As is the case every final weekend of November, cave12 welcomes its friends and accomplices from the wonderful Akouphène Festival for three nights of dense, captivating sonic exploration, as follows:

Now in its 24th edition, the Akouphène Festival marks an annual rhythm—much like a late-blooming plant, a wild growth of music flourishing in the "third spaces" of sound, such as cave12, which once again plays host to us. The musical branching that unfolds here this year is deeply rooted in a soil of noise. We dive in to sift through the signals—an eminently delicate endeavor, attentive to the myriad acoustic components within this fertile sonic terrain. It modulates the sounds that rise to the surface, serving as a reminder that matter, at its most infinitesimal level, inherently behaves like a wave. To experience the world through the lens of vibration is simply another way of shaping bodies so that they may affect others through a delicate act of listening—infusing them with a light that has been liberated from the solids and fluids from which it first emerged.

Night #1:

Built upon a minimal bass clarinet motif—modulated through an arrangement of cymbals and transducers—Anne Van de Star’s *BCL.SHIFT* focuses on the transformation of sound via a resonant surface. This process replaces purely electronic processing with the physical properties of the medium itself, creating a spatialized dialogue between acoustic and synthetic sounds. In a similar vein, Lise Barkas—aka DJ 144p—explores the translation of her practice as a hurdy-gurdy player; here, her fingers are transposed onto a computer keyboard, navigating through YouTube videos. The resulting music, tied to her virtuosic gestures, reimagines everyday household appliances as potential musical instruments. In a related approach, Bruce McClure presents a reinterpretation of a 1985 presentation sourced from IBM’s "Teamwork" materials. It functions as a quasi-archaeology of layered team-building soundtracks and videos, which he conveys to the audience by capturing optical sound impulses and routing them through various filters. Meanwhile, OTTO offers a minimalist musical performance centered on a single instrument—the *uchiwa-daiko* (a fan-shaped drum)—and a microphone. Rhythmic sequences repeat and evolve into a sonic exploration, structured through an improvised progression of textures that are shaped as much by humidity as they are by specific playing techniques and rhythmic variations.