Club Concert 6C (After Party)
From the conference to the dance floor! ICMC HAMBURG 2026 culminates in the Club Concert 6C, followed by the official After Party. DJs from Hamburg will keep the energy going and invite guests to celebrate the conference finale together.
This Club Concert and the After Party are open to the public. Those without a conference pass can purchase a ticket here.
Program Overview
pORCELAIN
Dave O Mahony
Rushpusher
Eric Honour
Syzygys
Fiona Xue Ju and Drew Farrar
Capture Un-Capturable
Yue Zhang
Cross talk: distributed feedback
Dennis Scheiba
these particles we immersed
Anqi Liu and Han Zhang
Interwoven Realms: The Threefold Domain of Consciousness
Qing Ye and Yuxue Zhou
Scarittera – Subterranean Eruptions of Sonic Memory
Danilo Randazzo
About the pieces & artists
Dave O Mahony: pORCELAIN
An audio and video representation for the feeling when ones bones rub together.
About the artist
Dave O Mahony is a PhD graduate of the University of Limerick, Ireland. His compositions have been performed at the Sines & Squares Festival (Manchester, UK) both 2014 and 2016, The Hilltown New Music Festival (Ireland), at the Daghda Gravity & Grace Festival (Limerick, Ireland), as part of the Society of Electro Acoustic Music United States conferences 2018 and 2019 (Eugene Or. & Boston Ma.), the 2018 New York Electro Acoustic Music Festival, the the International Computer Music Conference (I.C.M.C.)/ New York Electro Acoustic Music Festival joint 2019 event (both in New York, NY.), the 2018 and 2019 Electroacoustic Barn Dance (Jacksonville, FL), the 2020, 2021 and 2022 Earth Day Art Model online festivals, the 2021 New Music Gathering online conference, the Radiophrenia online event (2022) and the 2020/21 I.C.M.A. conference. He is a member of the Irish Sound Science and Technology Association (ISSTA), S.E.A.M.U.S. the I.C.M.A. and has an interest in manipulating modular synthesizers with brainwaves. He holds a Doctorate in Composition in Music Technology, a BA in English and New Media (Hons) and an MA in Music Technology (Hons) from the University of Limerick, Ireland.
Eric Honour: Rushpusher
Rushed onto a Push, Rushpusher features a rush of buttons pushed rushedly, to push a sense of rushing, pushy music, pressing close like pushing through a dense bed of rushes. Also, a bass may be dropped.
About the artist
Devoted to exploring and furthering the intersections of music and technology, Eric Honour’s work as a composer and saxophonist has been featured around the world in numerous international conferences and festivals like ICMC, SEAMUS, MUSLAB, Sonorities, EMM, NYCEMF, and others. A member of the Athens Saxophone Quartet, he performs regularly in Europe and the United States, and has presented lectures and masterclasses at many leading institutions.
Honour is Chair of the School of Visual and Performing Arts, Professor of music, and founder of the Center for Music Technology at the University of Central Missouri, teaching courses in acoustics, music technology, and composition. His work as an audio engineer and producer appears on the Innova, Centaur, Ravello, and Irritable Hedgehog labels, among others, as well as on numerous independent releases and he has served as an acoustics consultant and designer on projects ranging from recording studios to classrooms to auditoriums and performance spaces, most recently serving as the principal designer of UCM’s cutting-edge music technology studios, which opened in 2022.
Fiona Xue Ju and Drew Farrar: Syzygys
Syzygys is an electroacoustic improvisation for electric guitar, pedals, analog and digital synthesizers, and live electronics. The performance is based on a real-time interaction between two performers whose sound worlds are continuously shaped, transformed, and interwoven through electronic mediation. One performer operates a hybrid setup combining analog and digital synthesizers with custom Max/MSP patches and Ableton Live, controlled via MIDI to enable responsive sound generation, processing, and structural modulation. The other performer plays electric guitar through an extended chain of pedals, exploring experimental sound production, noise-based textures, and timbral instability.
Rather than treating the electronic systems as fixed signal processors, the performance emphasizes electronics as active agents within an improvisational ecology. Sound materials circulate between guitar, synthesizers, and live processing, creating feedback loops of influence in which gesture, listening, and system behavior mutually inform musical decisions. The resulting form emerges through moment-to-moment negotiation, highlighting fragility, risk, and unpredictability as core aesthetic values.
The performance explores the tension between control and indeterminacy in live electronic improvisation, examining how analog and digital systems can coexist and interact within a shared sonic space. By foregrounding performer–performer and performer–system interaction, the work contributes to contemporary discourse on electroacoustic improvisation, hybrid performance practices, and the role of real-time electronic mediation in collaborative music-making.
About the artists
Fiona Xue Ju is a Ph.D. candidate in Experimental Music and Digital Media at Louisiana State University. A composer and media artist originally from China, she works across sound, performance, and visual design. She holds a Bachelor’s degree in composition from Oberlin Conservatory and a Master’s degree in CoPeCo (Contemporary Performance and Composition) from CNSMD Lyon. Her work blends electronic music with multimedia, exploring immersive, politically engaged experiences across digital and physical spaces.
Drew Farrar is a composer, guitarist, and educator from St. Louis, Missouri, based in Baton Rouge, Louisiana. His music explores agency and otherness through physical movement, quotation, and spectral techniques. His works have been performed by ensembles including RE:duo and the Illinois Modern Ensemble. He received M.M. degrees in Composition and Guitar Performance from the University of Illinois at Urbana-Champaign and is currently pursuing a Ph.D. in Composition at Louisiana State University.
Yue Zhang: Capture Un-Capturable
Capture Un-Capturable is an interactive performance that integrates sign language with Mediapipe gesture recognition technology. Grounded in the notion that “sound is formless and sign language is silent,” the work reimagines translation by placing sign language at the center of artistic expression. Drawing upon the metaphor of the “strobe camera” in sign language, the piece captures and translates natural phenomena beyond the limits of human perception — from the surging magma within the Earth to the subtle sounds of water, forests, and rain in the outer spheres. By centering people with disabilities as both the creative core and source of inspiration, the work transforms all audience members into equal participants, enabling them to “listen” through gestures and “see” through sound — a cross-sensory experience where technology, nature, and human compassion converge.
About the artist
Zhang Yue (b. 2002) is a member of the International Computer Music Association (ICMA) and the Electroacoustic Music Society of the Chinese Musicians’ Association. She is currently pursuing a master’s degree at the Wuhan Conservatory of Music.
Her works have been selected for the International Computer Music Conference (ICMC) in 2023, 2024, and 2025. Among them, Flying with the Starlings received the Best Student Work Award at ICMC 2023. She has twice been awarded the Phil Winsor Young Composer Award at WOCMAT (2023, 2024). Her works The Butterfly Revelation and The Lament of Plants won first prize in the electroacoustic category at the International Electroacoustic Music Competition (IEMC) in 2024 and 2025, respectively. Her thesis received the Outstanding Bachelor’s Thesis Award at the Wuhan Conservatory of Music and was selected for the National Conservatory Graduate Academic Symposium.
Dennis Scheiba: Cross talk: distributed feedback for mobile devices
Recent developments in spatial audio have largely focused on fixed loudspeaker arrays or object-based rendering systems, often implying a privileged listening position and reducing sonic space to a localized perspective of a sweet spot. This work instead questions whether object-based thinking can be redirected from optimizing a sweet spot toward adapting sound spatialization to the room and the bodies within it by using bi-directional audio streaming.
Using Stecker, a custom-built streaming framework, the microphones and loudspeakers of audience smartphones are accessed via WebRTC to form a distributed, wireless feedback network. In this setup, each participant becomes an active acoustic node, and spatialization emerges from the physical arrangement, proximity, and interaction of devices rather than from predefined speaker layouts. The resulting feedback grid produces an embodied and continuously reconfiguring spatial field that blurs the boundaries between performer, audience, and sound diffusion.
About the artist
Dennis Scheiba is an artistic and research associate at the Robert Schumann Hochschule Düsseldorf. He works as a composer, live coder, and audio-visual artist with a special interest in multi-spatiality and streaming technologies. He has performed at MIT, Johns Hopkins University, ZKM, KUG, and IRCAM.
Scheiba has a background in mathematics and machine learning and currently researches on audio-only VR environments, JIT-compilation in DSP environments, WebRTC streaming, and packaging of audio-projects.
Anqi Liu and Han Zhang: these particles we immersed
these particles we immersed (2025) is a 50-minute multimedia live set that treats performance as an evolving ecology of touch, signal, and shared attention. Built around a DIY sensor instrument, live electronics, and real-time visual processing, the work uses yarn as both material and method, a soft architecture that binds bodies, devices, and projected image into a single, unstable circuit. Rather than presenting sound and image as parallel layers, the piece stages their continuous co-production, where tactile tension, proximity, and micro-gestures become the conditions from which sonic and visual events emerge.
At the center of the work is translation, understood not as a neutral bridge but as a set of thresholds that determine what becomes legible. Physical relations are translated into control and transformation, then translated again into audible and visible behavior. Each translation clarifies and cuts at once; it amplifies certain forces, pressure, friction, breath, strain, while compressing others that resist capture. The DIY sensor instrument foregrounds this politics of conversion by making mediation visible. It asks what is gained when embodied experience becomes data, and what is lost when lived continuity is segmented into events that can be routed, processed, and displayed.
The system is designed to remain sensitive to failure modes, noise, drift, latency, and feedback, not as problems to be corrected but as evidence of an environment acting back. The live electronics operate less as “effects” and more as a responsive habitat, shaping the performers’ pacing and risk, while being reshaped by their touch. The visual processing functions as another listening surface, a reactive field that materializes tension and release, accumulation and rupture, making the translation chain perceptible as a changing image ecology.
Participation is embedded in the work’s method. Yarn creates a shared infrastructure that requires negotiation, it constrains and enables simultaneously, producing a relational dramaturgy of binding and unbinding. Decisions are distributed across bodies, sensors, algorithms, and the room itself, including its light, resonance, and attention economy. The piece treats the performance space as an active participant, where the smallest shifts in gesture or position can tilt the system from stability into turbulence, or from turbulence into fragile coherence.
Developed during one of our Visiting Artist Scholar Designer Residencies, these particles we immersed proposes a way of composing with thresholds, where form is discovered through real-time negotiation among material, technology, and care.
In ICMC 2026, we are flexible to perform this piece in any length as needed.
About the artist
āññā is an interdisciplinary performative duo formed by multimedia artists Anqi Liu and Han Zhang, devoted to fluid, cross-sensory, and interrelational experiences. We play, dream, and create together—expanding the boundaries of perception and space. As lifelong collaborators, we weave our diverse journeys into a shared artistic language: ski partners carving through mountains and rivers, practitioners of occult metaphysics immersed in the I Ching and star charts.
Our work is not merely a collaboration, but a continuous merging of lives, thoughts, and psyches—an evolving dreamscape where creative boundaries dissolve and reassemble in perpetual transformation.
Having completed their BROILER Artistic Residency with Oracle Egg and the Visiting Artist Scholar Designer Residency at Rocky Mountain College of Art + Design, āññā is currently releasing an experimental film with Music For Your Inbox, Los Angeles, and preparing for their upcoming show with Dog Star Orchestra in Los Angeles this June. Their debut album is also in progress.
Qing Ye and Yuxue Zhou: Interwoven Realms: The Threefold Domain of Consciousness
“Overlap: The Three Realms of Consciousness” is a multimedia musical work that explores the deep structures of the human psyche. The sonic dimension includes ASMR trigger sounds—such as wood, metal, and human oral noises—woven into an arch-shaped structure (ABCB’A’) that connects Freud’s three dimensions of the preconscious, the unconscious, and consciousness. Through TouchDesigner, sound and visuals jointly construct a psychological landscape, revealing the interlacing and transformation of multidimensional consciousness within dreams. The audience is drawn into a psychological space that transcends reality, experiencing the flow and reflection of consciousness through the fusion of sound and form.
About the artists
Qing Ye is a composer and doctoral student in Music Technology at Nanjing University of the Arts, supervised by Professor Xuan Wang. She is a member of the Electronic Music Society of the Chinese Musicians’ Association and holds a Level-3 composer certification. Her works have been presented at international composition competitions including the Hangzhou International Electronic Music Festival and the Sibelius and Vivaldi International Music Competitions. Her practice focuses on computer-assisted composition and audiovisual creation.
Yuxue Zhou is a Ph.D. in Musicology at the Communication University of China under the supervision of Professor Xuan Wang. Her creative work focuses on electronic and multimedia music. She has received awards at major composition competitions including MUSICACOUSTICA-BEIJING, the Hangzhou International Electronic Music Festival, and the Vivaldi International Composition Competition. Her works have been presented in national arts projects and international multimedia music events.
Danilo Randazzo: Subterranean Eruptions of Sonic Memory
This live electronics piece is conceived for solo computer and visual media. It stands between computational ethnomusicology and computer music performance, addressing the challenge of reinterpreting a vanishing oral tradition through digital technologies while questioning the musical relationship with the original repertoire. The current focus is on Sicilian carters’ songs, chosen for their distinctive melodic style in Sicilian traditional music. The project employs pioneering computer music techniques to sonify the repertoire’s melodic and spectral data. Specifically, the sound design draws from David Wessel’s seminal work on timbral morphing and spectral interpolation (as exemplified in “Antony”). These early computer music strategies create a sonic bridge between oral tradition and digital reinterpretation. The compositional logic follows the principles of soundscape composition, treating the analytical data as environmental sound sources that are organized according to R. Murray Schafer’s concepts of soundmark, keynote, and signal. The performance features realtime arrangements of textures produced through different sonification strategies, evoking the identity of the carters’ songs across three levels of fidelity: • Lo-fi: only hints at the original melodies, functioning as distant soundmarks • Hi-fi: closely follows melodic structures, preserving recognizable keynote elements • Rationalized: derived from analysis data, creating textures that may converge with or contrast against the tradition, acting as foreground signals. The live set recreates an imaginary soundscape rooted in sound hauntology, understood here as the persistence of a disappearing oral memory within digital mediation, where echoes of the tradition resonate and evolve through early computer music techniques. The piece is accompanied by abstract visuals evoking the eruption of sonic memory from Mount Etna through suggestive imagery in a Mediterranean palette.
About the artist
Danilo Randazzo is a PhD student, sound artist, and music technology teacher based in Catania, Sicily. His research explores oral music traditions through computational analysis and electronic reinterpretation. He has presented at Audio Mostly (QMUL) and CHiME (Open University), performed at Milano Music Week and venues like Macao Milano, and was a member of laptop orchestra 1h2nein. His work includes live electronics with self-programmed instruments and soundtracks for contemporary dance and film.