Listening Room 1
Fixed Media | Program Overview
Motes of Time
Yuming Sun
Eaves Verse
Shunhang Huang
Fulgore
Takeyoshi Mori
Fusion of Horizons
Chi Wang
Intertwine
John Thompson
Neon Reverie (ver. 2)
Woon Seung Yeo and Ji Won Yoon
Stellar Vibrato
Xingle Zhang
Vibe Higher (ver. 3)
Ji Won Yoon and Woon Seung Yeo
Waves
Bike Öner
Of Clouds and Clocks
Tom Williams
A little history of mobile music Vol. 1
Genoël von Lilienstern
Motif for Ono
Jingyu Luo
Spectrestate
Justyna Tobera
StringDance: Ripples
Ouyang Mingshan
About the pieces & artists
Yuming Sun: Motes of Time
An experimental electronic work created for data visualization. Motes of Time translates the abstract flow of time into a textured world of digital decay and sonic particles. A synchronized study of sight and sound.
About the artist
Dr. Sun Yuming is a composer, music producer, associate professor and master’s supervisor at the Central Conservatory of Music (CCOM). He studied under Professor Li Xiaobing, Director of the Department of AI Music and Music Information Technology. Sun began his studies at CCOM in 2008, where he was admitted to the graduate program with distinction and later pursued his Ph.D. in 2020. Upon graduating in 2023, he joined the faculty. Sun has received numerous honors, including the National Graduate Scholarship, the China Telecom Scholarship, and the Soong Ching Ling Foundation-Gucci Music Fund. He was also recognized as an Outstanding Graduate of Beijing and honored as an Outstanding Contributor to the 2022 Beijing Winter Olympics and Paralympics. His compositions have won first prizes in the 7th and 11th Musicacoustica-Beijing Composition Competitions and the Oskar Kolberg Electronic Music Composition Special Competition. Active in large-scale productions, Sun has served as music director for various CCTV programs, including Charity Night, the Shining Names award ceremonies, the Safe Travels special for National Traffic Safety Day, and Landmarks of Chinese Civilization. His works are widely broadcast across major media platforms; notably, his piece “The Ship” was featured on the hit show I Am a Singer in 2019.
Shunhang Huang: Eaves Verse
Eaves Verse is an interactive audio-visual performance created with Media Pipe and AI-powered real-time image generation. It is centered around the cultural symbol of the eaves in traditional Chinese architecture. The performance begins with the creator’s intent and uses hand gestures as the interactive medium. Using AI technology for real-time image generation, the performance presents a three-tiered progression: abstract concepts, AI-constructed concrete visuals, and an aesthetic realm where reality and illusion intertwine. Lingering melodies of Eastern resonance intertwine naturally with the cadence of spoken phrases, and the texture of electronic rhythms resonates synchronously with interactive movements. This allows traditional sonic rhythms to flow within a contemporary interactive context, evoking an Eastern auditory essence where reality and illusion merge. In this work, AI transcends its role as a technical tool to become a “symbiotic partner” attuned to the creator’s intent. AI generates visuals in real time in response to gestures, transforming thoughts into tangible forms. Through this novel interactive format, it reconstructs contemporary expressions of traditional aesthetics, ultimately crafting an audiovisual experience that embodies Eastern philosophy’s interdependence of the tangible and intangible.
About the artist
Shunhang Huang, a 2023 undergraduate student in the Department of Music Engineering at Zhejiang Conservatory of Music, specializes in Art and Technology with a focus on interactive music, data-driven instruments, and real-time audiovisual creation. His works have received awards at the China College Students Computer Design Competition, Huichuang Youth Competition, and Danny Awards International Electronic Music Competition. Multiple interactive audiovisual installations created by him have been exhibited at the Global Digital Trade Expo, World Internet Conference, National Conference on Sound and Music Technology, and Hangzhou International Music Performance Industry Expo.
Takeyoshi Mori: Fulgore
The initial inspiration for this work came from a brief, ten-second video fragment capturing the ripples formed by raindrops falling onto a glass ceiling, shimmering and flickering like a luminous mosaic. The subtle yet complex expressions of light observed in this phenomenon became the point of departure from which the overall concept of the work gradually emerged. In this piece, video materials drawn from everyday scenes and natural landscapes are used. By enhancing their chromatic contrasts, the work seeks to reveal the rich diversity of “modes of light” that exist within our daily lives but often go unnoticed, and to encourage a heightened awareness of the perceptual and emotional dimensions of light. The title, Fulgore, is derived from the Latin word meaning “radiant brilliance” or “that which shines brightly.” The sonic component of the work is constructed through the multilayered deployment of diverse pulse-based temporal structures and sustained, drone-like spectral layers. Although the musical materials themselves are relatively simple, the intention is to create an acoustic space that complements the visual concept and resonates with the shifting expressions of light. The original version of the piece was produced in a 7.1.4-channel immersive audio format, further expanding the spatial dimension of the work and integrating spatial motion as an integral compositional parameter.
About the artist
Takeyoshi Mori. Composer, sound designer, and researcher in electroacoustic music. His works include multichannel sound compositions, live electronics, and visual music, and have been presented at numerous international music festivals and research-oriented events. In recent years, he has been actively engaged in international educational activities, including inter-college exchange concerts in East Asia, serving as a jury member for international competitions, and organizing workshops and lectures. He is currently Director of the Laboratory of Advanced Music Production and Professor and Co-director in the Music Design Course at Senzoku Gakuen College of Music.
Chi Wang: Fusion of Horizons
Fusion of Horizons in Hans-Georg Gadamer’s philosophical framework involves merging different frames of understanding to achieve a deeper comprehension. Frames of understanding are conceptual perspectives that shape how we interpret and make sense of information, providing context for our experiences, observations, and data. In this composition, the performer utilizes the Nintendo Ring-Con with a Joy-Con as a symbolic frame, guiding us through various segments of visual and sonic narratives. This instrument not only serves as a literal tool but also represents a metaphorical frame through which different perspectives and interpretations are explored. Through its use, the performance embodies the process of merging diverse frames of reference, reflecting the idea of achieving a richer, more integrated understanding.
About the artist
Chi Wang is a composer and performer of electroacoustic music whose work explores sound design, data-driven instrument creation, composition, and performance. Her music has been presented internationally at venues and conferences including the International Computer Music Conference, New Interfaces for Musical Expression, Musicacoustica-Beijing, SEAMUS, NYCEMF, Kyma International Sound Symposia, and Electronic Music Midwest. Her works have received numerous honors, including selections for SEAMUS CDs, Best Composition from the Americas (ICMC), the Pauline Oliveros New Genre Prize (IAWM), Prix CIME, an Award of Distinction from MA/IN Festival, and finalist recognition at the Guthman Musical Instrument Competition. Chi has served as a judge for major international electronic music competitions and is an active translator of electronic music texts. She holds a D.M.A. from the University of Oregon and is currently Associate Professor of Music (Electronic and Computer Music) at the Indiana University Jacobs School of Music.
John Thompson: Intertwine
Intertwine is an audiovisual work that features tight coupling of the audio and visual elements. It draws inspiration from Lance Putnam’s “Sphase” from 2007, which examines relationships of timbre to visual design. With a strong focus on pulse and rhythm, the work gives sonic nods to Norman McLaren’s visual music works of the 1940’s. Intertwine draws inspiration from Lance Putnam’s “S Phase” from 2007. In this work, Putnam is directly driving the visual material from the sonic material using 3D Lissajous curves, where the amplitudes of audio signals are used to inform the positions of (x,y,z) vertices in a virtual space. In the documentation of “S Phase”, Putnam supplies a diagram of the process. In the experimentation stage of the work “Intertwine”, the process was reconstructed, minus a few elements that treat the sound (detoning, chorusing). As the work progressed, the sound sources expanded to include concrete elements and drum machine. The Strudel live coding environment was used to pattern the drum machine. Numerous performance parameters of the drum machine were exposed for real time control along with parameters of the live coding environment and the audiovisual system itself. The controls were consolidated to a single controller allowing for interactive real time performance. The system can be performed live and can yield many different results. What is presented here is an edited recording of a performance. The form of the work looks to balance free-flowing and repetitious elements, as well as sections of varying tempos and densities.
About the artist
John Thompson‘s music uses sound and image as a vehicle for expressing the beauty and complexity of the world. His compositions over the last decade have focused on audiovisual works and works for instrument and electronics. John is Professor of Music and Head of the Music Technology Program at the Gretsch School of Music at Georgia Southern University. He is an enthusiastic educator who has had the pleasure of sharing his passion for music and technology with students for almost two decades. He is dedicated to helping students develop their own creative voices and encouraging them to deeply consider the intersection of technology and music.
Woon Seung Yeo and Ji Won Yoon: Neon Reverie (ver. 2)
Neon Reverie (ver. 2) is an audiovisual exploration of the composer’s old memories. More specifically, it was conceived based on the story of “walking through the streets of the past bathed in neon light,” aiming to musically present a short journey that captures reflections on the passage of time, the contrast between past and present, the fragility of existence, the vague boundaries between reality and delusion, and raw emotions to evoke introspection and wonder. The piece starts with human footsteps, representing the imaginary stroll through the memory under neon lights. This intro is followed by a variety of sonic elements that symbolize fragments of memories related to nostalgic moments gone forever. In addition, the rhythmic patterns weave an underlying emotional thread throughout the piece. Visuals of the piece act as a counterpart to the music, carefully composed to create a dialogue between auditory and visual domains. Regarding the cinematography, one of the most noticeable aspects is the revolving movement of numerous concentric, dotted rings that correspond to the rhythmic progression. In addition, the overall color scheme is neon-inspired to match the composer’s original idea of neon lights. Meticulously chosen visual effects are also applied to evoke the hazy, unclear feelings aroused by the sonic texture of the music.
About the artists
Music: Ji Won Yoon (composer) is active as a composer of both acoustic and electric music. She is interested in artistic applications and realizations of various computer music technologies, emphasizing multi-modality with sound at the center. She earned her B.A. and M.A. degrees in Music (Composition) from Yonsei University, completed doctoral courses in Computer Music Composition at Dongguk University, and studied at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University as a visiting researcher. Currently she is an assistant professor at the Department of Applied Music and Sound, Keimyung University.
Visuals: Woon Seung Yeo (visual artist) is a bassist, media artist, and computer music researcher. He is a professor at Ewha Womans University, Seoul, Korea, and leads the Audio and Interactive Media (AIM) Lab. Dr. Yeo has received B.S. and M.S. degrees in Electrical Engineering from Seoul National University, M.S. in Media Arts and Technology from University of California at Santa Barbara, and M.A. and Ph.D. in Music from Stanford University. His research interests include audiovisual art, cross-modal display, musical interfaces, mobile media, and audio DSP. Results of his research are commonly shared by exhibitions and performances in the public interest.
Xingle Zhang: Stellar Vibrato
This fixed-media work is inspired by the Hun Tian (“Celestial Sphere”) cosmology of Eastern Han astronomer Zhang Heng. In his vision, the universe forms a resonant whole in which celestial motion and earthly life subtly correspond. Combining algorithmic sound synthesis with a particle-based visual system in Max/MSP, the piece evokes a meditative encounter with ancient reflections on cosmic order. It positions audiovisual media as a bridge between eras, allowing contemporary listeners to resonate with a millennia-old desire to understand the universe—a pursuit whose echoes transcend time.
About the artist
Xingle Zhang (b. November 27, 2000) is a graduate student in computer music composition at the Wuhan Conservatory of Music.
Ji Won Yoon and Woon Seung Yeo: Vibe Higher (ver. 3)
Magnetic resonance imaging (MRI) devices produce unique sounds during examinations. Usually considered as unwanted noise, almost every MRI subject wears ear protection gear to minimize discomfort. However, despite the effort, it is virtually impossible not to hear it, as it is too loud for most people to endure. “Vibe Higher (ver. 3)” began with the composer’s interest in the timbre and specific rhythmic patterns of typical MRI sounds, which later led to an understanding of MRI equipment’s working mechanism. Then, by imagining what happens inside the device through recognizable, step-by-step changes in the sonic (primarily rhythmic) elements, the composer gives musical meaning to the device’s internal process. In addition, MRI conceptually involves a sensory transfer process that obtains images from transcribing reflected magnetic waves; this itself provides an ideal metaphor for an audiovisual piece. For the music of this piece, sounds generated during the operation of various MRI machines were collected, processed using digital audio effects such as pitch shifting, time stretching, and reverb, and then utilized as its sonic material. While MRI sounds generally have a similar tone and pattern at a certain level, we can hardly say that every device’s sound is entirely the same; this provides subtle but significant variety to the song’s sonic texture. To create the visuals, we first used Processing to generate multiple versions of raw clips, then combined selected segments to match their sonic counterparts. Combinations of simple figures, such as triangles or squares, are repeatedly arranged in a tile pattern to visually express the mechanical, standardized feeling of sound, presenting a kaleidoscopic layout. As the music progresses, the shape of each tile continuously morphs, and the overall visual composition and color scheme transform to convey the corresponding sonic mood into the optical domain. In addition, it features a variety of visual filters that not only evoke the piece’s sonic impression in the visual domain but also create an atmosphere reminiscent of early-20th-century abstract films.
About the artists
Music: Ji Won Yoon (composer) is active as a composer of both acoustic and electric music. She is interested in artistic applications and realizations of various computer music technologies, emphasizing multi-modality with sound at the center. She earned her B.A. and M.A. degrees in Music (Composition) from Yonsei University, completed doctoral courses in Computer Music Composition at Dongguk University, and studied at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University as a visiting researcher. Currently she is an assistant professor at the Department of Applied Music and Sound, Keimyung University.
Visuals: Woon Seung Yeo (visual artist) is a bassist, media artist, and computer music researcher. He is a professor at Ewha Womans University, Seoul, Korea, and leads the Audio and Interactive Media (AIM) Lab. Dr. Yeo has received B.S. and M.S. degrees in Electrical Engineering from Seoul National University, M.S. in Media Arts and Technology from University of California at Santa Barbara, and M.A. and Ph.D. in Music from Stanford University. His research interests include audiovisual art, cross-modal display, musical interfaces, mobile media, and audio DSP. Results of his research are commonly shared by exhibitions and performances in the public interest.
Bike Öner: Waves
Waves is built on the dialectic of compression and release across electronic processing, spatialization, and form. Inspired by the physical behavior of waves, the piece reflects cycles of compression and rarefaction that accumulate into the ocean itself. Granular processing, time-stretching, and spectral diffusion of the cello create dense zones of tension that abruptly dissolve into spatial release. The form mirrors this cycle, as acoustic and electronic layers interact to shape a dynamic, living sonic space.
About the artist
Bike Öner is a Turkish composer and cellist from Istanbul, working in acoustic and electroacoustic music. Her work creates mixed-reality soundscapes that combine Eastern and Western tuning systems, diverse timbres, and cross-cultural textures, exploring proximity, memory, transformation, and emotional co-presence in space. She studied cello at UdK Berlin and Istanbul University State Conservatory, earned an MM in Composition from ITU MIAM in 2022, and is pursuing a DMA at UT Austin, where she teaches in EEMS.
Tom Williams: Of Clouds and Clocks
This acousmatic composition explores the conceptual tension between orderly determinism and the irregular, indeterminate realm of ‘clouds,’ drawing on the philosopher Karl Popper’s metaphor of ‘clouds and clocks’ and its musical reimagining in Ligeti’s ‘Clocks and Clouds’ (1973). Translation operates as a guiding principle—moving between philosophical constructs and sonic experience, and transforming the mechanical precision of a clock into diffuse, spatially articulated sound structures. The work unfolds in a single movement articulated in two contrasting parts: an opening section dominated by cloud-like textures—formed through processes of granulation and spectral diffusion—followed by a second part where clock-derived materials assert greater clarity and rhythmic presence. The town clock in New Bern, North Carolina, provides a recognisable point of reference within a sound world otherwise shaped by obscured metallic and environmental resonances, their identities dissolved into atmospheric ambiguity. Through this interplay, the piece proposes an experiential continuum where temporal precision and sonic indeterminacy coexist, foregrounding the creative potential of imperfect translation.
About the artist
Tom Williams is a composer whose work spans both acoustic and electroacoustic music. His compositions have been performed internationally, most recently at ICMC2025 Boston, and NYCEMF2025. He has received awards including the Italian music medal “Città di Udine”, British Composers’ nomination in Sound Art, and his acousmatic piece “Piano Trace” received a special prize at the 4th Ise-Shima International Composition Competition. He has collaborated with renowned musicians such as New York cellist Madeleine Shapiro, soprano Juliana Janes Yaffé, bass clarinettist Sarah Watts, percussionist Thierry Miroglio, and Orchestra of the Swan. He has a doctorate in music composition from Boston University. Currently, he is course director for the MA programme in music production at Coventry University.
Genoël von Lilienstern: A little history of mobile music Vol. 1
The piece engages with the complex relationship between humans, art, and artificial intelligence. Conceived as a transhumanist comedy, it is created using generative video techniques and reflects on how human imagination and technological, standardized ways of narrating intersect in contemporary artistic production. The work experiments with the interplay between image and sound, questioning how meaning emerges from their shifting relations. Sound is not treated as a secondary element, but as an equal partner to the visual, unfolding within the cinematic 7.1 surround space. This spatial setup is understood as an electroacoustic laboratory, where perception, technology, and narration are continuously reconfigured. Through humor and speculation, the piece invites audiences to question AI-based and -related storytelling.
About the artist
Genoël von Lilienstern (b. 1979) is a composer of instrumental and electronic music. Former head of the Studio for Electroacoustic Music at the AdK Berlin and a doctoral candidate in multimedia composition at the HfMT. Performances by renowned ensembles such as Ensemble Intercontemporain and SWR Orchestra. Fellow of Villa Aurora and the Cité des Arts (Paris). Co-founder of the ktonal group for AI-related audio generation, and co-curator of the Untwelving Festival for xenharmonic music, Munich.
Jingyu Luo: Motif for Ono
This is an analysis of a creative project using bellplay~. I utilized its transcribe(), pitchmelodia(), query(), larm(), buildcorpus(), samplebpf(), pitchmelodia() functions, and soon, processed the audio using mathematical logic to use it as the original material for music creation. The philosophical methodology of Motif for Ono is based on YokoOno’s “Discourse” form, combining power and knowledge. Jingyu Luo’s video music piece “Motif for Ono” performs at three music festivals, namely EMM 2026, MOXsonic2026, and NYCEMF 2026, as well as at three international or national electronic music conferences, including ICMC 2026, SEAMUS 2026, and CCF 2025.
About the artist
Jingyu Luo is currently pursuing a Doctor of Musical Arts (DMA) in composition at the College-Conservatory of Music (CCM) of the University of Cincinnati. He has studied with Mara Helmuth and Michael Fiday. Previously, he obtained a Master of Music (MM) in composition from the Hartt School of Music. He graduated from the Department of Music at Shandong Normal University with a bachelor’s degree in musicology. He composes for concert performances, theatrical soundtracks, film and television commercials, and large-scale public events. Additionally, he has been involved in the music planning and execution of large-scale cultural events in China, such as the “Beyond” music festival and the National Day celebration for ten thousand people. His artistic achievements have been recognized. In 2024, he won an award in the remix category of the Guangdong-Hong Kong-Macao Modern Music Performance. The same year, his arrangement work was shortlisted for the final of the 38th “Jiangnanhua” Singing Competition in Ma’anshan City. In 2018, he won the bronze medal in the “Banjo Band” Competition.
Justyna Tobera: Spectrestate
The piece Spectrestate was created as a reflection on my personal experience of double vision, a consequence of years of inadequate treatment of my eyesight. My eyes simultaneously register two images, but my brain cannot merge them into a coherent perception. Every second, I must decide which image to trust, reconstructing reality in a way that is invisible to most people. This experience makes my body and brain constantly negotiate their relationship — movement, gestures, and reactions must be consciously synchronized with the image my brain cannot automatically integrate. In Spectrestate, I translate this subjective perception into the language of sound and image. Every gesture, sonic texture, and visual layer reflects the instability and multilayered nature of my perception. The audiovisual composition becomes a space where sound and image coexist and transform each other, allowing the audience to experience a f ractured reality in a direct and sensory way. The work is both a personal study of perception and a philosophical reflection on the nature of seeing and sensing. The questions I pose are: Can the eye be a reliable witness? How does the body interact with the brain when sensory signals conflict? How can we experience a reality that is layered, unstable, and yet generative? Spectrestate invites the audience into a space where audiovisual reality is fluid, shattered and dynamic. Sound and image become tools for reflection, enabling an exploration of subjective and multidimensional perception.
About the artist
Justyna Tobera is a composer and performer working at the intersection of sound, movement, and immersive media. Her practice explores the relationships between the body, space, and technology, treating sound as a tactile and embodied experience. She works with live electronics, interactive systems, and creative coding, focusing on how gesture and movement shape sound.
She is currently an intern at the Electroacoustic Studio at IEM Graz. Her works have been presented at contemporary music festivals in Poland and internationally, including in the United States, Slovenia, Austria, Denmark, Italy, Lithuania, and Hungary. Her current research focuses on speculative approaches to sound and technology.
Ouyang Mingshan: StringDance: Ripples
StringDance: Ripples is an interactive audiovisual work for pipa and live electronics that explores the resonance between instrumental gesture, sound processing, and real-time visual transformation. Inspired by the tactile imagery and sonic metaphors of Bai Juyi’s poem The Song of the Pipa Player, the work translates poetic descriptions of motion, density, and contrast into a contemporary audiovisual language. The pipa performance serves as the primary sonic material. Its vibrations, resonances, and transient articulations are analyzed in real time and mapped onto a projected visual architecture structured around the metaphor of the string. A four-string visual system corresponds to distinct frequency bands of the instrument, each exhibiting its own frequency-dependent motion behavior. All strings share a unified monochromatic luminance palette, while brightness remains fixed according to their spectral roles, allowing motion—rather than color—to articulate differences between low-frequency resonance and high-frequency detail. Audio features shape the visual behavior through a tightly coupled mapping system: amplitude controls oscillation range, frequency determines cycle density and forward motion, and spectral distribution defines the relative spatial presence of each visual string. This approach renders sound as visible energy, emphasizing waveform motion and temporal flow rather than representational imagery. The electronic layer extends the acoustic material through real-time processing techniques including granulation, transient enhancement, spectral diffusion, and temporal extension. These processes evoke poetic imagery—rushing rain, falling pearls, gliding birdsong, constrained springs, and moments of rupture—while a stretched and diffused poetic recitation forms a non-semantic textual ambience. The work unfolds in five sections, each corresponding to a poetic line and articulated through distinct sonic and visual behaviors. Through the integration of audio-analysis–driven visuals, live electronic processing, and poetic reference, StringDance: Ripples invites the audience to experience the pipa’s internal energy as both audible and visible motion.
About the artist
Ouyang Mingshan is a composer and electronic music artist working with electroacoustic music and interactive audiovisual performance. She received a B.A. in Music Design and Production from the Shanghai Conservatory of Music and an M.A. in Electronic Music Composition from Hanyang University, and is currently pursuing a Ph.D. in Electronic Music Composition at Hanyang University. Alongside her artistic practice, she has worked as a composer and producer in the game industry.