier. In this work, I wanted to recreate the specific atmosphere of that place, imagine the wind spinning inside this gigantic hollow and the water that flows between layers of rock. The strata overlap and then separate. Time flows slowly and inevitably reveals new landforms,” wrote the author.

19.00–22.00, live performances

• Diego Losa: Sortie d’un rêve dans une nuit étrange très loin d’ici… (15’30), 2012
• Armando Balice: Empty Garden (21’00), 2020
• Alastair Mcneill: Everything’s for sale (18’00), 2026
• Enrique Mendoza Mejia: Amok (c. 15’00), 2026
• Qingqing Teng: I’ll Make Noise Until Silence Gets Tired of Me (18’18), 2025

BREAK (15 min)

• Andrej Kobal: Mimikrije I (11’00), 2026
• Enrique Mendoza Mejia: auraL allure (17’00), 2025
• Armando Balice: Battements de la mer (16’46), 2023
• Diego Losa: Plasma ou les fantômes d’Iwo Jima (17’29), 2023
• Sophie Delafontaine: Gris souris (10’00), 2017
• Patrick K.-H.: Concrète choirs (c. 15’00), since 2004, selected movements from 2025

ABOUT THE SOUND PIECES

Diego Losa: Sortie d’un rêve dans une nuit étrange très loin d’ici… (15’30), 2012

“After long hours of travel I arrive in Alta, a small village in Lapland, at the antipodes of Ushuaïa. A family dinner awaits me: salmon, steamed potatoes over a wood fire. We talked until late. Then I went to bed in the small wooden hut next to the main house. I was very cold on the snowy road, lit only by the light of the full moon. It was like in a dream… But a dream, in fact, is a dream as soon as I fall asleep…,” wrote the author.

Armando Balice: Empty Garden (21’00), 2020

The work is framed by a citation from Gaston Bachelard: “Emptiness is an annihilation factor that brings its contagious nothingness to any substance.”

Gaston Bachelard, Les intuitions atomistiques (Essai de classification), 1975.

Alastair Mcneill: Everything’s for sale (18’00), 2026

The piece uses naive pure tones, purchased from real people on hiring websites such as Fiverr. Singers were instructed to produce specific frequencies independently of tonal centres or A440 reference, making each voice an extremely personalised source. Disparate source material of unrelated singers is combined together in a spatialised abstract order, a coming together.

Enrique Mendoza Mejia: Amok (c. 15’00), 2026

A multichannel performance driven by overload, rupture and instability. Using two semi-modular synthesizers, spectral processing and real-time diffusion, it unleashes dense abrasive masses that resist coherence. Volatile layers and improvisation push the material toward collapse; loud distorted gestures erupt unpredictably, breaking pulse and orientation as space becomes a hostile sonic field.

Qingqing Teng: I’ll Make Noise Until Silence Gets Tired of Me (18’18), 2025

Inspired by “mad literature,” a digital-age outlet where younger generations blend rebellion with self-mockery under everyday pressure. Through repetition, layering and recombination, the piece amplifies these emotions into a chaotic, absurd universe, becoming a contemporary cry for freedom and a release of suppressed affect until silence itself is exhausted.

Commissioned by INA-GRM.

Andrej Kobal: Mimikrije I (11’00), 2026

The composition is built on a gradual blending of sonic masses, where sound forms transform from one shape into another through mimicry. Sound does not function as a stable entity, but as a process of continuous metamorphosis, adopting the qualities of other sounds, their spectrum, gesturality, and inner dynamics. Mimicry operates as a compositional principle and, at the same time, as a transferred metaphor for contemporary social processes in which reality is often presented as something it is not, camouflaging itself in various forms of perceptual reality. The work opens up a space of listening in which the boundaries between forms, meanings, and identities continually dissolve.

Enrique Mendoza Mejia: auraL allure (17’00), 2025

Centred on the act of listening, it unfolds from a composer-written text voiced in multiple languages, where the voice becomes both material and metaphor. Through timbre and texture, listening is treated as immersive, shaping time, space and emotion, altering perception, awakening memory and bending spatial awareness. Sound reconfigures the listener’s relationship to space and self.

Armando Balice: Battements de la mer (16’46), 2023

The piece unfolds in three movements:

I. Bruit blanc / White noise,
II. Énergie matière / Energy Matter,
III. Sortir du noir / Emerging from the Black.

Commissioned by the CAIRN Ensemble, with compositional support from the French Ministry of Culture.

Diego Losa: Plasma ou les fantômes d’Iwo Jima (17’29), 2023

The piece seeks to express the sensation of being inside a dome of energy. During composition, news from Iwo Jima (Ogasawara archipelago) reported volcanic seismic activity bringing 24 WWII shipwrecks to the surface. This triggered the idea of ghosts released from the hulls, linking energies of past and present. The work follows that direction as a journey between two shores.

Sophie Delafontaine: Gris souris (10’00), 2017

Ardoise noire de brune
Ardoise gris souris
Ardoise bleue de lune
Satin du matin
Velours de la nuit
Ardoise éblouie

“Slim, dark-brown slate, mouse-grey slate, moon-blue slate, the satin of morning, the velvet of night, stunning slate.”

Jacques Prévert, “Ardoises,” Fatras, 1966.

Patrick K.-H.: Concrète choirs (c. 15’00), since 2004, selected movements from 2025

“Music is the mountain, where everybody tunnels, and those tunnels cross but never meet.” The series positions itself at a point of convergence between two adjacent “tunnels,” Musique Concrète and Concrete Poetry, which rarely intersect despite their proximity.

Pierre Schaeffer, Treatise on Musical Objects: An Essay across Disciplines, 2017.

Immerse yourself in the world of sound spatialization and discover the creative potential of multichannel environments. In this intensive two-hour workshop, we will explore tools and strategies to expand your sonic language and bring your projects into a new dimension.

The workshop will focus on:

• Developing a strong artistic concept: balance, sound projection, and compositional clarity within a multichannel space.
• Shaping sound movement: moving from intuitive or random approaches toward precise, expressive spatial design.
• Artistic and technical use of GRM Tools Spaces and GRM Tools Atelier as essential instruments for contemporary sound creation.

Designed as a hands-on creative lab, the workshop offers space to experiment, analyze, and design sound in motion. It is ideal for composers, sound artists, and producers who want to deepen their knowledge of spatialization and multichannel practice.

The workshop will be lead by Diego Losa, who has been a member of the Groupe de Recherches Musicales (INA-GRM) since 1997, the leading institution for electroacoustic music, where he is currently responsible for advertising and promoting GRM Tools. In this role, he actively contributes to the development, dissemination, and training of these reference software tools. He is responsible for the digitization of original GRM works, works as a sound engineer and technical assistant for visiting composers at INA, and is a professor of sound engineering at Sorbonne (Paris I) and at the EICAR film school. He also leads the electroacoustic music department at the Saint-Étienne Conservatory and teaches sound design at both EICAR and INA.

Participation is free of charge. Places are limited.

WORKSHOP REGISTRATION