Iannis Xenakis' performance practice has increasingly been the object of investigation by both interpreters and musicologists. After a first generation of pioneering performers, who attempted to register and communicate what at the time was a singular challenging experience, subsequent generations have systematically kept developing practice-based research methods for learning and playing Xenakis (Kanach 2010). Similarly, musicology has been shifting its attention from Xenakis' structuralist approach (Xenakis 2002) to post-structuralist (Exarchos 2015) and ecological approaches (Solomos 1996), to Xenakis' composition as practice (Gibson 2011) and quintessentially towards performance analysis, in the wider context of a performative turn (Lalitte 2015) and a more recent embodied cognitive turn (Leman 2008), (Besada et al. 2021). The results of this double movement by performers and musicologists have exemplarily been codified in the series of conferences "Interpréter/Performer Xenakis" 1 .