Review of the 2025 Acousmatic Meetings at CRANE lab

Back from my vacation, I would like to share the exceptional experience I had at the 2025 Acousmatic Meetings at CRANE lab, held on July 3rd to 5th. This event brought together leading composers and researchers to explore sound spatialization and contemporary acousmatic creation.

An event dedicated to sonic luxuriance

The theme: “Giving a voice to a lush, abundant environment like the forest and its countless off-screen spaces in a volumiphonic device." The discussions and presentations allowed us to explore the complexity of sono-spatial composition, far from standardized formats, to invent new listening spaces.

Significant encounters and exchanges

I had the pleasure of speaking with:

Manolis Ekmektsoglou: Greek composer and researcher specializing in electroacoustic music and sound spatialization, whose works explore the relationship between space, movement, and auditory perception.
Julien Guillamat: Composer, researcher, and teacher at Arts² (Mons, Belgium), recognized for his immersive creations and his commitment to multichannel broadcasting.
Yuko Katori: Composer whose “CONCERTINO for the Stari Most” (32 channels) demonstrates a remarkable mastery of spatialization.
Gilles Malatray: Acousmatic composer and author of the blog Desartsonnants, whose work “Un mythe de l’Écho” was broadcast during the festival.
Isabelle de Mullenheim: A sound engineer and composer trained at the GRM and IRCAM, she transforms recorded sound into acousmatic material to create unique sonic universes, as evidenced by her experimental works on SoundCloud.
Amir Teymuri: A specialist in volumetric sound structures within multichannel constellations, he explores heterophonic variations in the sound parameters of each channel.
Jean Voguet: A pioneering composer of volumiphony (3D multichannel diffusion), he develops innovative concepts such as the five-story geophonodesic space, thinking of spatialization as a “primitive forest” rather than according to standardized formats.

Personal Reflections

These meetings confirmed the importance of rethinking spatialization: “the space of our lives is infinitely larger and much less standardized” than standard formats (Jean Voguet). This approach echoes my work on Ascendance and my other spatialized creations, where listening becomes an immersive exploration.

Julien Guillamat’s invitation to Mons opens new perspectives for sharing my research on musical interactivity with the Belgian community.

A huge thank you to the CRANE lab and all the participants for these inspiring exchanges!

Discover my interactive acousmatic works on jcploquin.itch.io and explore the world of immersive electroacoustic composition for free.