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DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T035802
CREATED:20260421T093948Z
LAST-MODIFIED:20260421T095126Z
UID:10000142-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Miles Friday: "Breathwork"
DESCRIPTION:Breathwork is a twelve-channel sound installation where loudspeakers become breathing bodies. Each loudspeaker is encased in an inflatable bag that swells and contracts in response to low-frequency drones\, forming a slow\, ever-shifting breath-like choreography. \nWithin this field of motion\, clouds of layered just intonation partials drift in and out of perception\, while low frequencies create a base of acoustic beating and Shepard tone-esque glissandos. By transforming the loudspeaker into a pneumatic pump\, Breathwork reimagines the loudspeaker as a tool for visual synthesis\, where vibrations in the air animate inflatables as kinetic sculptures—synthetic lungs whose movement create polyrhythms that can be both seen and heard. \nAll audio is generated live via SuperCollider and is running on two Bela Mini Multichannel Expanders. \nAbout the artist\nMiles Jefferson Friday is an artist who focuses on sound as his primary medium. Building new instruments\, composing music\, designing sound sculptures\, and creating immersive installations\, his practice invites us to reconsider how we hear and listen. Miles is currently an Assistant Professor of Digital Music at University of Texas at San Antonio\, holds a DMA and MFA from Cornell University\, and an MA from the Eastman School of Music. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-miles-friday-breathwork-1-2/
LOCATION:Hamburg University of Technology\, Building A (Foyer)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T035802
CREATED:20260421T095644Z
LAST-MODIFIED:20260421T095644Z
UID:10000144-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Alessandro Anatrini: "Faulty Oracle"
DESCRIPTION:Faulty Oracle is an adaptive audiovisual installation that conjures a gloriously unreliable divinatory machine. Visitors pose questions through body language: gestures\, movements\, postures which the system interprets\, misreads\, and willfully transforms. In return\, the oracle delivers cryptic animated answers\, flickering between epiphany\, nonsense\, and hallucination. Voices stretch\, fracture\, and echo over visuals that shimmer with unstable symbols\, offering responses that feel both prophetic and utterly broken.\nThe dialogue is a masterclass in miscommunication: questions are misinterpreted\, wrong ones are amplified\, and answers rarely align with intent. The oracle becomes a mirror of ambiguity\, where meaning emerges from error\, chance\, and interpretation rather than clarity.\nBy shifting interaction from language to the body\, Faulty Oracle gleefully dismantles any expectation of precision in human-machine exchange. It invites participants into a space of playful fallibility\, reframing prophecy as a dance of uncertainty and imagination. \nAbout the artist\nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has\nbeen presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-alessandro-anatrini-faulty-oracle-1/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T035802
CREATED:20260421T100042Z
LAST-MODIFIED:20260422T143046Z
UID:10000153-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Dahye Seo: "Unscored"
DESCRIPTION:Sonic Flight transforms the live movement of birds over the skies of Berlin into a poetic soundscape\, where each bird’s flight is mapped onto a musical staff or piano surface. As birds glide\, swoop\, and flutter across the video feed\, their trajectories become sonic gestures—like notes traced in the air—creating an ephemeral composition in real time. Visitors experience a spatialized auditory environment where the motion of the birds is rendered as musical flow and texture\, bridging natural movement and sound. The work explores the translation of fleeting\, living patterns into audible forms\, inviting audiences to perceive the subtle interplay between urban wildlife and sound. By turning the sky into a dynamic score\, Sonic Flight emphasizes the continuous flow of life\, the poetic potential of non-human agency\, and the immersive possibilities of real-time sonification. \nAbout the artist\nDahye Seo (b. 1985\, South Korea) is a multimedia artist based in Berlin. She explores the movement of living organisms and environmental phenomena through sound\, data\, and interactive installations\, creating immersive experiences that bridge perception and natural patterns. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-dahye-seo-unscored-1/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T035802
CREATED:20260421T191005Z
LAST-MODIFIED:20260421T200038Z
UID:10000190-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Pasquale Savignano: "SURROUNDINGS"
DESCRIPTION:SURROUNDINGS is a site-specific sound installation that transforms walking\, listening\, and spatial memory into a continuously unfolding sonic environment. The work is built from GPS-tracked field recordings captured through attentive movement in and around the exhibition site. These recordings are not presented as documents of place\, but as living material that is reactivated\, displaced\, and rewoven within the space itself.\nFour loudspeakers are distributed across the site\, defining a navigable field rather than a fixed listening position. Sound moves between them following the original trajectories of the recorded walks\, scaled and reoriented to fit the architecture or landscape of the installation. The visitor’s experience emerges from this superposition of paths: multiple sonic traces coexist\, intersect\, expand\, and dissolve\, producing a dynamic impression of the surroundings rather than a literal representation.\nThe installation focuses primarily on keynote sounds – the persistent acoustic textures that shape everyday environments – rather than on spectacular or foregrounded events. Through subtle processing derived from convolution\, filtering\, and granular techniques\, these sounds are stretched and smoothed\, allowing their timbral essence to surface while remaining closely tied to their original context. At times\, lightly processed documentary sounds emerge\, blurring the boundary between the audible present and the remembered past.\nListening unfolds through movement. Visitors are free to walk\, pause\, or circle the space\, allowing their perception to shift between the installation\, the actual soundscape\, and their own internal listening. The work does not impose a narrative or a fixed duration; instead\, it offers a continuous temporal flow that mirrors the rhythms of walking and environmental change.\nVisually\, the installation remains restrained and functional. Loudspeakers and cabling are integrated into the space in a manner that suggests infrastructure rather than spectacle\, reinforcing the idea of sound as an environmental layer rather than an object. The result is a non-disruptive intervention that operates near the threshold of audibility\, encouraging a heightened awareness of place.\nSURROUNDINGS proposes listening as a form of situated knowledge: an embodied practice through which space is not only perceived\, but actively composed. \nAbout the artist\nPasquale Savignano (1/5/1994) is a sound artist and composer working with field recordings and digital sound processing to explore the boundaries of physical and sonic space in various fields: electroacoustic music\, improvisation\, video art\, sound and multimedia installations. His research moves mainly between the flux of\nrelationships and interferences in the soundscape. His works have been presented internationally in galleries\, public spaces and festivals\, such as Angelica International Music Festival\, Pulsar Festival\, Echoes Around Me\, Festival di Nuova Consonanza\, Tempo Reale Festival\, Xing\, Archivio Aperto\, ArtCity\, Hyperlocal Festival\, Experimance Festival\, ICMC\, ToListenTo\, and others. He has collaborated and performed with artists such as Alvin Curran\, Francesco Giomi\, Elio Martusciello\, Maria Hassabi\, Elvin Brandhi\, Jacopo Benassi\, Marcello Maloberti\, Daniela Cattivelli\, Alessandro Bosetti\, Muna Mussie\, Francesco Cavaliere and many\nothers. He is currently pursuing a PhD in Sound&Music Computing and Cultural Heritage at Conservatorio di Musica G. Verdi di Torino and collaborates with Xing (Bologna – IT) and Marcello Maloberti Studio (Milano – IT). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-pasquale-savignano-surroundings-1/
LOCATION:Hamburg University of Technology\, Outdoor Area I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T035802
CREATED:20260421T191718Z
LAST-MODIFIED:20260421T200706Z
UID:10000193-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Bill Parod & Teresa Parod: "The Elephants of Trianon"
DESCRIPTION:The Elephants of Trianon is an augmented-reality audiovisual installation that extends a series of public murals into an interactive spatial sound environment. The original work consists of ten adjacent murals painted on garage doors in a public alley in Evanston\, Illinois\, USA. These form part of a larger international body of public work by the artist\, Teresa Parod. For the International Computer Music Conference\, the project is presented as a free-standing installation at TU Hamburg-Harburg using large construction-fence banners which approach the full-size of the garage door murals. \nUsing a custom mobile app\, visitors’ devices recognize each mural and anchor a corresponding three-dimensional audiovisual scene in space. As visitors move through the installation and activate additional murals\, their scenes accumulate and blend\, creating a continuously evolving environment\, rather than a sequence of isolated works. The installation therefore functions as a spatial composition shaped by listener movement\, attention\, and duration of engagement. \nThe soundscape combines field recordings made in Bali\, New Orleans\, and Chicago with instrumental layers and voices in ten languages. Animated three-dimensional forms—birds\, bats\, dogs\, elephants\, rabbits\, and celestial figures—appear among the murals\, along with subtle video textures and custom shaders that bring painted elements into motion. Some virtual elements are not confined to a single mural but move throughout the installation space\, responding to the physical layout and dimensions of the exhibition environment. \nThe project suggests a scalable model for mobile\, spatially responsive sound installations in galleries and public spaces. The software framework and mobile application used in The Elephants of Trianon have been developed through prior public installations and gallery presentations and are designed to function across a range of exhibition formats\, from outdoor murals to indoor projection and free-standing display structures. The ICMC installation demonstrates how augmented reality can be used not only as a visual medium\, but as a platform for spatial audio composition and listener-driven musical form. \nAbout the artists\nBill Parod (b. 1954\, Chicago USA) is a composer\, improviser (violin)\, and software developer who works on interactive spatial music\, audio poetry\, image reactive augmented reality\, and living music mobile apps. His work has appeared in Chicago at Elastic Arts\, Experimental Sound Studio\, and the Jay Pritzker Pavilion; Burning Man\, Nevada USA; New York University NYC\, and Ircam in Paris\, France. My music is available as mobile apps in the Apple AppStore. \nTeresa Parod (b. 1957\, Alton IL\, USA) paints vibrant\, luminous oil paintings and murals\, celebrating life through dichotomies such as light and shadow\, warm and cool and complementary colors. Her landscapes invoke mythological destinations inviting the viewer to journey there.\nShe has created over one hundred works of public art in the United States\, Cuba\, Bali\, Nepal\, and Istanbul. In Cuba\, she was honored to work with mosaicist José Fuster\, whose work inspired her creation of art in unexpected and underused spaces.\nShe lives in Evanston\, Il with her husband\, Bill Parod. Together they have collaborated on several exhibitions and performances and multichannel visual and musical art.\nShe also teaches art history at Oakton college\, does an annual century bike ride and studies and performs classic Indonesian dance. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-bill-parod-teresa-parod-the-elephants-of-trianon-1/
LOCATION:Hamburg University of Technology\, Outdoor Area II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T035802
CREATED:20260421T192918Z
LAST-MODIFIED:20260422T141802Z
UID:10000197-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Finlay Graham: an egg with fouled neurons
DESCRIPTION:an egg with fouled neurons is a variable duration installative performance on a synthesizer fully coded by the composer in MaxMSP which utilizes a post-tonal framework to transform large harmonic sets\, preserving the fidelity of harmonic intervals while transforming harmonic identity\, allowing for movement through a complex harmonic pattern. Through a 1-4 hour long performance\, this unbound harmony is explored within a spatialized environment. “The egg lacks organs and cellular structure\, but it could be alive. When vibrated\, it would notice the each simplified frequency. If you apply equal pressure to all sides\, it doesn’t break\, but moments of concentration are dangerous. If permeated and submerged\, it’s unclear where the egg begins\, and what is inside.\nThis work is structurally built around the frequency at 440 Hz (A4)\, but temporally it moves moves through 8 sections: \n1. the breath\n2. Subconscious initiation\n3. Embodiment/mirroring\n4. silence\n5. onset\n6. liberation\n7. oneness and death\n8. contraction \nAbout the artist\nFinlay Graham (b. 2005\, he/him)\, is an American composer and educator based in Asheville\, North Carolina and Oberlin\, Ohio whose work is inspired by nature\, spirituality\, emotion\, and intimacy.\nGraham is currently enrolled at Oberlin College and Conservatory studying Music Composition and Neuroscience with a minors in Music and Cognition and TIMARA (Technology in Music and Related Arts). He currently studies composition under Jesse Jones. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-finlay-graham-an-egg-with-fouled-neurons/
LOCATION:Hamburg University of Technology\, Building N (Foyer)\, Eißendorfer Straße 40\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T120000
DTEND;TZID=Europe/Amsterdam:20260511T200000
DTSTAMP:20260423T035802
CREATED:20260421T092055Z
LAST-MODIFIED:20260421T092055Z
UID:10000133-1778500800-1778529600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Windisch\, Peng & v. Coler: "MESH"
DESCRIPTION:MËSH is an immersive\, networked music and media system that blends interactive installation with live performance. Developed since 2019\, MËSH uses a distributed array of interactive nodes to create a responsive audiovisual environment. Depending on the venue\, installations range from 4 to 16 interconnected nodes communicating over a wireless local network. \nEach node processes real-time movement captured by its camera using custom computer-vision software. These motion signals drive local sound generation in SuperCollider and trigger sample playback drawn from a curated library of field recordings and media fragments. Sounds are spatialized across the network\, forming a shared\, evolving soundscape shaped directly by audience interaction. \nMËSH also functions as a performance instrument: synchronized graphical scores are displayed across all nodes\, enabling musicians to perform within the same reactive ecosystem. This latest iteration continues MËSH’s exploration of distributed creativity and collaborative sensing. \nAbout the artist\nHenry Windish is a graduate student at Georgia Tech. His work focuses on computer music systems\, audio software development\, and collaborative tools for performance and education. He contributes to the design and implementation of networked performance platforms and supports projects involving SuperCollider\, audio networking\, computer vision\, and interactive media. Previously\, he studied electrical engineering at Washington University in St. Louis.\nTristan Peng is a PhD student at Georgia Tech exploring interaction design\, spatial audio\, and sonification; previously studying at CCRMA at Stanford University. His work aims to create accessible\, artful\, and interactive ways for people to experience sound. His current projects investigate how data can become a medium for participation and how immersive audio spaces can evoke emotion and understanding in ways that traditional visualizations cannot.\nHenrik von Coler is a musician and researcher. In 2024 he founded the Lab for Interaction and Immersion at Georgia Tech. Before that he was the director of the Electronic Music Studio at TU Berlin. Henrik’s research explores interface design\, algorithms for sound generation and experimental concepts for composition and performance. In 2017 he founded the Electronic Orchestra Charlottenburg to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-windisch-peng-v-coler-mesh/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T120000
DTEND;TZID=Europe/Amsterdam:20260511T200000
DTSTAMP:20260423T035802
CREATED:20260421T093204Z
LAST-MODIFIED:20260422T144350Z
UID:10000135-1778500800-1778529600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Adriano C. Monteiro & Rafaela B. Pires: "DE/RE:GENERATION"
DESCRIPTION:De/Re:Generation stems from a speculative question: would cicadas sense acoustic information during the up to 17 years they live underground\, before emerging from the soil for a brief adult phase marked by intense acoustic display? From this perspective\, the installation approaches sound not only as an auditory phenomenon\, but as something sensed through the body\, making vibration and tactile perception central to the experience.\nAt the core of the work are rounded\, shell-like sculptures molded from biodegradable cassava-starch bioplastics. These forms visually echo cicada nymphs and exuviae: fragile\, hollow exoskeletons that signal absence\, transfor-mation\, and continuation. Like the remnants left after metamorphosis that nourish other species\, the installation’s ma-terials participate in an ongoing process of regeneration: they deform over time\, respond to humidity and dryness\, and become alternately more rigid or more flexible\, like a living skin in dialogue with the environment. Integrated as touch interfaces\, the bioplastic sculptures function as tactile sensing surfaces that mediate the interaction with the sound en-vironment formed by vibrating surfaces and low-frequency sound fields\, that allude to the cicada’s aboveground and underground sonic worlds\, blurring boundaries between tactile and auditory modes of perception\, organic material and inorganic technological systems. \nAbout the artists\nAdriano Monteiro is a music composer and researcher. His work focus on the convergence of art\, science and technology for creative processes\, performance and analysis of music. He is the author of eletroacustic and intermedia works in different media and formats\, such as acousmatic\, live electronics\, audiovisual performances and installations\, network and telematic music\, and also author and coauthor of several articles concerning creative processes in music and musical analysis. Adriano Monteiro is an associate professor of Music Composition at the School of Music and Scenic Arts of Federal University of Goiás (EMAC/UFG). He studied music composition at the University of Campinas (UNICAMP) and holds a PhD in music from the same institution. \nRafaela Blanch Pires is a designer and professor at the Scenic Arts department at the Federal University of Goiás (Brazil). Her background is in fashion design\, MA in “Fashion and Textiles” and PhD in “Design and Architecture” (São Paulo University). Between 2015 and 2016 she worked as a doctoral visiting student at the “Wearable Senses Lab” at the Technical University of Eindhoven (Holland). She experiments with the areas of bio-materials\, digital fabrication\, special effects make-up\, costume design and electronics. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-adriano-c-monteiro-rafaela-b-pires-de-regeneration-1/
LOCATION:Stellwerk Hamburg (Lounge)\, Hannoversche Str. 85\, Hamburg\, 21079\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260423T035802
CREATED:20260421T094037Z
LAST-MODIFIED:20260421T095133Z
UID:10000141-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Miles Friday: "Breathwork"
DESCRIPTION:Breathwork is a twelve-channel sound installation where loudspeakers become breathing bodies. Each loudspeaker is encased in an inflatable bag that swells and contracts in response to low-frequency drones\, forming a slow\, ever-shifting breath-like choreography. \nWithin this field of motion\, clouds of layered just intonation partials drift in and out of perception\, while low frequencies create a base of acoustic beating and Shepard tone-esque glissandos. By transforming the loudspeaker into a pneumatic pump\, Breathwork reimagines the loudspeaker as a tool for visual synthesis\, where vibrations in the air animate inflatables as kinetic sculptures—synthetic lungs whose movement create polyrhythms that can be both seen and heard. \nAll audio is generated live via SuperCollider and is running on two Bela Mini Multichannel Expanders. \nAbout the artist\nMiles Jefferson Friday is an artist who focuses on sound as his primary medium. Building new instruments\, composing music\, designing sound sculptures\, and creating immersive installations\, his practice invites us to reconsider how we hear and listen. Miles is currently an Assistant Professor of Digital Music at University of Texas at San Antonio\, holds a DMA and MFA from Cornell University\, and an MA from the Eastman School of Music. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-miles-friday-breathwork-2/
LOCATION:Hamburg University of Technology\, Building A (Foyer)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260423T035802
CREATED:20260421T095626Z
LAST-MODIFIED:20260421T095626Z
UID:10000143-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Alessandro Anatrini: "Faulty Oracle"
DESCRIPTION:Faulty Oracle is an adaptive audiovisual installation that conjures a gloriously unreliable divinatory machine. Visitors pose questions through body language: gestures\, movements\, postures which the system interprets\, misreads\, and willfully transforms. In return\, the oracle delivers cryptic animated answers\, flickering between epiphany\, nonsense\, and hallucination. Voices stretch\, fracture\, and echo over visuals that shimmer with unstable symbols\, offering responses that feel both prophetic and utterly broken.\nThe dialogue is a masterclass in miscommunication: questions are misinterpreted\, wrong ones are amplified\, and answers rarely align with intent. The oracle becomes a mirror of ambiguity\, where meaning emerges from error\, chance\, and interpretation rather than clarity.\nBy shifting interaction from language to the body\, Faulty Oracle gleefully dismantles any expectation of precision in human-machine exchange. It invites participants into a space of playful fallibility\, reframing prophecy as a dance of uncertainty and imagination. \nAbout the artist\nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has\nbeen presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-alessandro-anatrini-faulty-oracle-2/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260423T035802
CREATED:20260421T100042Z
LAST-MODIFIED:20260422T143950Z
UID:10000154-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Dahye Seo: "Unscored"
DESCRIPTION:Sonic Flight transforms the live movement of birds over the skies of Berlin into a poetic soundscape\, where each bird’s flight is mapped onto a musical staff or piano surface. As birds glide\, swoop\, and flutter across the video feed\, their trajectories become sonic gestures—like notes traced in the air—creating an ephemeral composition in real time. Visitors experience a spatialized auditory environment where the motion of the birds is rendered as musical flow and texture\, bridging natural movement and sound. The work explores the translation of fleeting\, living patterns into audible forms\, inviting audiences to perceive the subtle interplay between urban wildlife and sound. By turning the sky into a dynamic score\, Sonic Flight emphasizes the continuous flow of life\, the poetic potential of non-human agency\, and the immersive possibilities of real-time sonification. \nAbout the artist\nDahye Seo (b. 1985\, South Korea) is a multimedia artist based in Berlin. She explores the movement of living organisms and environmental phenomena through sound\, data\, and interactive installations\, creating immersive experiences that bridge perception and natural patterns. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-dahye-seo-unscored-2/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260423T035802
CREATED:20260421T103302Z
LAST-MODIFIED:20260421T200800Z
UID:10000157-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Juan Hernández: "Helium Burning"
DESCRIPTION:Nuclear reactions in stars create a wide variety of chemical elements\, starting from hydrogen — in Carl Sagan’s words\, ‘by a kind of stellar alchemy’ (Sagan\, 2014\, p. 231). This process is known as stellar nucleosynthesis. Helium Burning is conceived as a generative system that addresses the affordances of such astronomical processes to explore timbral plasticity through digital sound synthesis in an 8-channel sound installation. The triple-alpha process by which three helium nuclei fuse into a carbon nucleus in the core of a red giant star informs a comprehensive four-layer timbral morphing process. The sound synthesis model encompasses methods of transformation of microsounds such as granulation\, transposition and time-stretching of sound files (Roads\, 2003) as well as iterative re-synthesis procedures. Iteration in the successive sound synthesis stages connotes the recursion in the nucleosynthesis process. The system is devised after the three steps of the triple-alpha process: \n\nTwo helium nuclei form an unstable beryllium nucleus\nA short-lived beryllium nucleus may be approached by another helium nucleus and fuse into an excited state of carbon called Hoyle state\nThe Hoyle state decays to the ground (stable) state of carbon (Ryan and Norton\, 2010\, p. 105-7)\n\nThe rate at which the timbral morphing process evolves is mapped from the initial abundance ratios of the nuclei involved in the different steps of the nucleosynthesis process. As the piece progresses in time\, the transmutation of timbral substances is actualised\, evoking the transmutation of atomic nuclei in the core of a star. Form emerges from the timbral morphing process. The successive phases of the sound synthesis process are the building blocks of musical structure. Because of the plasticity intrinsic to their probabilistic nature\, stellar nucleosynthesis processes may serve as models for open-ended forms. \nThe performative concept underlying sound spatialisation in the piece connotes Niels Bohr’s observation on the essential aspects of quantum mechanics\, furthered and rephrased by Carlo Rovelli as ‘the unambiguous description of any phenomenon requires the inclusion of all the objects involved in the interaction in which the phenomenon manifests itself’ (Rovelli\, 2021\, p. 119). The fluctuating ambisonic panning of each sound grain draws attention to the significance of the interaction between the phenomenon of timbral transmutation and the listener\, actualising Rovelli’s contention that ‘all phenomena are quantum phenomena’ (Rovelli\, 2021\, p. 119). \nAbout the artist\nJuan Hernández is a composer\, performer and sound artist from Colombia. In 2024 he completed his Composition PhD at the University of Leeds\, under the supervision of Dr Ewan Stefani and Dr Oliver Thurley. Juan collaborates with Ángela Hoyos Gómez in a computer music/ sound installation/ digital performance project called Ulrica Dúo. His solo work and with Ulrica Dúo has been presented in different venues and galleries in Colombia\, Mexico\, Sweden\, UK\, Greece and Portugal. His recent work explores different strategies for designing new musical frameworks based on the analysis and mapping of data from astronomical sources. Juan is currently Assistant Professor at Pontificia Universidad Javeriana in Bogotá\, Colombia. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-juan-hernandez-helium-burning-1/
LOCATION:Hamburg University of Technology\, Building N (Foyer)\, Eißendorfer Straße 40\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260423T035802
CREATED:20260421T191005Z
LAST-MODIFIED:20260421T200032Z
UID:10000191-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Pasquale Savignano: "SURROUNDINGS"
DESCRIPTION:SURROUNDINGS is a site-specific sound installation that transforms walking\, listening\, and spatial memory into a continuously unfolding sonic environment. The work is built from GPS-tracked field recordings captured through attentive movement in and around the exhibition site. These recordings are not presented as documents of place\, but as living material that is reactivated\, displaced\, and rewoven within the space itself.\nFour loudspeakers are distributed across the site\, defining a navigable field rather than a fixed listening position. Sound moves between them following the original trajectories of the recorded walks\, scaled and reoriented to fit the architecture or landscape of the installation. The visitor’s experience emerges from this superposition of paths: multiple sonic traces coexist\, intersect\, expand\, and dissolve\, producing a dynamic impression of the surroundings rather than a literal representation.\nThe installation focuses primarily on keynote sounds – the persistent acoustic textures that shape everyday environments – rather than on spectacular or foregrounded events. Through subtle processing derived from convolution\, filtering\, and granular techniques\, these sounds are stretched and smoothed\, allowing their timbral essence to surface while remaining closely tied to their original context. At times\, lightly processed documentary sounds emerge\, blurring the boundary between the audible present and the remembered past.\nListening unfolds through movement. Visitors are free to walk\, pause\, or circle the space\, allowing their perception to shift between the installation\, the actual soundscape\, and their own internal listening. The work does not impose a narrative or a fixed duration; instead\, it offers a continuous temporal flow that mirrors the rhythms of walking and environmental change.\nVisually\, the installation remains restrained and functional. Loudspeakers and cabling are integrated into the space in a manner that suggests infrastructure rather than spectacle\, reinforcing the idea of sound as an environmental layer rather than an object. The result is a non-disruptive intervention that operates near the threshold of audibility\, encouraging a heightened awareness of place.\nSURROUNDINGS proposes listening as a form of situated knowledge: an embodied practice through which space is not only perceived\, but actively composed. \nAbout the artist\nPasquale Savignano (1/5/1994) is a sound artist and composer working with field recordings and digital sound processing to explore the boundaries of physical and sonic space in various fields: electroacoustic music\, improvisation\, video art\, sound and multimedia installations. His research moves mainly between the flux of\nrelationships and interferences in the soundscape. His works have been presented internationally in galleries\, public spaces and festivals\, such as Angelica International Music Festival\, Pulsar Festival\, Echoes Around Me\, Festival di Nuova Consonanza\, Tempo Reale Festival\, Xing\, Archivio Aperto\, ArtCity\, Hyperlocal Festival\, Experimance Festival\, ICMC\, ToListenTo\, and others. He has collaborated and performed with artists such as Alvin Curran\, Francesco Giomi\, Elio Martusciello\, Maria Hassabi\, Elvin Brandhi\, Jacopo Benassi\, Marcello Maloberti\, Daniela Cattivelli\, Alessandro Bosetti\, Muna Mussie\, Francesco Cavaliere and many\nothers. He is currently pursuing a PhD in Sound&Music Computing and Cultural Heritage at Conservatorio di Musica G. Verdi di Torino and collaborates with Xing (Bologna – IT) and Marcello Maloberti Studio (Milano – IT). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-pasquale-savignano-surroundings-2/
LOCATION:Hamburg University of Technology\, Outdoor Area I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260423T035802
CREATED:20260421T191718Z
LAST-MODIFIED:20260421T200722Z
UID:10000196-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Bill Parod & Teresa Parod: "The Elephants of Trianon"
DESCRIPTION:The Elephants of Trianon is an augmented-reality audiovisual installation that extends a series of public murals into an interactive spatial sound environment. The original work consists of ten adjacent murals painted on garage doors in a public alley in Evanston\, Illinois\, USA. These form part of a larger international body of public work by the artist\, Teresa Parod. For the International Computer Music Conference\, the project is presented as a free-standing installation at TU Hamburg-Harburg using large construction-fence banners which approach the full-size of the garage door murals. \nUsing a custom mobile app\, visitors’ devices recognize each mural and anchor a corresponding three-dimensional audiovisual scene in space. As visitors move through the installation and activate additional murals\, their scenes accumulate and blend\, creating a continuously evolving environment\, rather than a sequence of isolated works. The installation therefore functions as a spatial composition shaped by listener movement\, attention\, and duration of engagement. \nThe soundscape combines field recordings made in Bali\, New Orleans\, and Chicago with instrumental layers and voices in ten languages. Animated three-dimensional forms—birds\, bats\, dogs\, elephants\, rabbits\, and celestial figures—appear among the murals\, along with subtle video textures and custom shaders that bring painted elements into motion. Some virtual elements are not confined to a single mural but move throughout the installation space\, responding to the physical layout and dimensions of the exhibition environment. \nThe project suggests a scalable model for mobile\, spatially responsive sound installations in galleries and public spaces. The software framework and mobile application used in The Elephants of Trianon have been developed through prior public installations and gallery presentations and are designed to function across a range of exhibition formats\, from outdoor murals to indoor projection and free-standing display structures. The ICMC installation demonstrates how augmented reality can be used not only as a visual medium\, but as a platform for spatial audio composition and listener-driven musical form. \nAbout the artists\nBill Parod (b. 1954\, Chicago USA) is a composer\, improviser (violin)\, and software developer who works on interactive spatial music\, audio poetry\, image reactive augmented reality\, and living music mobile apps. His work has appeared in Chicago at Elastic Arts\, Experimental Sound Studio\, and the Jay Pritzker Pavilion; Burning Man\, Nevada USA; New York University NYC\, and Ircam in Paris\, France. My music is available as mobile apps in the Apple AppStore. \nTeresa Parod (b. 1957\, Alton IL\, USA) paints vibrant\, luminous oil paintings and murals\, celebrating life through dichotomies such as light and shadow\, warm and cool and complementary colors. Her landscapes invoke mythological destinations inviting the viewer to journey there.\nShe has created over one hundred works of public art in the United States\, Cuba\, Bali\, Nepal\, and Istanbul. In Cuba\, she was honored to work with mosaicist José Fuster\, whose work inspired her creation of art in unexpected and underused spaces.\nShe lives in Evanston\, Il with her husband\, Bill Parod. Together they have collaborated on several exhibitions and performances and multichannel visual and musical art.\nShe also teaches art history at Oakton college\, does an annual century bike ride and studies and performs classic Indonesian dance. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-bill-parod-teresa-parod-the-elephants-of-trianon-2/
LOCATION:Hamburg University of Technology\, Outdoor Area II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T120000
DTEND;TZID=Europe/Amsterdam:20260512T220000
DTSTAMP:20260423T035802
CREATED:20260421T093204Z
LAST-MODIFIED:20260422T144405Z
UID:10000151-1778587200-1778623200@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Adriano C. Monteiro & Rafaela B. Pires: "DE/RE:GENERATION"
DESCRIPTION:De/Re:Generation stems from a speculative question: would cicadas sense acoustic information during the up to 17 years they live underground\, before emerging from the soil for a brief adult phase marked by intense acoustic display? From this perspective\, the installation approaches sound not only as an auditory phenomenon\, but as something sensed through the body\, making vibration and tactile perception central to the experience.\nAt the core of the work are rounded\, shell-like sculptures molded from biodegradable cassava-starch bioplastics. These forms visually echo cicada nymphs and exuviae: fragile\, hollow exoskeletons that signal absence\, transfor-mation\, and continuation. Like the remnants left after metamorphosis that nourish other species\, the installation’s ma-terials participate in an ongoing process of regeneration: they deform over time\, respond to humidity and dryness\, and become alternately more rigid or more flexible\, like a living skin in dialogue with the environment. Integrated as touch interfaces\, the bioplastic sculptures function as tactile sensing surfaces that mediate the interaction with the sound en-vironment formed by vibrating surfaces and low-frequency sound fields\, that allude to the cicada’s aboveground and underground sonic worlds\, blurring boundaries between tactile and auditory modes of perception\, organic material and inorganic technological systems. \nAbout the artists\nAdriano Monteiro is a music composer and researcher. His work focus on the convergence of art\, science and technology for creative processes\, performance and analysis of music. He is the author of eletroacustic and intermedia works in different media and formats\, such as acousmatic\, live electronics\, audiovisual performances and installations\, network and telematic music\, and also author and coauthor of several articles concerning creative processes in music and musical analysis. Adriano Monteiro is an associate professor of Music Composition at the School of Music and Scenic Arts of Federal University of Goiás (EMAC/UFG). He studied music composition at the University of Campinas (UNICAMP) and holds a PhD in music from the same institution. \nRafaela Blanch Pires is a designer and professor at the Scenic Arts department at the Federal University of Goiás (Brazil). Her background is in fashion design\, MA in “Fashion and Textiles” and PhD in “Design and Architecture” (São Paulo University). Between 2015 and 2016 she worked as a doctoral visiting student at the “Wearable Senses Lab” at the Technical University of Eindhoven (Holland). She experiments with the areas of bio-materials\, digital fabrication\, special effects make-up\, costume design and electronics. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-adriano-c-monteiro-rafaela-b-pires-de-regeneration-2/
LOCATION:Stellwerk Hamburg (Lounge)\, Hannoversche Str. 85\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T120000
DTEND;TZID=Europe/Amsterdam:20260512T230000
DTSTAMP:20260423T035802
CREATED:20260421T092222Z
LAST-MODIFIED:20260421T195815Z
UID:10000149-1778587200-1778626800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Windisch\, Peng & v. Coler: "MESH"
DESCRIPTION:MËSH is an immersive\, networked music and media system that blends interactive installation with live performance. Developed since 2019\, MËSH uses a distributed array of interactive nodes to create a responsive audiovisual environment. Depending on the venue\, installations range from 4 to 16 interconnected nodes communicating over a wireless local network. \nEach node processes real-time movement captured by its camera using custom computer-vision software. These motion signals drive local sound generation in SuperCollider and trigger sample playback drawn from a curated library of field recordings and media fragments. Sounds are spatialized across the network\, forming a shared\, evolving soundscape shaped directly by audience interaction. \nMËSH also functions as a performance instrument: synchronized graphical scores are displayed across all nodes\, enabling musicians to perform within the same reactive ecosystem. This latest iteration continues MËSH’s exploration of distributed creativity and collaborative sensing. \nAbout the artist\nHenry Windish is a graduate student at Georgia Tech. His work focuses on computer music systems\, audio software development\, and collaborative tools for performance and education. He contributes to the design and implementation of networked performance platforms and supports projects involving SuperCollider\, audio networking\, computer vision\, and interactive media. Previously\, he studied electrical engineering at Washington University in St. Louis.\nTristan Peng is a PhD student at Georgia Tech exploring interaction design\, spatial audio\, and sonification; previously studying at CCRMA at Stanford University. His work aims to create accessible\, artful\, and interactive ways for people to experience sound. His current projects investigate how data can become a medium for participation and how immersive audio spaces can evoke emotion and understanding in ways that traditional visualizations cannot.\nHenrik von Coler is a musician and researcher. In 2024 he founded the Lab for Interaction and Immersion at Georgia Tech. Before that he was the director of the Electronic Music Studio at TU Berlin. Henrik’s research explores interface design\, algorithms for sound generation and experimental concepts for composition and performance. In 2017 he founded the Electronic Orchestra Charlottenburg to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-windisch-peng-v-coler-mesh-tuesday/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T220000
DTEND;TZID=Europe/Amsterdam:20260512T233000
DTSTAMP:20260423T035802
CREATED:20260421T092805Z
LAST-MODIFIED:20260422T140517Z
UID:10000150-1778623200-1778628600@icmc2026.ligeti-zentrum.de
SUMMARY:Performance | "MESH" Installation
DESCRIPTION:TBA \n 
URL:http://icmc2026.ligeti-zentrum.de/event/performance-mesh-installation/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Installation,Performance
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T220000
DTEND;TZID=Europe/Amsterdam:20260512T233000
DTSTAMP:20260423T035802
CREATED:20260421T093705Z
LAST-MODIFIED:20260421T093705Z
UID:10000152-1778623200-1778628600@icmc2026.ligeti-zentrum.de
SUMMARY:Perfomance | Adriano C. Monteiro & Rafaela B. Pires: "DE/RE:GENERATION"
DESCRIPTION:More info about the performance soon \n  \nAbout the artists\nAdriano Monteiro is a music composer and researcher. His work focus on the convergence of art\, science and technology for creative processes\, performance and analysis of music. He is the author of eletroacustic and intermedia works in different media and formats\, such as acousmatic\, live electronics\, audiovisual performances and installations\, network and telematic music\, and also author and coauthor of several articles concerning creative processes in music and musical analysis. Adriano Monteiro is an associate professor of Music Composition at the School of Music and Scenic Arts of Federal University of Goiás (EMAC/UFG). He studied music composition at the University of Campinas (UNICAMP) and holds a PhD in music from the same institution. \nRafaela Blanch Pires is a designer and professor at the Scenic Arts department at the Federal University of Goiás (Brazil). Her background is in fashion design\, MA in “Fashion and Textiles” and PhD in “Design and Architecture” (São Paulo University). Between 2015 and 2016 she worked as a doctoral visiting student at the “Wearable Senses Lab” at the Technical University of Eindhoven (Holland). She experiments with the areas of bio-materials\, digital fabrication\, special effects make-up\, costume design and electronics. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/perfomance-adriano-c-monteiro-rafaela-b-pires-de-regeneration/
LOCATION:Stellwerk Hamburg (Lounge)\, Hannoversche Str. 85\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Installation,Performance
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260423T035802
CREATED:20260421T094018Z
LAST-MODIFIED:20260421T095138Z
UID:10000140-1778670000-1778695200@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Miles Friday: "Breathwork"
DESCRIPTION:Breathwork is a twelve-channel sound installation where loudspeakers become breathing bodies. Each loudspeaker is encased in an inflatable bag that swells and contracts in response to low-frequency drones\, forming a slow\, ever-shifting breath-like choreography. \nWithin this field of motion\, clouds of layered just intonation partials drift in and out of perception\, while low frequencies create a base of acoustic beating and Shepard tone-esque glissandos. By transforming the loudspeaker into a pneumatic pump\, Breathwork reimagines the loudspeaker as a tool for visual synthesis\, where vibrations in the air animate inflatables as kinetic sculptures—synthetic lungs whose movement create polyrhythms that can be both seen and heard. \nAll audio is generated live via SuperCollider and is running on two Bela Mini Multichannel Expanders. \nAbout the artist\nMiles Jefferson Friday is an artist who focuses on sound as his primary medium. Building new instruments\, composing music\, designing sound sculptures\, and creating immersive installations\, his practice invites us to reconsider how we hear and listen. Miles is currently an Assistant Professor of Digital Music at University of Texas at San Antonio\, holds a DMA and MFA from Cornell University\, and an MA from the Eastman School of Music. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-miles-friday-breathwork-3/
LOCATION:Hamburg University of Technology\, Building A (Foyer)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260423T035802
CREATED:20260421T095604Z
LAST-MODIFIED:20260421T095659Z
UID:10000137-1778670000-1778695200@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Alessandro Anatrini: "Faulty Oracle"
DESCRIPTION:Faulty Oracle is an adaptive audiovisual installation that conjures a gloriously unreliable divinatory machine. Visitors pose questions through body language: gestures\, movements\, postures which the system interprets\, misreads\, and willfully transforms. In return\, the oracle delivers cryptic animated answers\, flickering between epiphany\, nonsense\, and hallucination. Voices stretch\, fracture\, and echo over visuals that shimmer with unstable symbols\, offering responses that feel both prophetic and utterly broken.\nThe dialogue is a masterclass in miscommunication: questions are misinterpreted\, wrong ones are amplified\, and answers rarely align with intent. The oracle becomes a mirror of ambiguity\, where meaning emerges from error\, chance\, and interpretation rather than clarity.\nBy shifting interaction from language to the body\, Faulty Oracle gleefully dismantles any expectation of precision in human-machine exchange. It invites participants into a space of playful fallibility\, reframing prophecy as a dance of uncertainty and imagination. \nAbout the artist\nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has\nbeen presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-alessandro-anatrini-faulty-oracle-3/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260423T035802
CREATED:20260421T100042Z
LAST-MODIFIED:20260422T145214Z
UID:10000155-1778670000-1778695200@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Dahye Seo: "Unscored"
DESCRIPTION:Sonic Flight transforms the live movement of birds over the skies of Berlin into a poetic soundscape\, where each bird’s flight is mapped onto a musical staff or piano surface. As birds glide\, swoop\, and flutter across the video feed\, their trajectories become sonic gestures—like notes traced in the air—creating an ephemeral composition in real time. Visitors experience a spatialized auditory environment where the motion of the birds is rendered as musical flow and texture\, bridging natural movement and sound. The work explores the translation of fleeting\, living patterns into audible forms\, inviting audiences to perceive the subtle interplay between urban wildlife and sound. By turning the sky into a dynamic score\, Sonic Flight emphasizes the continuous flow of life\, the poetic potential of non-human agency\, and the immersive possibilities of real-time sonification. \nAbout the artist\nDahye Seo (b. 1985\, South Korea) is a multimedia artist based in Berlin. She explores the movement of living organisms and environmental phenomena through sound\, data\, and interactive installations\, creating immersive experiences that bridge perception and natural patterns. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-dahye-seo-unscoredt-3/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260423T035802
CREATED:20260421T191005Z
LAST-MODIFIED:20260421T200026Z
UID:10000192-1778670000-1778695200@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Pasquale Savignano: "SURROUNDINGS"
DESCRIPTION:SURROUNDINGS is a site-specific sound installation that transforms walking\, listening\, and spatial memory into a continuously unfolding sonic environment. The work is built from GPS-tracked field recordings captured through attentive movement in and around the exhibition site. These recordings are not presented as documents of place\, but as living material that is reactivated\, displaced\, and rewoven within the space itself.\nFour loudspeakers are distributed across the site\, defining a navigable field rather than a fixed listening position. Sound moves between them following the original trajectories of the recorded walks\, scaled and reoriented to fit the architecture or landscape of the installation. The visitor’s experience emerges from this superposition of paths: multiple sonic traces coexist\, intersect\, expand\, and dissolve\, producing a dynamic impression of the surroundings rather than a literal representation.\nThe installation focuses primarily on keynote sounds – the persistent acoustic textures that shape everyday environments – rather than on spectacular or foregrounded events. Through subtle processing derived from convolution\, filtering\, and granular techniques\, these sounds are stretched and smoothed\, allowing their timbral essence to surface while remaining closely tied to their original context. At times\, lightly processed documentary sounds emerge\, blurring the boundary between the audible present and the remembered past.\nListening unfolds through movement. Visitors are free to walk\, pause\, or circle the space\, allowing their perception to shift between the installation\, the actual soundscape\, and their own internal listening. The work does not impose a narrative or a fixed duration; instead\, it offers a continuous temporal flow that mirrors the rhythms of walking and environmental change.\nVisually\, the installation remains restrained and functional. Loudspeakers and cabling are integrated into the space in a manner that suggests infrastructure rather than spectacle\, reinforcing the idea of sound as an environmental layer rather than an object. The result is a non-disruptive intervention that operates near the threshold of audibility\, encouraging a heightened awareness of place.\nSURROUNDINGS proposes listening as a form of situated knowledge: an embodied practice through which space is not only perceived\, but actively composed. \nAbout the artist\nPasquale Savignano (1/5/1994) is a sound artist and composer working with field recordings and digital sound processing to explore the boundaries of physical and sonic space in various fields: electroacoustic music\, improvisation\, video art\, sound and multimedia installations. His research moves mainly between the flux of\nrelationships and interferences in the soundscape. His works have been presented internationally in galleries\, public spaces and festivals\, such as Angelica International Music Festival\, Pulsar Festival\, Echoes Around Me\, Festival di Nuova Consonanza\, Tempo Reale Festival\, Xing\, Archivio Aperto\, ArtCity\, Hyperlocal Festival\, Experimance Festival\, ICMC\, ToListenTo\, and others. He has collaborated and performed with artists such as Alvin Curran\, Francesco Giomi\, Elio Martusciello\, Maria Hassabi\, Elvin Brandhi\, Jacopo Benassi\, Marcello Maloberti\, Daniela Cattivelli\, Alessandro Bosetti\, Muna Mussie\, Francesco Cavaliere and many\nothers. He is currently pursuing a PhD in Sound&Music Computing and Cultural Heritage at Conservatorio di Musica G. Verdi di Torino and collaborates with Xing (Bologna – IT) and Marcello Maloberti Studio (Milano – IT). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-pasquale-savignano-surroundings-3/
LOCATION:Hamburg University of Technology\, Outdoor Area I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260423T035802
CREATED:20260421T191718Z
LAST-MODIFIED:20260421T200718Z
UID:10000195-1778670000-1778695200@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Bill Parod & Teresa Parod: "The Elephants of Trianon"
DESCRIPTION:The Elephants of Trianon is an augmented-reality audiovisual installation that extends a series of public murals into an interactive spatial sound environment. The original work consists of ten adjacent murals painted on garage doors in a public alley in Evanston\, Illinois\, USA. These form part of a larger international body of public work by the artist\, Teresa Parod. For the International Computer Music Conference\, the project is presented as a free-standing installation at TU Hamburg-Harburg using large construction-fence banners which approach the full-size of the garage door murals. \nUsing a custom mobile app\, visitors’ devices recognize each mural and anchor a corresponding three-dimensional audiovisual scene in space. As visitors move through the installation and activate additional murals\, their scenes accumulate and blend\, creating a continuously evolving environment\, rather than a sequence of isolated works. The installation therefore functions as a spatial composition shaped by listener movement\, attention\, and duration of engagement. \nThe soundscape combines field recordings made in Bali\, New Orleans\, and Chicago with instrumental layers and voices in ten languages. Animated three-dimensional forms—birds\, bats\, dogs\, elephants\, rabbits\, and celestial figures—appear among the murals\, along with subtle video textures and custom shaders that bring painted elements into motion. Some virtual elements are not confined to a single mural but move throughout the installation space\, responding to the physical layout and dimensions of the exhibition environment. \nThe project suggests a scalable model for mobile\, spatially responsive sound installations in galleries and public spaces. The software framework and mobile application used in The Elephants of Trianon have been developed through prior public installations and gallery presentations and are designed to function across a range of exhibition formats\, from outdoor murals to indoor projection and free-standing display structures. The ICMC installation demonstrates how augmented reality can be used not only as a visual medium\, but as a platform for spatial audio composition and listener-driven musical form. \nAbout the artists\nBill Parod (b. 1954\, Chicago USA) is a composer\, improviser (violin)\, and software developer who works on interactive spatial music\, audio poetry\, image reactive augmented reality\, and living music mobile apps. His work has appeared in Chicago at Elastic Arts\, Experimental Sound Studio\, and the Jay Pritzker Pavilion; Burning Man\, Nevada USA; New York University NYC\, and Ircam in Paris\, France. My music is available as mobile apps in the Apple AppStore. \nTeresa Parod (b. 1957\, Alton IL\, USA) paints vibrant\, luminous oil paintings and murals\, celebrating life through dichotomies such as light and shadow\, warm and cool and complementary colors. Her landscapes invoke mythological destinations inviting the viewer to journey there.\nShe has created over one hundred works of public art in the United States\, Cuba\, Bali\, Nepal\, and Istanbul. In Cuba\, she was honored to work with mosaicist José Fuster\, whose work inspired her creation of art in unexpected and underused spaces.\nShe lives in Evanston\, Il with her husband\, Bill Parod. Together they have collaborated on several exhibitions and performances and multichannel visual and musical art.\nShe also teaches art history at Oakton college\, does an annual century bike ride and studies and performs classic Indonesian dance. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-bill-parod-teresa-parod-the-elephants-of-trianon-3/
LOCATION:Hamburg University of Technology\, Outdoor Area II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T120000
DTEND;TZID=Europe/Amsterdam:20260513T190000
DTSTAMP:20260423T035802
CREATED:20260415T121027Z
LAST-MODIFIED:20260421T200414Z
UID:10000119-1778673600-1778698800@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Interactive Installation | Anouk Kellner: "Airchoir inter/reactive"
DESCRIPTION:Photo: Ethan Cannaert\n  \nThe interactive sound installation Airchoir consists of eight inflatable figures that breathe in and out like living lungs. Their voices are heard through the organ pipes to which they are connected. Like a choir\, they come together to form a multi-layered soundscape that constantly changes with the movement of the visitors.  \nNo 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-interactive-installation-anouk-kellner-airchoir-inter-reactive/
LOCATION:Planet Harburg\, Herbert-und-Greta-Wehner-Platz\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Installation,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T173000
DTEND;TZID=Europe/Amsterdam:20260513T191500
DTSTAMP:20260423T035802
CREATED:20260415T121612Z
LAST-MODIFIED:20260421T200357Z
UID:10000120-1778693400-1778699700@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Installation & Performance | Andrea Mancianti & Tom De Cock: "Autophagy III"
DESCRIPTION:Photo: Andrea Mancianti\n  \nAutophagy III is a participatory installation that visitors can walk through and interact with: the interplay of small percussion instruments\, sixteen suspended sound sources\, and an interactive lighting system creates an immersive soundscape.  \nNo 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  \n  \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-installation-performance-andrea-mancianti-tom-de-cock-autophagy-iii/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:13-05,Installation,Off-ICMC,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260423T035802
CREATED:20260421T095113Z
LAST-MODIFIED:20260421T095143Z
UID:10000136-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation: Miles Friday: "Breathwork"
DESCRIPTION:Breathwork is a twelve-channel sound installation where loudspeakers become breathing bodies. Each loudspeaker is encased in an inflatable bag that swells and contracts in response to low-frequency drones\, forming a slow\, ever-shifting breath-like choreography. \nWithin this field of motion\, clouds of layered just intonation partials drift in and out of perception\, while low frequencies create a base of acoustic beating and Shepard tone-esque glissandos. By transforming the loudspeaker into a pneumatic pump\, Breathwork reimagines the loudspeaker as a tool for visual synthesis\, where vibrations in the air animate inflatables as kinetic sculptures—synthetic lungs whose movement create polyrhythms that can be both seen and heard. \nAll audio is generated live via SuperCollider and is running on two Bela Mini Multichannel Expanders. \nAbout the artist\nMiles Jefferson Friday is an artist who focuses on sound as his primary medium. Building new instruments\, composing music\, designing sound sculptures\, and creating immersive installations\, his practice invites us to reconsider how we hear and listen. Miles is currently an Assistant Professor of Digital Music at University of Texas at San Antonio\, holds a DMA and MFA from Cornell University\, and an MA from the Eastman School of Music. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-miles-friday-breathwork-4/
LOCATION:Hamburg University of Technology\, Building A (Foyer)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260423T035802
CREATED:20260421T095608Z
LAST-MODIFIED:20260421T095707Z
UID:10000145-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Alessandro Anatrini: "Faulty Oracle"
DESCRIPTION:Faulty Oracle is an adaptive audiovisual installation that conjures a gloriously unreliable divinatory machine. Visitors pose questions through body language: gestures\, movements\, postures which the system interprets\, misreads\, and willfully transforms. In return\, the oracle delivers cryptic animated answers\, flickering between epiphany\, nonsense\, and hallucination. Voices stretch\, fracture\, and echo over visuals that shimmer with unstable symbols\, offering responses that feel both prophetic and utterly broken.\nThe dialogue is a masterclass in miscommunication: questions are misinterpreted\, wrong ones are amplified\, and answers rarely align with intent. The oracle becomes a mirror of ambiguity\, where meaning emerges from error\, chance\, and interpretation rather than clarity.\nBy shifting interaction from language to the body\, Faulty Oracle gleefully dismantles any expectation of precision in human-machine exchange. It invites participants into a space of playful fallibility\, reframing prophecy as a dance of uncertainty and imagination. \nAbout the artist\nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has\nbeen presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-alessandro-anatrini-faulty-oracle-4/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260423T035802
CREATED:20260421T100042Z
LAST-MODIFIED:20260422T145720Z
UID:10000138-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Dahye Seo: "Unscored"
DESCRIPTION:Sonic Flight transforms the live movement of birds over the skies of Berlin into a poetic soundscape\, where each bird’s flight is mapped onto a musical staff or piano surface. As birds glide\, swoop\, and flutter across the video feed\, their trajectories become sonic gestures—like notes traced in the air—creating an ephemeral composition in real time. Visitors experience a spatialized auditory environment where the motion of the birds is rendered as musical flow and texture\, bridging natural movement and sound. The work explores the translation of fleeting\, living patterns into audible forms\, inviting audiences to perceive the subtle interplay between urban wildlife and sound. By turning the sky into a dynamic score\, Sonic Flight emphasizes the continuous flow of life\, the poetic potential of non-human agency\, and the immersive possibilities of real-time sonification. \nAbout the artist\nDahye Seo (b. 1985\, South Korea) is a multimedia artist based in Berlin. She explores the movement of living organisms and environmental phenomena through sound\, data\, and interactive installations\, creating immersive experiences that bridge perception and natural patterns. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-dahye-seo-unscored-4/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260423T035802
CREATED:20260421T191005Z
LAST-MODIFIED:20260421T200021Z
UID:10000189-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Pasquale Savignano: "SURROUNDINGS"
DESCRIPTION:SURROUNDINGS is a site-specific sound installation that transforms walking\, listening\, and spatial memory into a continuously unfolding sonic environment. The work is built from GPS-tracked field recordings captured through attentive movement in and around the exhibition site. These recordings are not presented as documents of place\, but as living material that is reactivated\, displaced\, and rewoven within the space itself.\nFour loudspeakers are distributed across the site\, defining a navigable field rather than a fixed listening position. Sound moves between them following the original trajectories of the recorded walks\, scaled and reoriented to fit the architecture or landscape of the installation. The visitor’s experience emerges from this superposition of paths: multiple sonic traces coexist\, intersect\, expand\, and dissolve\, producing a dynamic impression of the surroundings rather than a literal representation.\nThe installation focuses primarily on keynote sounds – the persistent acoustic textures that shape everyday environments – rather than on spectacular or foregrounded events. Through subtle processing derived from convolution\, filtering\, and granular techniques\, these sounds are stretched and smoothed\, allowing their timbral essence to surface while remaining closely tied to their original context. At times\, lightly processed documentary sounds emerge\, blurring the boundary between the audible present and the remembered past.\nListening unfolds through movement. Visitors are free to walk\, pause\, or circle the space\, allowing their perception to shift between the installation\, the actual soundscape\, and their own internal listening. The work does not impose a narrative or a fixed duration; instead\, it offers a continuous temporal flow that mirrors the rhythms of walking and environmental change.\nVisually\, the installation remains restrained and functional. Loudspeakers and cabling are integrated into the space in a manner that suggests infrastructure rather than spectacle\, reinforcing the idea of sound as an environmental layer rather than an object. The result is a non-disruptive intervention that operates near the threshold of audibility\, encouraging a heightened awareness of place.\nSURROUNDINGS proposes listening as a form of situated knowledge: an embodied practice through which space is not only perceived\, but actively composed. \nAbout the artist\nPasquale Savignano (1/5/1994) is a sound artist and composer working with field recordings and digital sound processing to explore the boundaries of physical and sonic space in various fields: electroacoustic music\, improvisation\, video art\, sound and multimedia installations. His research moves mainly between the flux of\nrelationships and interferences in the soundscape. His works have been presented internationally in galleries\, public spaces and festivals\, such as Angelica International Music Festival\, Pulsar Festival\, Echoes Around Me\, Festival di Nuova Consonanza\, Tempo Reale Festival\, Xing\, Archivio Aperto\, ArtCity\, Hyperlocal Festival\, Experimance Festival\, ICMC\, ToListenTo\, and others. He has collaborated and performed with artists such as Alvin Curran\, Francesco Giomi\, Elio Martusciello\, Maria Hassabi\, Elvin Brandhi\, Jacopo Benassi\, Marcello Maloberti\, Daniela Cattivelli\, Alessandro Bosetti\, Muna Mussie\, Francesco Cavaliere and many\nothers. He is currently pursuing a PhD in Sound&Music Computing and Cultural Heritage at Conservatorio di Musica G. Verdi di Torino and collaborates with Xing (Bologna – IT) and Marcello Maloberti Studio (Milano – IT). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-pasquale-savignano-surroundings-4/
LOCATION:Hamburg University of Technology\, Outdoor Area I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260423T035802
CREATED:20260421T191718Z
LAST-MODIFIED:20260421T200713Z
UID:10000194-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Bill Parod & Teresa Parod: "The Elephants of Trianon"
DESCRIPTION:The Elephants of Trianon is an augmented-reality audiovisual installation that extends a series of public murals into an interactive spatial sound environment. The original work consists of ten adjacent murals painted on garage doors in a public alley in Evanston\, Illinois\, USA. These form part of a larger international body of public work by the artist\, Teresa Parod. For the International Computer Music Conference\, the project is presented as a free-standing installation at TU Hamburg-Harburg using large construction-fence banners which approach the full-size of the garage door murals. \nUsing a custom mobile app\, visitors’ devices recognize each mural and anchor a corresponding three-dimensional audiovisual scene in space. As visitors move through the installation and activate additional murals\, their scenes accumulate and blend\, creating a continuously evolving environment\, rather than a sequence of isolated works. The installation therefore functions as a spatial composition shaped by listener movement\, attention\, and duration of engagement. \nThe soundscape combines field recordings made in Bali\, New Orleans\, and Chicago with instrumental layers and voices in ten languages. Animated three-dimensional forms—birds\, bats\, dogs\, elephants\, rabbits\, and celestial figures—appear among the murals\, along with subtle video textures and custom shaders that bring painted elements into motion. Some virtual elements are not confined to a single mural but move throughout the installation space\, responding to the physical layout and dimensions of the exhibition environment. \nThe project suggests a scalable model for mobile\, spatially responsive sound installations in galleries and public spaces. The software framework and mobile application used in The Elephants of Trianon have been developed through prior public installations and gallery presentations and are designed to function across a range of exhibition formats\, from outdoor murals to indoor projection and free-standing display structures. The ICMC installation demonstrates how augmented reality can be used not only as a visual medium\, but as a platform for spatial audio composition and listener-driven musical form. \nAbout the artists\nBill Parod (b. 1954\, Chicago USA) is a composer\, improviser (violin)\, and software developer who works on interactive spatial music\, audio poetry\, image reactive augmented reality\, and living music mobile apps. His work has appeared in Chicago at Elastic Arts\, Experimental Sound Studio\, and the Jay Pritzker Pavilion; Burning Man\, Nevada USA; New York University NYC\, and Ircam in Paris\, France. My music is available as mobile apps in the Apple AppStore. \nTeresa Parod (b. 1957\, Alton IL\, USA) paints vibrant\, luminous oil paintings and murals\, celebrating life through dichotomies such as light and shadow\, warm and cool and complementary colors. Her landscapes invoke mythological destinations inviting the viewer to journey there.\nShe has created over one hundred works of public art in the United States\, Cuba\, Bali\, Nepal\, and Istanbul. In Cuba\, she was honored to work with mosaicist José Fuster\, whose work inspired her creation of art in unexpected and underused spaces.\nShe lives in Evanston\, Il with her husband\, Bill Parod. Together they have collaborated on several exhibitions and performances and multichannel visual and musical art.\nShe also teaches art history at Oakton college\, does an annual century bike ride and studies and performs classic Indonesian dance. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-bill-parod-teresa-parod-the-elephants-of-trianon-4/
LOCATION:Hamburg University of Technology\, Outdoor Area II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
END:VCALENDAR