Aho Ssan, a French-Ghanaian composer, develops an electroacoustic practice in which formal construction, digital processing, and the political dimension are inseparable elements. His writing is grounded in processes of accumulation, fracture, and metamorphosis of sonic material: structures that expand until they saturate the spectrum, sudden implosions, and micro-gestures emerging from compact masses. In this way, his music articulates a reflection on the diasporic condition and plural identities—not through direct citations or references, but via a sonic syntax that places continuity and discontinuity, stability and collapse in tension. His works function as unstable perceptual spaces, where timbral density and dynamic pressure become tools to interrogate memory, belonging, and conflict. The portrait that emerges is that of an artist who has transformed his own biography into a compositional device, capable of bringing together technical research and historical awareness.

Tim Exile, in a completely different register, centers his activity on real-time performance and the construction of custom digital instruments. His interfaces—designed and programmed by himself—allow for an immediate manipulation of sound, featuring systems of sampling, transformation, and recombination that operate seamlessly. His practice challenges the distinction between composition, performance, and improvisation: the material is not predefined, but rather generated and shaped at the very moment of listening. In this sense, Exile’s music is an open process, a flow built through gesture and the machine’s response, within a dialogue that redefines the role of the performer and the nature of the musical work. His presence in the season offers the portrait of an artist who has shifted the center of gravity of electronic performance toward a territory where technology, corporeality, and listening form a single operating system.