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X-WR-CALNAME:ICMC HAMBURG 2026
X-ORIGINAL-URL:http://icmc2026.ligeti-zentrum.de
X-WR-CALDESC:Events for ICMC HAMBURG 2026
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260422T131705
CREATED:20260415T142419Z
LAST-MODIFIED:20260421T140704Z
UID:10000099-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10b: Interactive Media II
DESCRIPTION:Three papers will be presented and discussed:\n\n  \n\nFabian Ostermann\, BbMuse: A Blackboard-Driven Framework for Real-Time Interactive Music\n\nEun Ji Oh\, Jun Woo Beck and Alexandria Smith\, The Singing Skin: An Audience-Centered Biofeedback System for Musical Interaction Based on Galvanic Skin Response\n\nPenelope Bekiari and Anastasia Georgaki\, Hyponoia: An Affective Computing System for Augmented Musical Performance — A Case Study\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-10b-interactive-media/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (0.016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:15-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T110000
DTEND;TZID=Europe/Amsterdam:20260515T110000
DTSTAMP:20260422T131705
CREATED:20260421T195205Z
LAST-MODIFIED:20260421T195205Z
UID:10000100-1778842800-1778842800@icmc2026.ligeti-zentrum.de
SUMMARY:Excursion: Departure to Lübeck
DESCRIPTION:
URL:http://icmc2026.ligeti-zentrum.de/event/excursion-departure-to-lubeck/
CATEGORIES:15-05,Excursion to Lübeck
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T130000
DTEND;TZID=Europe/Amsterdam:20260515T150000
DTSTAMP:20260422T131705
CREATED:20260421T172624Z
LAST-MODIFIED:20260421T172624Z
UID:10000178-1778850000-1778857200@icmc2026.ligeti-zentrum.de
SUMMARY:Piece & Paper Session
DESCRIPTION:Four pieces & papers will be presented: \n  \nLinear A\nChristopher Trapani \nRituals of Forgetting and Remembering\nJocelyn Ho et al. \nHe（龢）\nXiangbin Lin \n雨/Rain \nYun Zhang and Xinran Zhang \n 
URL:http://icmc2026.ligeti-zentrum.de/event/piece-paper-session-lubeck/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Piece & Paper,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T153000
DTEND;TZID=Europe/Amsterdam:20260515T163000
DTSTAMP:20260422T131705
CREATED:20260421T144302Z
LAST-MODIFIED:20260421T144302Z
UID:10000173-1778859000-1778862600@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | James Andy Moorer: History of Computer Music from Mathews to "Man in the Mangroves"
DESCRIPTION:The origins of computer music promised unlimited freedom for composers to make music using sounds that no acoustic instrument could make. This freedom comes with a price. Composing a computer-synthesized piece involves an extra step. You do not just choose the instruments in your ensemble\, but you must also build the orchestra. Over the last 70 years\, we have evolved a wide range of techniques for music synthesis. We have reduced the burden of building the orchestra creation but have not eliminated it.  \nThe creation of “The Man in the Mangroves Counts to Sleep” illustrates this process. About half of the work went to building the computer-based tools for the specialized form of voice synthesis needed for orchestration of the poem. After all these years\, it is clear that there is more to be done to reduce the effort required ofthe composer in bringing the sounds from our imagination into reality. This talk will illustrate some of the problems that had to be solved in the realization of the piece.  \n  \nJames Andy Moorer\nJames A. Moorer is an internationally-known figure in digital audio and computer music\, with over 40 technical publications and many patents to his credit. In 1991\, he won the Audio Engineering Society Silver award for lifetime achievement. \nIn 1996\, he won an Emmy Award for Technical Achievement with his partners\, Robert J. Doris and Mary C. Sauer for Sonic Solutions/NoNOISE for Noise Reduction on Television Broadcast Sound Tracks. \nIn 1999\, he won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award (oscar) – for his pioneering work in the design of digital signal processing and its application to audio editing for film. \nHe is currently retired. \nFrom 1987-2001\, Dr. Moorer has served as Senior Vice President for Advanced Development at Sonic Solutions\, and is responsible for the NoNOISE package for restoration of vintage recordings. \nFrom 1986 to 1987\, Dr. Moorer consulted for NeXT\, Inc.\, on DSP software architecture for audio processing. \nFrom 1985 to 1986\, he was the chief technical officer at the Lucasfilm Droid Works. \nFrom 1980 to 1985\, he was the digital audio project leader at Lucasfilm\, Ltd. From 1977-1980\, he was the Reponsable Scientifique (technical advisor) at IRCAM in Paris. \nFrom 1975 to 1977\, he was a founder and co-director of the Stanford Computer Center for Research in Music and Acoustics. \nFrom 1968 to 1972\, he was a professional programmer at the Stanford Artificial Intelligence Laboratory. \nDr. Moorer holds a PhD in Computer Science from Stanford University\, granted in 1975. Prior to that\, Dr. Moorer earned an S.B. in Applied Mathematics from MIT in 1968\, and an S.B. in Electrical Engineering from MIT in 1967. \n  \n  
URL:http://icmc2026.ligeti-zentrum.de/event/keynote-james-andy-moorer-history-of-computer-music-from-mathews-to-man-in-the-mangroves/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T170000
DTEND;TZID=Europe/Amsterdam:20260515T190000
DTSTAMP:20260422T131705
CREATED:20260421T113808Z
LAST-MODIFIED:20260421T124255Z
UID:10000161-1778864400-1778871600@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Shelly Knotts et al.: Sonification and the Space In-Between: Bridging Scientific Inquiry and Musical Practice
DESCRIPTION:Sonification has a long history within computer and electronic music\, with composers—such as Clarence Barlow\, Alvin Lucier and Laurie Spiegel—using data as a compositional tool. At the same time\, sonification is an established tool in scientific inquiry\, where it has been used for purposes ranging from the sonification of astronomical phenomena for public outreach\, to the analysis and communication of long-term environmental data. This workshop explores the rich interdisciplinary space that lies between computer music composition and scientific inquiry\, focusing on sonification as a shared methodology\, bridging between disciplines\, rather than a discipline-specific technique. Participants will be introduced to interdisciplinary working practices that support the identification of shared concerns and the development of common understanding when designing sonifications\, as well as software tools and computational workflows that enable collaborative work. The workshop will be led by researchers working together as part of the interdisciplinary project Sonic Intangibles\, and within their own domains of Sound Art\, Live Coding\, Mathematics and Computational Physics. By emphasising interoperability and participation\, this workshop aims to explore how sonification can generate increased discourse between\, and mutual benefit for\, musical and scientific communities. \nRequirements\nThe workshop is accessible to a broad audience in computer music\, with the only pre-requisite being some familiarity with any programming language. Attendees will be asked to install a local version of Supercollider ahead of the workshop\, and will need to bring a laptop and headphones for the final part of the workshop. \nAbout the workshop facilitator\nShelly Knotts produces live-coded and network music performances and projects which explore aspects of code\, data and collaboration in improvisation\, and has performed and presented her work at numerous events worldwide. Based in Newcastle Upon Tyne\, UK\, she performs internationally\, collaborating with computers and other humans. She is currently a Post-doctoral Research Fellow on the Sonic Intangibles project at Northumbria University.\nIn 2021-23 she was an Artist-in-Residence on the Heritage Lottery funded Seascapes project\, working with communities in Sunderland. In 2016-2021 she worked on research projects around the use of AI\, data and networks in improvisation and composition and related social themes at Durham University (UK)\, Monash University (AUS)\, Newcastle University (UK) and McMaster University (CA). She completed a PhD in Live Computer Music at Durham University in 2018.\nIn 2017 she was a winner of BBC Radiophonic Workshop and PRSF ‘The Oram Awards’ for innovation in sound and music.\nShe has taught numerous creative coding workshops at conferences\, festivals\, universities and cultural institutions worldwide\, and runs Creative Code Club — an informal and inclusive gathering of people interested in the practices and cultures of creative coding — at The NewBridge Project\, an artist-led space in Newcastle Upon Tyne. \n  \nDaniel Ratliff is an associate lecturer at Northumbria university (2020-present)\, specialising in interdisciplinary approaches to waves across physics and beyond. He works internationally to connect concepts across mathematics\, oceanography\, statistical physics and space science to advance our understanding of these topics and bridge the disciplinary gaps that often separate these fields.\nHe has delivered several public engagement events (including Newcastle’s Pint Of Science in 2023 and 2025 and public lectures at Newcastle’s Lit and Phil)\, has organised and delivered two 14-week research project for KS3 students at a local school via the ORBYTS initiative and both designed and delivered a number of targeted Researcher skills workshops for the PGR student cohorts at Northumbria University. \n  \nLucy Whalley is an Associate Professor in Physics at Northumbria University whose work spans quantum chemistry\, materials modelling and interdisciplinary scientific and creative practices. Her research is centred around the use of computational techniques and high performance computing to investigate the atomic-scale behaviour of materials\, particularly in contexts relevant to renewable energy.\nLucy is co-lead of the Sonic Intangibles project which explores how interdisciplinary practice across computer music\, ethnography and the physical Sciences can enable sonification as a tool for research and communication. She is also a member of SDF\, an experimental electronic musiccollective whose work has been released through Lost Map Records and performed at venues including Iklektic (London) and Summerhall (Edinburgh).\nLucy is a Software Sustainability Institute Fellow and Associate Editor at the Journal of Open Source Software\, reflecting her interest and advocacy for open and and sustainable software development. She currently teaches programming\, quantum mechanics and computational Physics at university Level. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-shelly-knotts-et-al-sonification-and-the-space-in-between-bridging-scientific-inquiry-and-musical-practice/
LOCATION:Lübeck University of Music: Holstentorhalle\, Chorsaal\, Wallstraße 2\, Lübeck\, 23554\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T170000
DTEND;TZID=Europe/Amsterdam:20260515T190000
DTSTAMP:20260422T131705
CREATED:20260421T121755Z
LAST-MODIFIED:20260421T124143Z
UID:10000166-1778864400-1778871600@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Pierre Alexandre Tremblay et al.: Dialogues with Improvising Machines: an Embodied Cross-Testing Workshop on Musical Agents
DESCRIPTION:This 2.5-hour workshop examines four musical agent systems through a structured process of presentation\, performance\, collective listening\, and critical discussion. It addresses a central contemporary question in computer music: how the design of musical agents encodes particular modes of listening\, interaction\, and agency\, and how these design choices shape musical practice.\nThe workshop adopts a commented comparative-phenomenological methodology. It showcases four musical agent systems selected from an open call\, which are presented in turn\, each offering a distinct approach to interactive and improvisational musical behavior. These systems have been developed using different programming languages\, creative coding environments\, and technical frameworks\, reflecting the diversity of current practices in the field. Their comparison will therefore highlight not only aesthetic and compositional differences\, but also the ways in which specific tools and technical architectures condition musical affordances.\nFor each system\, the creator will quickly introduce its technical design\, musical aims\, and underlying assumptions. This will be followed by a short performance by the system’s author\, two exploratory performances by other workshop participants\, and a discussion with participants and attendees. The emphasis throughout will be on the system’s interactional qualities\, its encoded listening strategies\, and the forms of musical agency that emerge in performance.\nThe final part of the workshop will be devoted to a comparative discussion of the four systems\, with the aim of articulating shared vocabulary\, critical perspectives\, and possible evaluation criteria for improvising and interactive musical agents. In doing so\, the workshop seeks to contribute to ongoing discourse on the role of bias\, intention\, and technological mediation in musical system design. This closing conversation will reflect on the different forms of musical interaction that emerged\, and consider how we might develop shared vocabulary\, aims\, and evaluation criteria for improvising and interactive musical agents.\nThe workshop is intended for composers\, improvisers\, performers\, creative coders\, and researchers interested in interactive systems\, machine listening\, and AI in music. It particularly welcomes participants who wish to think critically about what it means to compose with\, perform with\, or delegate agency to computer-based musical systems.\nBy creating a space for presentation\, experimentation\, and peer critique\, the workshop aims to deepen discussion around the role of encoded listening in musical agent systems and the musical practices that emerge from it.\nThe workshop is led by Pierre Alexandre Tremblay (Conservatorio della Svizzera italiana)\, Nicola Leonard Hein (University of Music Lübeck)\, and Gilbert Nouno (Haute école de musique de Genève)\, whose artistic and research practices span composition\, improvisation\, creative coding\, and interactive systems. \nRequirements\nListen and Discuss. \nAbout the workshop facilitators\nPierre Alexandre Tremblay is a composer and performer on bass guitar and electronic devices\, in solo and Group settings\, between electroacoustic music\, contemporary jazz\, mixed music and improvised music. He also worked in popular music and practices critical creative coding. His music is available on empreintes DIGITALes.\nHe studied composition with Michel Tétreault\, Marcelle Deschênes\, and Jonty Harrison; bass guitar with JeanGuy Larin\, Sylvain Bolduc\, and Michel Donato; Analysis with Michel Longtin\, and Stéphane Roy; and studio technique with Francis Dhomont\, Robert Normandeau\, and Jean Piché.\nPierre Alexandre was Professor of Composition and Improvisation at the University of Huddersfield (England\, UK) from 2005 to ’24\, where he anchored the ERCsupported Fluid Corpus Manipulation project. In September 2024\, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition.\nHe likes spending time with his family\, reading prose\, and going on long walks. \nNicola Leonard Hein is a sound artist\, guitarist\, creative technologist\, composer and researcher in music and philosophy. He is a professor of Sound Arts & Creative Music Technology at the music university of Lübeck.\nHis work is driven by the interaction of sound and space\, light\, movement\, thought and the becoming of embodied and intermedial intelligence in aesthetic systems\, community and technology. In his artistic work\, he uses physical and electronic extension of the electric guitar\, sound installations\, cybernetic human-machine interaction with A.I. interactive music systems\, Augmented Reality\, telematic real-time art\, ambisonic sound projection\, instrument building\, conceptual compositions\, intermedia works (with video art\, light\, dance\, literature) and much more.\nHis research revolves around questions of philosophy of music\, epistemology\, aesthetics\, media theory\, critical improvisation studies and cybernetics. It follows questions of the creation of identity and sense in interactions between humans and technology\, and investigates the philosophical implications of musical and intermedial practices. \nGilbert Nouno composes\, codes\, improvises\, and teaches at the Haute école de musique de Genève\, where he leads the CIMME (Interdisciplinary Center for Experimental Music and Media). He likes to blend sound with image\, and technology with the gestures of performance. Moving between tangible matter and dematerialized material\, his hybrid works invite audiences to cross the ever-shifting boundary between human and machine. With artificial intelligence\, he explores new playgrounds to expand improvisation\, rethink performance\, and imagine augmented artistic practices.\nThis approach is embodied in works such as SINE (2024)\, a performative multimedia piece in which gesture drives sound and video within an immersive\, AI-based audiovisual environment. A laureate of the Villa Kujoyama in Kyoto and the Académie de France à Rome Villa Medici\, he has shared stages\, studios\, and creative adventures with composers Pierre Boulez\, Jonathan Harvey\, Olga Neuwirth\, saxophonist Steve Coleman\, flutist Magic Malik\, choreographer Léo Lérus\, scenographer Jean Kalman\, and stage director Pierre Audi. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-pierre-alexandre-tremblay-et-al-dialogues-with-improvising-machines-an-embodied-cross-testing-workshop-on-musical-agents/
LOCATION:Lübeck University of Music: Ehemalige Bundesbank\, Schalterhalle\, Holstentorplatz 2\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T183000
DTEND;TZID=Europe/Amsterdam:20260515T213000
DTSTAMP:20260422T131705
CREATED:20260415T122932Z
LAST-MODIFIED:20260417T115457Z
UID:10000124-1778869800-1778880600@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Sound Bar: "Sono\, ergo sum." – I sound\, therefore I am.
DESCRIPTION:Photo: Soundbar Kollektiv\n  \nThe Soundbar is a performative pop-up bar that brings together socializing\, drinks\, and jam sessions. It serves as a workshop and experimental space\, offering an environment for exploring sound\, finding inspiration\, and connecting with others. What does your favorite drink sound like? Join us for Soundbar’s vibrant sound journeys. Let your glasses sing and discover new levels of sensory experience at the bar.  no registration required \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-sound-bar-sono-ergo-sum-i-sound-therefore-i-am/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:15-05,Music,Off-ICMC,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T193000
DTEND;TZID=Europe/Amsterdam:20260515T203000
DTSTAMP:20260422T131705
CREATED:20260415T123232Z
LAST-MODIFIED:20260417T115504Z
UID:10000125-1778873400-1778877000@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Experimental Reading: Harburg. Das Buch – Excursions in Voice\, Photo & Music (German)
DESCRIPTION:Credits: Junius Verlag\n  \nAuthor Bärbel (Bascha) Wegner\, photographer Steven Haberland\, and musician Clarks Planet bring together text\, images\, and sound in a multi-layered exploration of the city of Harburg. Storytelling meets improvised music\, photographs interact with sound and field recordings.  \nThe familiar takes on new shapes\, improvisation unfolds—opening up fresh perspectives on the neighborhood\, not least from the vantage point of the Production Lab on the 10th floor.  \nIn German only.\nregistration required here \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-experimental-reading-harburg-das-buch-excursions-in-voice-photo-music-german/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:15-05,Music,Off-ICMC,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T200000
DTEND;TZID=Europe/Amsterdam:20260515T220000
DTSTAMP:20260422T131705
CREATED:20260421T171512Z
LAST-MODIFIED:20260421T171512Z
UID:10000177-1778875200-1778882400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 5B (Lübeck)
DESCRIPTION:Program Overview\nImprovising Machine #7325: Inside My Trumpet\, Again\nJeff Kaiser \nThe Letter\nMinho Kang \nMoloch whose mind is pure machinery!\nEric Lyon \nTidal Unit for Sonic Activities\nIlia Viazov and Nicola Leonard Hein \nRhythmic Traces | Twisted Electronics\nNicola Leonard Hein \nFound Violin x Aromantic Hobby \nDong Zhou \nTokens & Strings: an improvisation between an electric guitarist and a local LLM\nOlivier Jambois
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-5b-lubeck/
LOCATION:Lübeck University of Music: Großer Saal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Concert,Excursion to Lübeck,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T220000
DTEND;TZID=Europe/Amsterdam:20260515T220000
DTSTAMP:20260422T131705
CREATED:20260421T195201Z
LAST-MODIFIED:20260421T195201Z
UID:10000101-1778882400-1778882400@icmc2026.ligeti-zentrum.de
SUMMARY:Excursion: Departure (Return) to Hamburg
DESCRIPTION:
URL:http://icmc2026.ligeti-zentrum.de/event/excursion-departure-return-to-hamburg/
CATEGORIES:15-05,Excursion to Lübeck
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
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