Electronic music composer Éliane Radigue (born 1932 in Paris) stopped producing electronic music in 2001 and started creating collaborative works with instrumentalists under the name Occam Ocean in 2011. The creative process relies almost solely on oral and aural transmission: musicians visit Radigue at her home, to devise their parts collaboratively.

Expanding the cycle of Radigue's Occam Ocean acoustic works, 'Occam Delta XX' is a newly commissioned trio composition featuring Aura Satz (film), Rhodri Davies (harp), and Julia Eckhardt (viola). Radigue transmitted a new score image (or 'living score' as she calls them), an image associated with water, to film-maker Satz and long-term musical collaborators Davies and Eckhardt. Rather than producing a film that documents the music and sits outside of it, the film participates in the logic of the score and is developed in an open weave with the composer and musicians. Exploring a cinematic language that enacts the rippling effects of Radigue’s sound, the film diffracts musical gesture and shadow play into acoustic moire.

The new score has multiple modular iterations: as a live music trio between harp, viola and film; as a self-standing film screening; and as a duet between harp and viola, which is titled 'Occam River XXX'.

Screenings with Live Music

7 April 2023 World Premiere at REWIRE festival, the Hague

9 April 2023 Variations Festival, Le Lieu Unique, Nantes

3 April 2025 Courtisane festival, Ghent

'Undercurrents 6 - Interwoven Scores: A Symphony of Correspondence'

Ferreyra, by Tamara García Iglesias and Xabier Erkizia, draws from Beatriz Ferreyra’s concrete music compositions, transforming them into a visual script that places sound at the center of the montage, where the image becomes a vessel for auditory exploration.

Each of these works encourage us to rethink scores as living codes, forms that resist definitive readings, always in flux, and constantly shifting with every encounter. The scores are not merely heard or seen; they are felt, experienced, and reimagined. In these compositions, the spaces between sounds are as significant as the sounds themselves, urging us to listen, see, and engage in a continuous dialogue.