STÉPHANE ROY (CA)
Après, les cendres (15'20")

PHILIP LIU (KR/US)
Electro-ethnomusic 2 (9'00" - 2025)

DAVID ROSSATO (IT)
Archetexture #3 - Window (10'15")

JOHN FIREMAN (US)
Not Found (6'54" - 2025)

STÉPHANE ROY (CA) Après, les cendres
Après, les cendres is acousmatic work inspired by Québécois author Paul-Marie Lapointe's poetry collection Pour les âmes. Two poems form composition's basis: ICBM and Nous sommes installés sous le tonnerre. First three sections evoke fate's obsessive nature through ephemeral sounds, tormented melodies, and unstable spatial movements creating dreamlike universe concluding with chimeric melody sliding toward abyss. Final section begins with fulfilled prophecy—incandescent dawn rising through implacable martial motif inspired by verses about "arborescent terror of spikes and hammers." Work concludes with war's aftermath pain: "children curl up like burnt leaves," witnessing delicate matter's ascent, freed from gravity like shattered souls pursuing infinite journey.

PHILIP LIU (KR/US) Electro-ethnomusic 2 (2025)
This generative music comprises entirely sounds from physically modeled pyeongyeong—Korean traditional stone chimes used in royal ancestral rituals. Physical pyeongyeong has sixteen percussion-activated stones tuned to different pitches, modeled using finite difference methods for mathematical instrument modeling. Liu postulates synthesizers generate culturally 'neutral' sounds yet originate from Western paradigms—even sine waves should be considered European sounds, discovered and presented by them. While Western sonic aesthetics possess validity, what constitutes purely synthesized non-Western sound? This work represents decolonized audio synthesis, exhibiting distinct ethnic characteristics by modeling Korea's most valuable traditional instrument, creating synthesized sound with non-Western cultural roots.

DAVID ROSSATO (IT) Archetexture #3 - Window
Il progetto “Archetextures” è un tentativo di dare corpo e tessuto sonori a simboli e archetipi di vissuti spaziali, oltreché esistenziali e animici, riscontrabili come "figure originarie" alla base dei fenomeni e del fare architettonici. “Archetexture #3 - Window” parte dal concetto di finestra come soglia che si apre tra un interno ed un esterno, tra un "qui” e un “altrove”. In una dialettica gestaltica, su uno sfondo “ambientale” in lento mutamento, si stagliano in primo piano svariate finestre, aperte su scorci “figurali”. Ma strada facendo questa polarizzazione si rivela fittizia, fino a divenire indistinta, nebbiosa, quasi rovesciata. Come tutto ciò che è al mondo, se osservato da vicino.

JOHN FIREMAN (US) Not Found (2025)
Not Found is 4-channel sound piece exploring microsound's gestural potential using hybrid pulsar synthesis, spectral transformation, and neural voice processing in Max/MSP. John's practice engages voice as nimblest instrument, structuring micro temporal events with precision and unpredictability. Voice isn't merely processed—it's extended, fragmented, entangled with systems that echo and resist. Neural networks respond to vocal gestures with their own logic, creating unstable emergent textures never settling. Sound moves in bursts, stutters, involutions—held by intention yet always near collapse. Work isn't closed form but live encounter with control and entropy, shaped momentarily while slipping beyond framing. Gestures emerge, collapse, reform through persistent negotiation.