The season presents a counterposition between two highly contrasting approaches to dealing with time and musical tradition.

Jetsun Mila belongs to the cycle dedicated by Éliane Radigue to the figure of the Tibetan mystic Milarepa. Created in the 1980s using an ARP 2500 synthesizer and magnetic tape, the work is constructed through incredibly slow timbral and dynamic transformations. In the absence of overt formal articulations, perception is guided by minimal internal variations in the sound, which progressively emerge over the course of the listening experience. It stands as one of the most representative works of Radigue’s electronic research, grounded in sonic continuity, duration, and a keen attention to the thresholds of perception.
The performance will be accompanied by a visual intervention by Andrew Quinn. His work introduces neither a narrative nor an illustrative dimension; instead, it develops a minimalist visual environment based on generative processes and gradual transformations, interacting directly with the perceptual dynamics of the piece.

The second part of the evening is entrusted to Alfio Antico, Colapesce, Mario Conte—a project that reworks materials from the traditional repertoires of the Mediterranean and Southern Italy. Their research does not aim for a philological reconstruction of the sources, but rather for the reactivation of a popular, archaic memory through contemporary sound processing techniques. Songs, acoustic instruments, and recorded materials are transformed into living matter, intertwining voice, electronics, sampling, and timbral stratifications. Their music is neither a revival nor a reconstruction: it is a contemporary traversal of a collective heritage, wherein the past is relocated into new listening contexts, keeping the bond with the practices of its origin recognizable while opening it up to present-day forms of expression.