The emotive idiom explored in these compositions reaches its pinnacle in Décap (2000), a work for audio fixed media that evokes the horror and gravity of human conflict in the world.

This marks the composer's shift to oganicism,[22] which he debuted in his album of fixed media works Matériaux composés (2008, empreintes DIGITALes), especially Grain de sable (2004-2005) and the cycle Matério (2006-2007).

[31] Live processing is a frequent feature in Dufort's earlier mixed music compositions, as in Accident (2001), Spiel (2001), Déflagration (2002), Intonarumori (2002), and Manu militari (2003).

Les corpuscules agglutinés (2013) marks the start of this shift, where the only adjustment made to the instruments’ natural sound production is high-fidelity amplification used to enhance the quality of the acoustic spectrum.

Dufort describes his own aesthetic as “maximalist[37],” further noting that it draws from the systems approach[38] in its conception and treatment of individual sound objects as part of a complex whole.