Night 3 - 
8pm

Julia E. Dyck

Julia E. Dyck is a Canadian artist and hypnotherapist based in Brussels whose multidisciplinary practice merges sound, performance, and expanded states of consciousness to explore the porous boundaries between body, technology, and the (sub)conscious. Rooted in relational and speculative methodologies, her work invites audiences into immersive experiences of collective transformation, using voice, vibration, and storytelling as portals to new modes of perception and presence. Julia is a member of the Audio Placebo Plaza collective and the t.r.a.n.c.e community hypnosis project.

Her work has been presented internationally, including at the Karachi Biennale (PK), LOOP (KR), Bétonsalon (FR), Haus der Kulturen der Welt (DE), Cafe OTO (UK), Q-O2 (BE), Palais des Beaux-Arts de Paris (FR), Musée d’art de Joliette (CA), Musées d’art et d’histoire de Genève (CH), and Darling Founderie (CA).


Program
Introduction to Somnambulism 20’
Introduction to Somnambulism takes a hypnosis session as its score, moving from breath-led resonance through hypnotic induction and the frequencies of tuning forks toward a guided visualization. The performance weaves voice, electronics, and resonant instruments to explore the subconscious as a space for listening and transformation.

Pía Baltazar, Daniela Huerta & Gadi Sassoon

Pia Baltazar is an intermedia composer, undisciplinary researcher, and curator. With formal training in engineering, art philosophy, and musical composition, her approach is situated at the intersection of interdisciplinary theory, interactive design, and artistic production. Her artistic research interests revolve around the creative possibilities of the encounters between the senses (vision, hearing, touch, etc.) and the involvement of physicality and spatiality, both in the creative process and in the aesthetic experience.

Born in Mexico, Daniela Huerta is a Berlin-based multimedia artist and researcher. Exploring the intersection of sound and consciousness, Huerta channels mythology and storytelling into a richly layered artistic practice that bridges the real and the imaginary, creating vivid landscapes that aim to connect with the depths of the human psyche. Rooted in myth and transmutation, her approach is equal parts raw and refined—a boundary-pushing exploration of sound as a narrative force.

Gadi Sassoon is a classically trained composer, performer, and transmedia electronic artist from Milan whose work spans traditional music releases, live performance, installations, and experimental software. Sassoon’s work appears on labels such as Ninja Tune, ASIP, Warner, and Universal, including projects nominated for the British Arrows, Brit Awards, and Mercury Prize; his synthesis research has been published in MIT Computer Music Journal. He was the keynote performer at the 2025 UN Global AI Summit and runs the community label and radio show Classical Computer Music.

Wilding AI is a nomadic, polymorphous research-creation laboratory that challenges the domestication of artificial intelligence to foster creative expression. The collective explores poetic, experimental, and hijacked (mis-)uses of generative algorithms, particularly in the field of spatial audio, to investigate new forms of human-machine collaboration. With a focus on public engagement, Wilding AI has conducted several research-creation residencies and open presentations at renowned digital arts spaces, including MUTEK Montreal and SAT, MUTEK Mexico, MONOM Studios as part of the CTM Festival in Berlin, and 4DSOUND at the FIBER Festival in Amsterdam.

Program
Ghosts of Future Grafts 12’15”
Pía Baltazar, Daniela Huerta & Gadi Sassoon

Ghosts of Future Grafts is one of the artistic outcomes of Wilding AI, a year-long collective research-creation project questioning the role and impact of AI in artistic creation, with a focus on spatial audio. Starting from the premise of considering AI agents as collaborators rather than tools, the three composers experimented with various generative systems for audio generation and spatialization, reflecting on the impact of AI as a general-purpose technology on our existence. Focusing in particular on the question of embodiment—both from the perspective of the creative tools and of the effect AI has on our nervous systems—the composers adopted a posture of refusal and generated the materials of the composition solely through performances with voice and analog synthesizers, stemming from a session at Gadi Sassoon’s Milan studio, immersing in it and considering it as an instrument of its own.

In a second phase, during a residency at UdeM, they worked on the spatial sculpting of this raw material to shape it as a kind of sacrificial ritual of the ghosts of AI agents, an exorcism of their invasion of our nervous systems. The piece was included in the collective composition FERAL FREQUENCIES, premiered in SAT’s dome on MUTEK’s opening and diffused at SPATIAL Festival at MONOM at Funkhaus Berlin in August and September 2025. It is presented at Akousma for the first time as a standalone composition.

James O’Callaghan

James O’Callaghan is a Canadian composer and multimedia artist based in Berlin. His work has been described as “very personal… with its own colour anchored in the unpredictable” (Goethe-Institut). It spans chamber, orchestral, live electronic, and acousmatic idioms, audio installations, video-music, site-specific performances, electronic dance music, and interdisciplinary collaboration—most recently with choreographer Édouard Lock and artist Lois Brown.

In 2016, an album of his acousmatic works, Espaces Tautologiques, was released by empreintes DIGITALes, and his extended collaboration with Ensemble Paramirabo resulted in a portrait album of his works in 2019, entitled Alone and Unalone. His music has been performed in 29 countries and has received nearly forty prizes and nominations, including the ISCM Young Composer Award (2017), the Salvatore Martirano Award (2016), and the SOCAN Foundation John Weinzweig Grand Prize (2014). Significant nominations include the Gaudeamus Award (2016), Prix Métamorphoses (2018), and two JUNO Awards (2014, 2020). In 2021, he received the Prix Opus for “Composer of the Year.”


Program 
[Creation] 20’00”

Anne-F. Jacques (ca)

Anne-F Jacques is a scrap metal worker and sound artist based in Montreal, Canada. She is interested in amplification, oblique interactions between materials, and the construction of various contraptions and idiosyncratic systems. Her particular focus is on low technology, trivial objects, and unpolished sounds. She regularly creates installations, performances, and ephemeral interventions. She has worked, among others, with Tsonami Festival (Chile), Experimental Intermedia (New York), Ftarri (Tokyo), Sonic Protest (Paris), Casa del Lago (Mexico), Centrale for Contemporary Arts (Brussels), High Zero (Baltimore), and MEM (Bilbao).

Program 
Mouches à feu [Creation] 20’

Electricity, a little friction, and a light flowing through our fingers. It crackles, it fades, it smells warm. You could almost start dancing.

IRL [Amanda Harvey]

IRL is a sound artist, producer, and DJ whose practice uses waveforms to explore memory, the body, and space. Working with lo-fi sample banks alongside analog and modular synthesis, they craft music that balances raw texture with emotional depth. Their trance-inducing sets weave ambient drone, big bass, and looping melodies into immersive soundscapes that invite reflection and transformation.

Beyond performance, IRL co-produced two seasons of the podcast A Kind of Harmony and hosts Heart Full, a monthly radio show on n10.as. Their releases span labels including SURF (LX), Psychic Liberation (BE), Kapha Selections (NYC), Personal Records (MTL), and Interzone (MTL).


Program
[TBA] 20’

William Jourdain, alias Automatisme

William Jourdain, known under the moniker of Automatisme, is creating generative ambient dubtechno since 2011 and is active as an archivist and digital development agent. He has been publishingon various labels such as Constellation Records, Force Inc. / Mille Plateaux, Neologist Productions,Liberation Through Hearing, Outlines, Dream Disk Lab, G89 Records, Fallen Moon Recordings,Diffuse Reality Records / Teorema, Archipel, Polygon Network and Humidex.

Program
[Live Set] 20’
William Jourdain (Montreal, CA), aka Automatisme, is a generative ambient dub techno artist. For Akousma 2025, he reshapes live his 2025's works, released on Humidex, Diffuse Reality and Archipel record labels. Sound design here is an act of shaping and carving, using principles like repetition, contrast, density and echo to evoke emotional states such as intensity and release. Automatisme thrives in the generative music terrain where he blurs the line between sonic art and dreamlike exploration.

Orchestroll

Orchestroll is an interdisciplinary music duo, a crucible for the bold aspirations of Jesse Osborne-Lanthier and Asaël Richard-Robitaille. It is a space for sonic exploration where they challenge the boundaries of music theory, genres, and classifications—a free environment where sound territories merge and transform beyond conventional limits.
Their work is rooted in deep artistic introspection, fueled by a passion for questioning musical codes and a profound belief in the transformative power of art. Orchestroll fuses disparate elements—ambient, noise, new-age, post-industrial, Americana, folk, musique concrète, pop, rock, orchestral, and indie—sometimes filtered through the lens of underground club music. These styles intertwine and overlap, forming a spectral imprint, an aesthetic residue of a constantly evolving soundscape.

Program
Corrosiv (extraits) 20’
In 2025, Orchestroll released their double album Corrosiv on 29 Speedway, preceded by the singles Velvet Myst and Cable Eater.

Partly recorded at the legendary EMS Studios in Stockholm, this project interrogates cultural stagnation and the erosion of artistic depth, while highlighting the processes that strip sound of its reach and substance. Corrosiv explores sonic degradation, much like language worn down through repetition, recycling, and detachment. At the intersection of tension and form, the work blends heavy, slow-moving structures with textures that gradually decay. It stands as both a mirror and a resistance to the forces that tend to render music passive, reducing it to mere background noise or a detached aesthetic.