The Eureka! sessions will be community/voluntary/exploratory events in the form of a micro-festival that takes place on a Sunday afternoon at Porta-Jazz. The aim is the public presentation of a sequence of experimental projects, which can be music projects but also from other artistic fields or disciplinary cross-overs, under the aegis of a common theme. The aim is to encourage debate, collaboration, mutual inspiration, links to other worlds and knowledge, and the flourishing of the arts, both among the participants and with the public. The atmosphere is informal and there is food and drink.

"History repeats itself"

Like the si-bemol of a trumpet travelling through the auditorium, history too is filled with resonances.

The past at least offers the benefit of clairvoyance, alerting us to dangers that were once hidden but now no longer catch anyone by surprise. But, as we know, "history repeats itself", and that's because its lessons are not so immediately learnt. Historical times are much longer than the cycle of our lives - and, by the way, music times are much shorter. Compared to the déjà vu that catches us fleetingly in the most ordinary moment of everyday life, the past of small and large social movements constantly resonates in our ears, like the si-bemol of a trumpet travelling through the auditorium, but the truth is that we don't hear it. In this way, civilisations flourish and then fall, and then flourish again, etc., in an oscillation that will only not be eternal because today the danger of falling is increasingly critical, "existential", as we hear.

Like history travelling through time, music is also filled with repetitions.

Verses and choruses alternate, motifs unfold, beat cycles leave the body in a trance, the spirit seeks comfort in the expected endings of cadences, the most old-fashioned traditions were once avant-garde, then they are reborn in "retro" movements, they change and everything stays the same.

As we celebrate the 50th anniversary of April, we are once again hearing the dark resonances of oppression. If history repeats itself, with what voices can we cry out, express ourselves, intervene, lull ourselves into the placidity of an eternal return or resist and break its cycles? How can the world's patterns of recurrence be echoed in sound?