Sonic Apophenia (2026)
An audiovisual performance, Sonic Apophenia unfolds across eight evolving scenes in which sound and image oscillate between abstraction and figuration, never settling into a fixed state. Apophenia — the tendency to perceive patterns or meaning in randomness — lies at the heart of the project. Dense clusters of evolving sound textures, generated by modular synthesis, pulsate, fragment, and reassemble, evoking forms that remain elusive. At the same time, machine learning systems generate visual hallucinations: ambiguous figures and landscapes that hover between recognition and artifact. Caught in a feedback loop, sound and image are constantly transforming each other, turning perception into an unstable terrain where meaning is not given but projected — emerging from noise, illusion, and uncertainty.
Myriam Bleau
Myriam Bleau is a composer, digital artist, and performer based in Montreal. Taking music and sound as a starting point, she creates audiovisual performances, video works, installations, and interactive interfaces that articulate sound, light, and movement. Her work is rooted primarily in the field of performance, exploring ephemeral and elusive contexts. From code to machine learning, through physical computing and device-making, she considers technology to be endowed with an agency that participates in the co-creation of the work. Her hybrid practice explores porous zones between the physical and virtual worlds, between the natural and the synthetic. Her work has been recognized and presented internationally at festivals and events such as Prix Ars Electronica (AT), Sónar (ES, HK), Transmediale (DE), Sonic Arts Award (IT), ELEKTRA (CA), MUTEK (MX, CA, JP, AR), ISEA (CA, KR), ACT (KR), L.E.V and LABoral (ES), Scopitone (FR), and Café Oto (UK).
Philippe Vandal
Philippe Vandal is a new media artist whose practice engages with technological, ecological, and aesthetic concerns. Drawing inspiration from the visual and material cultures of environmental chemistry laboratories, he recontextualizes scientific aesthetics to explore contamination as a simultaneously political, poetic, and aesthetic matter. His work offers a critical reflection on modes of knowledge production and on the history of scientific instruments. He holds a bachelor’s degree in Intermedia Cyber/Arts and a master’s degree in arts from Concordia University, where his thesis Spectral Narratives focuses on protocols for detecting petroleum hydrocarbons in urban soils. He has been affiliated with the Milieux Institute, Hexagram, and the Speculative Life Biolab. His work has been presented internationally, notably at Ars Electronica and the Centre Pompidou. He is also a member of the audiovisual trio Mesocosm, with whom he performs at festivals such as MUTEK, ELEKTRA, and FIBER.