Probably one of the most interesting composers from the era that was created with Pierre Schaefer’s finding of musique concrète, Christian Calon developed in his functions an unusually strong evocative vein that links him stylistically to his coach, Francis Dhomont. His musical passions shifted from acousmatics to hörspiel (radio takes on) when he relocated in Berlin in the middle-’90s. Given birth to in Marseille, France, in 1950, just a few years after Schaefer and Pierre Henry’s 1st tests with electro-acoustics, Christian Calon began his career like a composer in Montréal. There he produced his 1st functions and co-founded “the Canadian Electroacoustic Community.” “Paradis” (1984) was his 1st main opus, but “Family portrait d’un Visiteur,” premiered the next 12 months, was the piece that launched him towards the world because of a first award on the 1985 Luigi Rossolo International Competition. His like for long works together with complicated architectures and multilevel metaphors seduced aficionados of audio art. His initial Compact disc, Ligne de Vie: Récits Électriques (Lifestyle Range: Electrical Stories; 1990), was the initial item to become released with the Montréal label Empreintes DIGITALes, who soon grow to become head in electro-acoustic music. In 1991, Calon was provided the musical path from the studios from the Groupe de Musique Expérimentale de Marseille. He remained there until 1995, creating some more functions, including Les Corps Éblouis, released on Compact disc. In 1995-1996 he was musician in residency on the DAAD in Berlin and made a decision to relocate there completely. The globe capital from the hörspiel got quite an impact on him and he began to apply his poetic strategy of acousmatics to books. The results had been two radio performs, “Die Zimmer der Erinnerung” (The Areas of Storage) in 1997, and “Le Projet Ulysse” (The Ulysses Task) in 1998-1999.