The difference between the future and “l’avenir”, according to Jacques Derrida, lies in the almost planned predictability of the former as opposed to the eventual unexpectedness of the latter. For Richard Garet, the concept “played a significant role in scoring the work from a subjective and intuitive perspective”. The composition was “constructed” in 2006 and 2007, no information given about its generation, although we can assume that laptop-processed found sounds and some kind of complex synthesis might have been used. The results are not too far away from the aesthetic vision of another Richard (Chartier), maintaining a general stillness often adjoining silence. Everything starts with a few minutes of softly rustling secretions, after which we’re initiated to the first layers of temperate electronic drones which take only a short moment to start diffusing all around our body, a little bit of holographic sonic architecture whose vibrational power is fair but firm. The beneficial effect of this mild-mannered rubbing is instantaneous, as one experiences that sense of fitting in the immediate environment that masterful soundscapers are able to elicit. Garet shows that he belongs, both in the above mentioned background and the upper echelon of contemporary sound artists, his music both a considerable means for vanquishing the gravitational pull and the key to reach a state of respite of the nerves.