Online explores contemporary ways of producing reality within virtual ecosystems and examines their impact on perception. Built on digital systems, hyperconnectivity, and automation, these environments are creating new sensory frameworks in which vision, listening, language, and interaction are increasingly mediated by technological interfaces.

Online d’Agustin Issiodoro créé au CDA d’Enghien-les-Bains le 25 juin dans Manifeste-2026 © Murielle Ducas

The work brings together four solo voices, live electronics, and video in a performance inspired by streaming culture, particularly platforms such as Twitch. Between the streamer and the audience lies a network of digital devices that transforms elements of reality into new perceptual experiences. Electronics and video become tools for reflecting on contemporary forms of sensitivity and the new modes of presence generated by digital technologies.

Distribution

For four singers, live electronics and video
With Les Cris de Paris
Simone Conforti IRCAM educational support
Agustín Issidoro IRCAM electronics
Luca Bagnoli IRCAM sound diffusion

Premiere: 25 June 2026 at the Centre des Arts in Enghien-les-Bains, as part of the ManiFeste-2026 festival. Touring in 2026–2027 as part of the Ulysses Network.

Inspired by Paul Valéry’s poem La Jeune Parque, this musical theatre work explores the relationships between sound, body, space, and technology through a process of collaborative composition. Music, choreography, and electronics interact in real time through a sensor-based system that transforms movement into sonic and visual material.

The figure of the young Parque, confronted with questions of destiny and identity, becomes the starting point for a reflection on perception, autonomy, and the transformation of sensory experience within a technological environment.

Répétitions, Matthias Krüger avec l’ensemble BRuCH et Elodie Sicard, chorégraphe

The work brings together four musicians from Ensemble BRuCH, a dancer, and an electronic system developed in collaboration with IRCAM. A scenography composed of instrumented threads, combined with motion and contact sensors, transforms the stage into an interactive instrument where gesture, space, and sound constantly respond to one another.

This creation extends the composer’s research into hybrid forms, narrative structures, and interdisciplinary practices, while developing new technological tools that may be adapted for future artistic projects.

Distribution

For soprano, flute, piano, cello, dancer, and electronics
With Ensemble BRuCH
Élodie Sicard choreography and dance
Léo Garnier Lighting design
Sébastien Naves IRCAM educational support
Matthias Krüger IRCAM electronics
Jérémie Bourgogne IRCAM sound diffusion

Premiere: 18 September 2026 at Alte Feuerwache, Cologne

We are of algorithmic nature. traces the sonic history of machines.

Structurally it works between two worlds: one that traces the history of machines, represented musically by sound samples, camera clicks, printer noises, rotating wheels, engine noises; the other that represents the continuous quality of nature and the interplay of massive organisms, like moving clouds and flocks of birds, creating an immersive, polyphonic environment of percussions and spatialized electronic sound. Additionally, a collection of radio archive excerpts, discussions of new technological inventions, structure the piece into different episodes.

The real interest of We are of algorithmic nature. lies in the space between the two worlds of machines and nature, a state where algorithms simulate natural processes. What is musically exposed here is the tension between the discrete behavior of machines and continuous behavior of nature and humans.

The percussionists are the machine. The musicians are set up like a rock band: the concept for the instrumentation is based on the setup of a band with drum set, vibraphone (standing in for keyboard), mallet station (used as a bass) and percussion. The percussionists and electronics create together a single hybrid machine-sound that is built using sound analysis techniques for orchestration.

Visually, the audience will experience the atmosphere of a rock show during parts of the piece. Moving lights and fog machines serve to create this visual image. The piece moves between the image of this rock band and images of machinery. The percussionists are surrounded by found objects such as metal tubes, steel pieces, bottles, tiles and tin cans, which recall parts of machines. Is this a band made of humans or are they really robots?

The piece is conceived as a mosaic, a form that interlocks two contrasting states while gradually transforming them. Globally, it is structured through episodes that represent different states of technological inventions. From historical inventions like the camera and the automobile to the future that is represented here by a dystopian punk-rock band (of robots?). These episodes are intertwined with sections that musically represent nature and its simulation.

Makes us wonder: how much do we actually have in common with machines? Are we, ourselves, of algorithmic nature - is nature itself just a very complex algorithm? Or is there a limit to what can be expressed in discrete numbers?

Distribution

For percussion ensemble and electronics
Simon Kanzler IRCAM electronics
Claudia Jane Scroccaro IRCAM educational support
With Ensemble Eklekto

Premiere: 2028