While the original intention for “a Song for two Mothers” (aka: “Song of Tsar”) started as a sounding of silenced spaces, it became a crossing (une traversée) of concentric layers towards an anchored, moored space. These concentric layers are devoid of spatial or temporal directions — they are governed by a particular sonic behavior dictated by the training systems and models I have prepared in Wekinator1. For instance, the first layers use a catchand- release patch I designed in Max/MSP, followed by a scanning of the Darbouka RAVE2 percussion model. Once exhausted, these systems are no longer...