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X-WR-CALDESC:Events for ICMC HAMBURG 2026
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DTSTART;TZID=Europe/Amsterdam:20260516T233000
DTEND;TZID=Europe/Amsterdam:20260517T020000
DTSTAMP:20260530T101545
CREATED:20260422T110907Z
LAST-MODIFIED:20260516T111037Z
UID:10000225-1778974200-1778983200@icmc2026.ligeti-zentrum.de
SUMMARY:After Party
DESCRIPTION:We’re bringing Hamburg’s subculture music scene to the official Aftershow Party of ICMC HAMBURG 2026. \n  \nPowerbanksy (Techhouse / House) \nDelivering a solid 4/4 groove is Powerbanksy — driving tech house\, warm house grooves\, hypnotic basslines. Somewhere between underground club energy and late-night euphoria\, his sound delivers raw momentum with effortless flow: deep\, punchy\, and unapologetically danceable. \nhttps://soundcloud.com/di-ys \n  \n \n  \nRespect & Awareness \nTake care of each other! We want everyone to feel safe\, comfortable\, and respected. To make this night enjoyable for all\, please follow these simple guidelines: \nRespect Boundaries: Treat others with consideration. Always respect personal boundaries – only yes means yes. \nLook Out for Each Other: If you see someone who needs help or looks uncomfortable\, please offer support or inform our staff. \nZero Tolerance for Discrimination: There is no room for sexism\, racism\, homophobia\, transphobia\, or any other form of discrimination or harassment. \nNeed Help? If you feel harassed\, unsafe\, or unwell\, please contact our Awareness Team (you can recognize them by their pink vests) \n 
URL:http://icmc2026.ligeti-zentrum.de/event/after-party/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:16-05,Special Event
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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DTSTART;TZID=Europe/Amsterdam:20260516T220000
DTEND;TZID=Europe/Amsterdam:20260516T233000
DTSTAMP:20260530T101545
CREATED:20260422T110714Z
LAST-MODIFIED:20260507T174230Z
UID:10000218-1778968800-1778974200@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 6C (After Party)
DESCRIPTION:From the conference to the dance floor! ICMC HAMBURG 2026 culminates in the Club Concert 6C\, followed by the official After Party. DJs from Hamburg will keep the energy going and invite guests to celebrate the conference finale together. \nThis Club Concert and the After Party are open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\npORCELAIN\nDave O Mahony \nRushpusher\nEric Honour \nSyzygys \nFiona Xue Ju and Drew Farrar \nCapture Un-Capturable\nYue Zhang \nCross talk: distributed feedback \nDennis Scheiba \nthese particles we immersed \nAnqi Liu and Han Zhang \nInterwoven Realms: The Threefold Domain of Consciousness\nQing Ye and Yuxue Zhou \nScarittera – Subterranean Eruptions of Sonic Memory\nDanilo Randazzo \n  \nAbout the pieces & artists\nDave O Mahony: pORCELAIN\nAn audio and video representation for the feeling when ones bones rub together. \nAbout the artist\nDave O Mahony is a PhD graduate of the University of Limerick\, Ireland. His compositions have been performed at the Sines & Squares Festival (Manchester\, UK) both 2014 and 2016\, The Hilltown New Music Festival (Ireland)\, at the Daghda Gravity & Grace Festival (Limerick\, Ireland)\, as part of the Society of Electro Acoustic Music United States conferences 2018 and 2019 (Eugene Or. & Boston Ma.)\, the 2018 New York Electro Acoustic Music Festival\, the the International Computer Music Conference (I.C.M.C.)/ New York Electro Acoustic Music Festival joint 2019 event (both in New York\, NY.)\, the 2018 and 2019 Electroacoustic Barn Dance (Jacksonville\, FL)\, the 2020\, 2021 and 2022 Earth Day Art Model online festivals\, the 2021 New Music Gathering online conference\, the Radiophrenia online event (2022) and the 2020/21 I.C.M.A. conference. He is a member of the Irish Sound Science and Technology Association (ISSTA)\, S.E.A.M.U.S. the I.C.M.A. and has an interest in manipulating modular synthesizers with brainwaves. He holds a Doctorate in Composition in Music Technology\, a BA in English and New Media (Hons) and an MA in Music Technology (Hons) from the University of Limerick\, Ireland. \n  \nEric Honour: Rushpusher\nRushed onto a Push\, Rushpusher features a rush of buttons pushed rushedly\, to push a sense of rushing\, pushy music\, pressing close like pushing through a dense bed of rushes. Also\, a bass may be dropped. \nAbout the artist\nDevoted to exploring and furthering the intersections of music and technology\, Eric Honour’s work as a composer and saxophonist has been featured around the world in numerous international conferences and festivals like ICMC\, SEAMUS\, MUSLAB\, Sonorities\, EMM\, NYCEMF\, and others. A member of the Athens Saxophone Quartet\, he performs regularly in Europe and the United States\, and has presented lectures and masterclasses at many leading institutions.\nHonour is Chair of the School of Visual and Performing Arts\, Professor of music\, and founder of the Center for Music Technology at the University of Central Missouri\, teaching courses in acoustics\, music technology\, and composition. His work as an audio engineer and producer appears on the Innova\, Centaur\, Ravello\, and Irritable Hedgehog labels\, among others\, as well as on numerous independent releases and he has served as an acoustics consultant and designer on projects ranging from recording studios to classrooms to auditoriums and performance spaces\, most recently serving as the principal designer of UCM’s cutting-edge music technology studios\, which opened in 2022. \n  \nFiona Xue Ju and Drew Farrar: Syzygys \nSyzygys is an electroacoustic improvisation for electric guitar\, pedals\, analog and digital synthesizers\, and live electronics. The performance is based on a real-time interaction between two performers whose sound worlds are continuously shaped\, transformed\, and interwoven through electronic mediation. One performer operates a hybrid setup combining analog and digital synthesizers with custom Max/MSP patches and Ableton Live\, controlled via MIDI to enable responsive sound generation\, processing\, and structural modulation. The other performer plays electric guitar through an extended chain of pedals\, exploring experimental sound production\, noise-based textures\, and timbral instability. \nRather than treating the electronic systems as fixed signal processors\, the performance emphasizes electronics as active agents within an improvisational ecology. Sound materials circulate between guitar\, synthesizers\, and live processing\, creating feedback loops of influence in which gesture\, listening\, and system behavior mutually inform musical decisions. The resulting form emerges through moment-to-moment negotiation\, highlighting fragility\, risk\, and unpredictability as core aesthetic values. \nThe performance explores the tension between control and indeterminacy in live electronic improvisation\, examining how analog and digital systems can coexist and interact within a shared sonic space. By foregrounding performer–performer and performer–system interaction\, the work contributes to contemporary discourse on electroacoustic improvisation\, hybrid performance practices\, and the role of real-time electronic mediation in collaborative music-making. \nAbout the artists\nFiona Xue Ju is a Ph.D. candidate in Experimental Music and Digital Media at Louisiana State University. A composer and media artist originally from China\, she works across sound\, performance\, and visual design. She holds a Bachelor’s degree in composition from Oberlin Conservatory and a Master’s degree in CoPeCo (Contemporary Performance and Composition) from CNSMD Lyon. Her work blends electronic music with multimedia\, exploring immersive\, politically engaged experiences across digital and physical spaces. \nDrew Farrar is a composer\, guitarist\, and educator from St. Louis\, Missouri\, based in Baton Rouge\, Louisiana. His music explores agency and otherness through physical movement\, quotation\, and spectral techniques. His works have been performed by ensembles including RE:duo and the Illinois Modern Ensemble. He received M.M. degrees in Composition and Guitar Performance from the University of Illinois at Urbana-Champaign and is currently pursuing a Ph.D. in Composition at Louisiana State University. \n  \nYue Zhang: Capture Un-Capturable\nCapture Un-Capturable is an interactive performance that integrates sign language with Mediapipe gesture recognition technology. Grounded in the notion that “sound is formless and sign language is silent\,” the work reimagines translation by placing sign language at the center of artistic expression. Drawing upon the metaphor of the “strobe camera” in sign language\, the piece captures and translates natural phenomena beyond the limits of human perception — from the surging magma within the Earth to the subtle sounds of water\, forests\, and rain in the outer spheres. By centering people with disabilities as both the creative core and source of inspiration\, the work transforms all audience members into equal participants\, enabling them to “listen” through gestures and “see” through sound — a cross-sensory experience where technology\, nature\, and human compassion converge. \nAbout the artist\nZhang Yue (b. 2002) is a member of the International Computer Music Association (ICMA) and the Electroacoustic Music Society of the Chinese Musicians’ Association. She is currently pursuing a master’s degree at the Wuhan Conservatory of Music.\nHer works have been selected for the International Computer Music Conference (ICMC) in 2023\, 2024\, and 2025. Among them\, Flying with the Starlings received the Best Student Work Award at ICMC 2023. She has twice been awarded the Phil Winsor Young Composer Award at WOCMAT (2023\, 2024). Her works The Butterfly Revelation and The Lament of Plants won first prize in the electroacoustic category at the International Electroacoustic Music Competition (IEMC) in 2024 and 2025\, respectively. Her thesis received the Outstanding Bachelor’s Thesis Award at the Wuhan Conservatory of Music and was selected for the National Conservatory Graduate Academic Symposium. \n  \nDennis Scheiba: Cross talk: distributed feedback for mobile devices \nRecent developments in spatial audio have largely focused on fixed loudspeaker arrays or object-based rendering systems\, often implying a privileged listening position and reducing sonic space to a localized perspective of a sweet spot. This work instead questions whether object-based thinking can be redirected from optimizing a sweet spot toward adapting sound spatialization to the room and the bodies within it by using bi-directional audio streaming.\nUsing Stecker\, a custom-built streaming framework\, the microphones and loudspeakers of audience smartphones are accessed via WebRTC to form a distributed\, wireless feedback network. In this setup\, each participant becomes an active acoustic node\, and spatialization emerges from the physical arrangement\, proximity\, and interaction of devices rather than from predefined speaker layouts. The resulting feedback grid produces an embodied and continuously reconfiguring spatial field that blurs the boundaries between performer\, audience\, and sound diffusion. \nAbout the artist\nDennis Scheiba is an artistic and research associate at the Robert Schumann Hochschule Düsseldorf. He works as a composer\, live coder\, and audio-visual artist with a special interest in multi-spatiality and streaming technologies. He has performed at MIT\, Johns Hopkins University\, ZKM\, KUG\, and IRCAM.\nScheiba has a background in mathematics and machine learning and currently researches on audio-only VR environments\, JIT-compilation in DSP environments\, WebRTC streaming\, and packaging of audio-projects. \n  \nAnqi Liu and Han Zhang: these particles we immersed \nthese particles we immersed (2025) is a 50-minute multimedia live set that treats performance as an evolving ecology of touch\, signal\, and shared attention. Built around a DIY sensor instrument\, live electronics\, and real-time visual processing\, the work uses yarn as both material and method\, a soft architecture that binds bodies\, devices\, and projected image into a single\, unstable circuit. Rather than presenting sound and image as parallel layers\, the piece stages their continuous co-production\, where tactile tension\, proximity\, and micro-gestures become the conditions from which sonic and visual events emerge. \nAt the center of the work is translation\, understood not as a neutral bridge but as a set of thresholds that determine what becomes legible. Physical relations are translated into control and transformation\, then translated again into audible and visible behavior. Each translation clarifies and cuts at once; it amplifies certain forces\, pressure\, friction\, breath\, strain\, while compressing others that resist capture. The DIY sensor instrument foregrounds this politics of conversion by making mediation visible. It asks what is gained when embodied experience becomes data\, and what is lost when lived continuity is segmented into events that can be routed\, processed\, and displayed. \nThe system is designed to remain sensitive to failure modes\, noise\, drift\, latency\, and feedback\, not as problems to be corrected but as evidence of an environment acting back. The live electronics operate less as “effects” and more as a responsive habitat\, shaping the performers’ pacing and risk\, while being reshaped by their touch. The visual processing functions as another listening surface\, a reactive field that materializes tension and release\, accumulation and rupture\, making the translation chain perceptible as a changing image ecology. \nParticipation is embedded in the work’s method. Yarn creates a shared infrastructure that requires negotiation\, it constrains and enables simultaneously\, producing a relational dramaturgy of binding and unbinding. Decisions are distributed across bodies\, sensors\, algorithms\, and the room itself\, including its light\, resonance\, and attention economy. The piece treats the performance space as an active participant\, where the smallest shifts in gesture or position can tilt the system from stability into turbulence\, or from turbulence into fragile coherence. \nDeveloped during one of our Visiting Artist Scholar Designer Residencies\, these particles we immersed proposes a way of composing with thresholds\, where form is discovered through real-time negotiation among material\, technology\, and care.\nIn ICMC 2026\, we are flexible to perform this piece in any length as needed. \nAbout the artist\nāññā is an interdisciplinary performative duo formed by multimedia artists Anqi Liu and Han Zhang\, devoted to fluid\, cross-sensory\, and interrelational experiences. We play\, dream\, and create together—expanding the boundaries of perception and space. As lifelong collaborators\, we weave our diverse journeys into a shared artistic language: ski partners carving through mountains and rivers\, practitioners of occult metaphysics immersed in the I Ching and star charts.\nOur work is not merely a collaboration\, but a continuous merging of lives\, thoughts\, and psyches—an evolving dreamscape where creative boundaries dissolve and reassemble in perpetual transformation.\nHaving completed their BROILER Artistic Residency with Oracle Egg and the Visiting Artist Scholar Designer Residency at Rocky Mountain College of Art + Design\, āññā is currently releasing an experimental film with Music For Your Inbox\, Los Angeles\, and preparing for their upcoming show with Dog Star Orchestra in Los Angeles this June. Their debut album is also in progress. \n  \nQing Ye and Yuxue Zhou: Interwoven Realms: The Threefold Domain of Consciousness\n“Overlap: The Three Realms of Consciousness” is a multimedia musical work that explores the deep structures of the human psyche. The sonic dimension includes ASMR trigger sounds—such as wood\, metal\, and human oral noises—woven into an arch-shaped structure (ABCB’A’) that connects Freud’s three dimensions of the preconscious\, the unconscious\, and consciousness. Through TouchDesigner\, sound and visuals jointly construct a psychological landscape\, revealing the interlacing and transformation of multidimensional consciousness within dreams. The audience is drawn into a psychological space that transcends reality\, experiencing the flow and reflection of consciousness through the fusion of sound and form. \nAbout the artists\nQing Ye is a composer and doctoral student in Music Technology at Nanjing University of the Arts\, supervised by Professor Xuan Wang. She is a member of the Electronic Music Society of the Chinese Musicians’ Association and holds a Level-3 composer certification. Her works have been presented at international composition competitions including the Hangzhou International Electronic Music Festival and the Sibelius and Vivaldi International Music Competitions. Her practice focuses on computer-assisted composition and audiovisual creation. \nYuxue Zhou is a Ph.D. in Musicology at the Communication University of China under the supervision of Professor Xuan Wang. Her creative work focuses on electronic and multimedia music. She has received awards at major composition competitions including MUSICACOUSTICA-BEIJING\, the Hangzhou International Electronic Music Festival\, and the Vivaldi International Composition Competition. Her works have been presented in national arts projects and international multimedia music events. \n  \nDanilo Randazzo: Subterranean Eruptions of Sonic Memory\nThis live electronics piece is conceived for solo computer and visual media. It stands between computational ethnomusicology and computer music performance\, addressing the challenge of reinterpreting a vanishing oral tradition through digital technologies while questioning the musical relationship with the original repertoire. The current focus is on Sicilian carters’ songs\, chosen for their distinctive melodic style in Sicilian traditional music. The project employs pioneering computer music techniques to sonify the repertoire’s melodic and spectral data. Specifically\, the sound design draws from David Wessel’s seminal work on timbral morphing and spectral interpolation (as exemplified in “Antony”). These early computer music strategies create a sonic bridge between oral tradition and digital reinterpretation. The compositional logic follows the principles of soundscape composition\, treating the analytical data as environmental sound sources that are organized according to R. Murray Schafer’s concepts of soundmark\, keynote\, and signal. The performance features realtime arrangements of textures produced through different sonification strategies\, evoking the identity of the carters’ songs across three levels of fidelity: • Lo-fi: only hints at the original melodies\, functioning as distant soundmarks • Hi-fi: closely follows melodic structures\, preserving recognizable keynote elements • Rationalized: derived from analysis data\, creating textures that may converge with or contrast against the tradition\, acting as foreground signals. The live set recreates an imaginary soundscape rooted in sound hauntology\, understood here as the persistence of a disappearing oral memory within digital mediation\, where echoes of the tradition resonate and evolve through early computer music techniques. The piece is accompanied by abstract visuals evoking the eruption of sonic memory from Mount Etna through suggestive imagery in a Mediterranean palette. \nAbout the artist\nDanilo Randazzo is a PhD student\, sound artist\, and music technology teacher based in Catania\, Sicily. His research explores oral music traditions through computational analysis and electronic reinterpretation. He has presented at Audio Mostly (QMUL) and CHiME (Open University)\, performed at Milano Music Week and venues like Macao Milano\, and was a member of laptop orchestra 1h2nein. His work includes live electronics with self-programmed instruments and soundtracks for contemporary dance and film. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/club-club-concert-6c-after-party/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:16-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T190000
DTEND;TZID=Europe/Amsterdam:20260516T210000
DTSTAMP:20260530T101545
CREATED:20260421T164223Z
LAST-MODIFIED:20260515T145558Z
UID:10000106-1778958000-1778965200@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 6B
DESCRIPTION:Concert 6B focuses on a monumental instrument that bridges centuries-old tradition and futuristic technology: the FEH organ. In this concert\, its powerful pipe sounds merge with AI agents\, mobile networks\, and immersive live electronics. It is an invitation to experience the organ not only as a sacred instrument\, but as a living\, breathing part of a digital ecosystem—complemented by outstanding chamber works for flute\, saxophone\, and violin. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nThe Man in the Mangroves counts to Sleep \nJames A. Moorer et al. \nTraversée IIIb \nNicolas Brochec\nFlute: Lauriane Boulezaz (Ensemble 404) \n《Missed Call》\nYi-Tzu Huang\nFlute: Lauriane Boulezaz (Ensemble 404) \nULYSSES II\nRoberto Cipollina\nViolin: Wakako Matsubara (Ensemble 404) \nIntermission – 15 mins \nSchattenwald \nSarah Proske \nOpus\nS. Ali Hosseini and Federico Lessio \nles lignes de désir\nPierre Alexandre Tremblay\nViolin: Wakako Matsubara (Ensemble 404) \n  \nAbout the pieces & artists\nJames A. Moorer et al.: The Man in the Mangroves Counts to Sleep \nThe Man in the Mangroves Counts to Sleep is the first of its kind: a speech-synthesized opera novella\, based on an original poem. It is an innovative work that merges poetry\, music and animation\, embracing the vocal and musical elements of an opera with the narrative thrust of a short novel. The narrator’s digitized voice has been transformed through computer techniques into a variety of musical forms. The film is unique for its totally synthetic score\, generated mathematically using computer speech synthesis technology. The poem and music are brought to life through animation that reveals layers of meaning in both poem and score.  \nThe movie recounts the inner monologue of a homeless mathematician living in a Key West mangrove swamp. As he surveys his current circumstances\, “The Man” reflects on his past\, his struggles\, and his yearning. The movie originated from the poem of the same name by Tallahassee\, Florida poet Donna Decker. The poem dramatizes her experience meeting “The Man” in a Key West\, Florida homeless encampment.  \nIn preparation for the movie\, please read the poem\, “The Man in the Mangroves Counts to Sleep\,” by Donna Decker here. You will find a German and English version side-by-side. \nAbout the artist\nJames A. (Andy) Moorer – Producer/Director/Original Score – An internationally known figure in digital audio and computer music\, Moorer is the winner of an Emmy® Award and an Academy Award® “for his pioneering work in the design of digital signal processin and its application to audio editing for film.” He is also the creator of the THX1 Deep Note sound—THX’s sonic logo\, heard in thousands of movie theaters around the world.  \nThe Man in the Mangrove Counts to Sleep builds on Moorer’s pioneering work in computer music and more specifically in the use of computer speech synthesis for music. As an MIT and Stanfordtrained engineer\, Moorer’s innovations include advances in the technology used for these compositional purposes. Many of these advances have become routine today in the world of electronic music.  \n  \nNicolas Brochec: Traversée IIIb  \nTraversée IIIb is a mixed music piece for flute\, live electronics\, and Somax AI agents\, in which the electronic part is generated in real time. In Traversée IIIb\, the generation of electronic material is controlled by a real-time playing-technique recognition system. Combined with Somax AI agents\, this enables close interactions between the instrumental and electronic parts\, producing sonic responses ranging from counterpoint to accompaniment\, and occasionally introducing unexpected electronic events. For this reason\, a functional notation is used for the electronic part of the score\, describing actions and parameters rather than musical results\, which cannot be fully predetermined. \nAbout the artists\nNicolas Brochec is a composer and sound artist specializing in contemporary instrumental and electroacoustic music. He has studied with leading contemporary composers\, including Philippe Manoury\, Martin Matalon\, José Manuel López López\, and Daniel D’Adamo. His work has been commissioned by institutions such as the Philharmonie de Paris\, NHK member ensembles\, and Improtech (IRCAM). His compositions have received international recognition\, including the First Prize at the Sound’Ar-te Electric Ensemble competition (Portugal) and a Special Prize at the Ise-Shima Competition (Japan). He is currently a PhD candidate at Tokyo University of the Arts and has been awarded a Japanese Government (MEXT) Scholarship as well as grants from the Foundation for the Advancement of Telecommunications (NTT). \nFlute: Lauriane Boulezaz (Ensemble 404) \n  \nYi-Tzu Huang:《Missed Call》\nMissed Call for flute and live electronics was composed in 2025. The compositional idea was inspired by the concepts of “making choices” and “paused time”\, exploring the subtle connection of social relationships. The sound materials of live electronics are totally based on the flute timbre\, which not only imitates the intonations of the female voice but also motivates the dynamic of musical gestures throughout the whole piece. Moreover\, I attempt to depict the potential feelings through the background of light electroacoustic sound. In the music\, “Missed call” symbolizes unaligned energy and temporary pauses\, while “receiving a call” represents a force that can change current reality of musical unfolding. Therefore\, what may appear as a break or auditory interruption is actually a moment of inner preparation or cognitive balance\, allowing the musical closure to be awakened again. \nAbout the artists\nYi-Tzu Huang is a Taiwanese composer who studies in graduate program of music composition at the Institute of Music of National Yang Ming Chiao Tung University. Her music focuses on the subtle connections between sound and human emotions\, exploring both the musical time and auditory space of human cognition. The experiments in electronic or instrumental timbres and the expression of sound are emphasized in her current research. \nFlute: Lauriane Boulezaz (Ensemble 404) \n  \nRoberto Cipollina: ULYSSES II\nUlysses 2 is a project conceived by composer Roberto Cipollina. The work serves both as a performative and technological exploration of real-time performer-machine interaction\, emphasizing the role of AI not as a passive tool\, but as an active and adaptive musical agent within the creative process.\nThe work is conceived as a closed-form improvisational structure for acoustic instrument and real-time interactive electronics\, developed specifically to explore the creative potential of artificial intelligence in relation to the performer’s improvisation.\nAt the core of Ulysses 2 is the integration of Somax2\, a real-time generative system developed within the Max environment\, which enables responsive electronic behavior through the analysis and transformation of live performance data.\nWhile the project fully embraces aleatory elements and the concept of extemporaneity\, it also adheres to an organized formal structure that guides its overall development. In fact\, the performer engages with a series of prompts provided by the composer\, ensuring a coherent trajectory.\nThe electronic component\, built from a database of sampled sounds recorded by Eleonora Sofia Podestà\, responds and adapt to the performer’s expressive gestures in real-time. Through Somax2’s processing\, the system generates musically congruent textures and transformations.\nThis piece highlights the software’s ability to translate performance parameters into musically coherent electronic answers\, fostering a dynamic and co-creative dialogue between human performer and machine intelligence. \nAbout the artists\nRoberto Maria Cipollina is a composer and researcher in immersive technologies applied to music\, whose works have been performed across Europe and America. His compositions include A Lover’s Tale (2018)\, Alchimie (2020)\, Lu Re d’Amuri (2022)\, and Al-Qantarah (2024). Author of two musicological books and lecturer on palazzi della memoria in music\, artificial intelligence\, and virtual reality\, his works are internationally performed and published by Da Vinci Records. \nViolin: Wakako Matsubara (Ensemble 404) \n  \nSarah Proske: Schattenwald \nSchattenwald mixes recorded organ sounds with the real organ. The hissing and whistling of a small\, fully mechanical organ forms the basis of an almost romantically fragmentary soundscape. At the same time\, the organ reveals something of its inner workings and sounds like “musique concrète instrumentale.” In addition to this technical aspect\, the title reveals something about the poetic approach. Nature and culture collide. One thinks one can hear the call of an eagle owl\, the wind rustling through the trees\, the creaking of branches…\nThe electronics are based on recordings of a small\, fully mechanical organ. Playing with the key pressure and half-drawn registers creates mystical-sounding tones\, which have been arranged into a dramaturgically designed soundscape through multiple layers. The similarity to natural sounds is intentional here and is picked up and commented on by the live organ performance. A slightly changing chord (fixed with wooden wedges) emerges between the shadow sounds and increasingly dominates the tonal structure of the piece. The organist is repeatedly given musical material with which he improvises within the given framework.\nThe performance of the piece must be adapted to the respective organ; alternatives are indicated in the score. The composition was written for the organ in St. Nikolai\, Hamburg\, with its special possibilities\, in particular wind swellers and built-in percussion instruments. \nAbout the artist\nSarah Proske was born in Suhl (Thuringia) in 1999. She completed a church music degree (Master’s degree\, with a focus on IKN – improvisation\, composition and new media) as well as a master’s degree in organ improvisation with Prof. Franz Danksagmüller at Musikhochschule Lübeck. She has received several composition commissions\, such as works commissioned by the “Orgelstadt Hamburg e.V.”\, Erzbistum Paderborn\, Dommusik Linz for the vocal ensemble „Cantando Admont“\, as well as compositions for choir and ensemble for the Diocese of Graz-Seckau.\nShe won awards in different disciplines\, so as a composer as well as a soprano and organ improviser at different competitions.\nHer compositions have been performed at venues including the Orgelpark Amsterdam\, the opening oft he festival „Leer_raum“ at Stiftskirche Tübingen\, „Nordische Filmtage“ in Lübeck and the Schönberger Musiksommer.\nSarah Proske has been working as an assistant organist at St. Jakobi Lübeck\, and as a tutor for the subject “Improvisation\, Composition and New Media” at the MHL. Since April 2026 she is based in Cologne\, working as organist and choir director at Martin-Luther-Kirche Köln-Porz. \n  \nS. Ali Hosseini and Federico Lessio: Opus\nThis project draws inspiration from the works of German filmmaker and cinematographer Walter Ruttmann\, a pioneering figure in abstract experimental cinema.\nBy studying Ruttmann’s visionary approach\, I have reinterpreted his work through a contemporary lens\, integrating modern technology to introduce a new dimension of abstraction.\nMy goal is to build upon his artistic legacy\, pushing the boundaries of visual expression while staying true to the essence of his groundbreaking innovations.\nThe musical composition for this project blends electronic\, electroacoustic\, and acoustic elements to authentically capture its essence.\nBy incorporating synthesizers and concrète sounds\, I seek to establish a fresh sonic approach\, one that bridges tradition with innovation\, enhancing the abstract nature of the work through a dynamic and immersive auditory experience. \nAbout the artists\nS. Ali Hosseini. Born in 1991 in Tehran\, Iran. I hold a Bachelor’s degree in Composition from the Tehran Conservatory of Music\, where I focused on Classic music and composition. Currently\, I am pursuing a Master’s degree in Applied Music (Musica Applicata) at the Conservatorio G. Nicolini in Piacenza\, Italy. My studies encompass electroacoustic\, electronic\, and contemprory composition\, as well as sound design and the integration of video and short films.\nI am currently exploring new approaches to composition based on spatial audio and microtonality and integration with visual Art.\nMy works have been featured at several prestigious festivals\, including the PdMaxCon25~ (USA)\, UVM 2025: COSMOCENO (Brazil)\, Simultan Festival (Romania)\, MA/IN Festival (Italy)\, SEHSUCHTE film festival (Germany)\, Musicmediale Festival (Italy)\, Appennino Festival (Italy)\, Piacenza Music Festival (Italy)\, Pensiero Contemporaneo Festival (Italy)\, and La Notte dei Ricercatori (Italy)\, 43rd Festival Tous Courts (France)\, Evimus 2025 (Germany). \nFederico Lessio \n  \nPierre Alexandre Tremblay: les lignes de désir\nArchitects\, luthiers\, designers\, urban planners\, and other dreamers\, imagine a Platonic aesthetic intended use of the object of their creativity. A vision of beauty in action. Yet lives/masses/swarms/users have their ways\, and soon emerge lines of desire. \nThis piece is an ode to the beauty of aging and experience\, of traces of time passing and writing its story\, of patina and of wrinkles\, of used leather boots\, of rusty structures\, of crow’s feet. Fragile and subtle at first\, these lines\, in the wake of usage\, are the witnesses of the soft and gentle resistance of the ignored wanderer. \nIt is an homage to the emerging beauty of subversive (ab)uses. \n— \nThanks Irine Røsnes\, Linda Jankowska\, the FluCoMa team\, Notam’s team\, and CeReNeM’s Creative Coding Lab. \nAbout the artists\nPierre Alexandre Tremblay (Montréal\, 1975) 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 practises creative coding. His music is available on empreintes DIGITALes. He was Professor of Composition and Improvisation at the University of Huddersfield (England\, UK) from 2005 to ’24. In September 2024\, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition. \nViolin: Wakako Matsubara (Ensemble 404) \n  \nVolunteers\nTechnical Director / FOH\nGiovanni Dinello \nSound Engineering \nLuciano Correa \nLight Design\nGabriel Saber\, Lukas Becker \nStage & Sound Assistance\nAdrián Velasco \nProduction\nValentina Donato\nHaewon Sim \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-6b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T150000
DTEND;TZID=Europe/Amsterdam:20260516T180000
DTSTAMP:20260530T101545
CREATED:20260423T142012Z
LAST-MODIFIED:20260423T190112Z
UID:10000227-1778943600-1778954400@icmc2026.ligeti-zentrum.de
SUMMARY:Innovation Showcase
DESCRIPTION:Takayuki Rai and Haruka Hirayama: Motion Capture: Mocopi and Sound Interaction in Max\nThis paper presents a Local Space–based motion Analysis framework using Sony’s Mocopi motion capture system\, implemented in the Max environment for real-time Audio interaction. The framework is designed for live Performance and interactive demonstration. In previous work\, joint position data transmitted from Mocopi were converted into World Space coordinates and applied to audio and visual interaction. While this approach enabled various interaction designs\, it revealed a fundamental limitation: identical body movements produced different coordinate values depending on the performer’s facing direction. This weakened the intuitive correspondence between bodily sensation and control data\, particularly in performance and improvisational contexts. To address this issue\, the present study introduces a Local Space representation defined relative to the performer’s body orientation. Joint positions are transformed from World Space into a forward-facing\, body-relative coordinate frame that moves and rotates with the performer. This enables consistent detection of body movements regardless of orientation on stage\, preserving the perceptual relationship between physical action and control data. Based on this framework\, several Max external objects were developed to estimate body orientation\, convert Joint positions into Local Space\, and compute motion Features such as movement distance\, direction\, and angular change. Application examples demonstrate that movement-based Audio control becomes more stable and intuitive in Local Space. The system was evaluated through Poster + Demo presentations with a Mocopi-equipped performer\, highlighting its suitability for interactive performance and artistic applications. \n  \nWalker Smith: The Magic Alchemical Drum Set: a transducer-driven light-up drum set using timbres and scales derived from sonified chemical element spectra\nThe Magic Alchemical Drum Set is an interactive audiovisual instrument that integrates three lines of preliminary research: (1) the construction of element-specific Timbres using sonified spectral data and perceptually motivated transformations\, (2) the design of unequal-tempered microtonal scales derived from elemental spectra and implemented on a LumaTone keyboard\, and (3) a transducer-driven drum set that physically couples these sounds to acoustic percussion instruments and synchronized lighting. Together\, these components form a system that transforms static spectroscopic data into a playable\, performative instrument emphasizing tactile interaction and audiovisual correspondence. The paper provides a Brief overview of related work\, outlines the design considerations underlying the scales and timbres\, and documents the construction and use of the drum set in both compositional and interactive installation contexts\, including Feedback from participants. A detailed demo Video is provided along with all necessary code. Conclusions and future work in the areas of scale and timbre design\, as well as interactive audiovisual instrument design\, are presented. \n  \nMatthias Jung: Incisions: Tangible Latent Space Exploration with Three Sound Balls\nThis system suggests an interactive\, tactile approach to exploring machine learning models collaboratively in real-time. The system design is a work-in-progress and at this stage connects three handheld\, spherical devices (sound balls) to three machine learning models. The Sound balls are equipped with pressure sensors and gyroscopes\, that are sending readings via an ESP32 via OSC over WiFi to a Max/MSP patch that is hosting the model playback. The patch uses different open-source and self-trained models that are then mixed into a master playback audible via headphones by the three sound ball players\, who will explore the models via a latent dimension Setup collaboratively. \n  \nKieran McAuliffe\, Ornella Tortorici and Ali Elnwegy: Robotics for Digital Artists: OSC-ROS Integration\nThe Robot Operating System (ROS) has become a de facto standard for robot software development\, offering powerful tools for real-time communication\, control\, and simulation. However\, its complexity presents significant barriers for multimedia artists and creative practitioners. In contrast\, the accessible Open Sound Control (OSC) is widely adopted in the creative coding community and supported by numerous artistic software environments. This demo showcases a prototype OSC–ROS bridge designed to lower the entry barrier for artists working with robotic systems. It receives messages from the user in the form of OSC\, and converts them into joint trajectories which it sends over ROS. Participants in the demo can interact with two setups: controlling a custom-built painting robot and sonifying the motion of an industrial robot arm. These applications highlight how robotic systems can function both as expressive actuators and as performative interfaces. \n  \nCharles Hutchins and Shelly Knotts: SCMoo: A Live Codeable VR Environment\nAfter the loss of Mozilla Hubs and the end of most Metaverse hype\, we present a retro\, text- and sound- based VR platform for live coding interactive music in SuperCollider\, which is accessible\, enjoyable and lower carbon than polygon-based systems. In the 1990s text-based MUDs (Multi-User Dungeons) and MOOs (MUDs Object Oriented) were inhabited by hundreds of users. The communities in these spaces could design any avatars they wanted\, which could perform any actions they could describe (limited only by imagination and language) as the medium itself was text. MOOs provided all users with the possibility to add objects\, rooms\, actions\, behaviours and other features to the environment through object-oriented programming. The collaboratively built VR environment was live coded by the users who built features through iterative design within the shared platform. This demo presents SCMoo\, which is a reimplementation of a LambdaMOO-like system\, written in the musical programming language SuperCollider. SCMoo is a multi-user platform for sound making and role play. \n  \nJuliana Lüer\, Christoph Salje and Prof. Dr.-Ing. Thorsten A. Kern: Controlling Musical Parameters in Neurorehabilitation witha Haptic Finger Tracker”\nPatients in neurorehabilitation often face not only severe motor impairments\, but also associated psychological problems. Music therapy can make a valuable supplement to purely verbal psychotherapy\, but its use is limited as patients often cannot play conventional musical Instruments due to motor skill limitations. This can hinder the psychological recovery\, where musical expression is essential. \nTo address this\, the Haptic Finger Tracker was developed\, emerging from a project at Institute XXX\, a collaborative initiative where researchers and artists work on interdisciplinary projects. This paper describes a prototype that transforms minimal finger movements into sound\, accompanied by corresponding haptic sensations. Technically\, the device uses flex sensors and an inertial measurement unit (IMU) to capture a range of small-scale finger movements. Using the Open Sound Control (OSC) protocol\, these captured gestures are then translated to Control musical elements such as pitch\, volume and arpeggios. Simultaneously\, a vibrotactile actuator provides haptic feedback aimed at enhancing the user’s sense of Engagement and embodiment. The resulting prototype is a portable\, user-friendly device that empowers patients by providing a creative outlet and fostering a sense of self-efficacy. This work establishes a technical foundation for future neurorehabilitative tools that utilize multisensory feedback to improve patient outcomes. \n  \nLuca Morino\, Nicola Conci and Fabio Cifariello Ciardi: B3-H4RSH: A Noise-based Multiplayer Game for Mobile Music-Making\nOver the past two decades\, artists and composers have increasingly explored mobile phones — ubiquitous and accessible devices — as instruments for music Performance and\, in particular\, as interfaces for audience participation and collaborative music-making. This paper presents B3-H4RSH\, an interactive mobile music system. Implemented as a web application for smartphone browsers on a co-located network\, the system interconnects participants’ devices\, employing competitive multiplayer mechanics to structure interdependencies among players and shape the music-making act within a noise-music paradigm. By influencing and responding to one another’s actions\, participants collectively diffuse sound throughout the space from their smartphones while competing to achieve the “harshest” sonic outcome – and win. \n  \nRiccardo Mazza: Translating Sonic Memories into Latent Performable Spacesfor Live Coding\nThis paper presents a live coding performance system that reconfigures autobiographical sound materials through real-time interaction with a machine learning process. Rather than treating sonic memories as fixed archival objects\, the system approaches memory as a dynamic and unstable process\, continuously reshaped during performance. Recorded sound fragments are analyzed using FluCoMa descriptors and organized within a navigable two-dimensional space. A lightweight autoencoder is employed not as a high-fidelity generative model\, but as a constrained transformation device that introduces controlled deviations\, thereby altering the relationship to the source recordings. The resulting sounds are not reproductions of the originals\, but transformed traces that require reinterpretation in real time. Within this framework\, performance becomes a negotiation between intention\, algorithmic transformation\, and emergent sonic behavior. The performer does not retrieve memories\, but actively reshapes them\, generating new memory traces through interaction. The system adopts a human-in-the-loop approach\, in which the model acts as a mediating structure rather than an autonomous agent. The contribution of this work lies not in technical novelty\, but in proposing a practice-based perspective on how machine learning can function as a performative medium for memory transformation in live coding contexts. \n  \nMohammad Sadeghi: Architectures of Alteration: Designing and Integrating Hybrid Kinetic Robotic Systems and Light Choreography in Eternal Dawn\nContemporary performance increasingly relies on kinet-ic\, robotic\, and responsive environments that demand tightly integrated engineering systems capable of acting as expressive agents. Developing such hybrid systems contributes to new modes of staging\, embodiment\, and dramaturgy\, offering artists tools for creating dynamic environments that extend beyond the limitations of human gesture alone. This paper presents the design and inte-gration of two hybrid kinetic systems developed for the performance Eternal Dawn: a ceiling-mounted robotic arm and a motor-matrix architecture controlling sus-pended rectangular light frames. The robotic arm oper-ates as a supervisory and interactive entity\, shifting from analytical scanning to aggressive pendulum-like motion to intimate duet-like encounters. The motor-matrix system dynamically reconfigures the spatial geometry of the la-boratory\, synchronizing kinetic light choreography with sound and movement to construct adaptive architectural states. Synchronization with musical structures is achieved using Open Sound Control (OSC) messages ensuring accurate temporal coordination. The motors are controlled via a programmable logic controller (PLC) and a dedicated human–machine interface (HMI) manag-ing motion parameters\, sequencing\, and safety functions. The proposed systems proved effective as expressive ki-netic agents\, demonstrating a versatile platform for inte-grating robotic motion and dynamic light architectures into similarly experimental performance setting. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/innovation-showcase/
LOCATION:Hamburg University of Technology\, Building H (H 0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Showcase
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T150000
DTEND;TZID=Europe/Amsterdam:20260516T180000
DTSTAMP:20260530T101545
CREATED:20260421T193915Z
LAST-MODIFIED:20260514T153912Z
UID:10000198-1778943600-1778954400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation Showcase
DESCRIPTION:Program Overview\n\nEmpty Sets\nMichael Trommer \nPast Tense – Exploring Idleness and Boredom as Compositional Strategies \nJulian Rubisch \nUkuPlay: The Huggable Ukulele\nXingxing Yang \nFlower.Mirror \nYuxin Chen \nMirRaspiju\nEmanuele Sara \nF L W R: A generative audiovisual work of small file media\nArne Eigenfeldt\, Jim Bizzocchi and Simon Overstall \nThe Emille Bell: Resonance of Absence and the Abyss.\nYongwoo Lee \n  \nAbout the pieces & artists\nMichael Trommer: Empty Sets\nEmpty Sets is an audio-led ambisonic\, 3D-animated virtual reality installation that situates the auditor within the depleted landscape of the technological sublime. Environments are vacated; drones and Cybertrucks patrol within a perpetual penumbra as missives of an unknown\, unseen power; billboards stand as eerily emptied ciphers\, their marketing-speak unmoored\, haunting the liminal spaces of a topography that is characterized by\, as media theorist Sean Cubitt puts it\, a “becoming-environment of information” (Cubitt 2013\, 489). Empty Sets can be configured as either a headset-based or dome-based installation. \nAbout the artist\nMichael Trommer is a Toronto-based sound and video artist; his practice has been focused primarily on psychogeographical and acoustemological explorations of anthropocentric space via the use of spatial and tactile sound\, field recordings\, VR\, immersive installation and expanded cinema. He has released material on an unusually diverse roster of labels\, both under his own name as well as ‘sans soleil’. These include Transmat\, Wave\, Ultra-red\, and/OAR\, Audiobulb\, Audio Gourmet\, Gruenrekorder\, Impulsive Habitat\, Stasisfield\, Serein\, Flaming Pines\, 3leaves\, Unfathomless and con-v. His audio-visual installation work has been exhibited at Australia’s Liquid Architecture festival\, Kunsthalle Schirn in Frankfurt\, Cordoba’s art:tech\, St. Petersburg’s Gamma Festival\, and Köln’s soundLAB\, among others. Michael has performed extensively in North America\, Europe and Asia\, including events with members of Berlin’s raster-noton collective\, as well as the 2008 and 2013 editions of Mutek’s acclaimed a/visions series. He also regularly improvises with Toronto-based AI audio-visual collective ‘i/o media’. In addition to teaching graduate sound design and sound art at George Brown College\, Michael also teaches Sound Film at Toronto Metropolitan University\, Think Tank at OCAD University and Media Practice and Sonic Cinema at York University\, where he is a PhD graduate and SSHRC Joseph-Armand Bombardier doctoral scholar in Cinema and Media Art. \n  \nJulian Rubisch: Past Tense – Exploring Idleness and Boredom as Compositional Strategies \nPast Tense is a participatory\, long-term sound installation inspired by “idle” games—systems that evolve on their own and invite only occasional interaction. Small sounds captured from the environment\, electronics\, radio\, and visitors slowly accumulate\, forming a growing sonic mass. Participants may briefly intervene\, releasing short sonic gestures be-fore the system settles back into its autonomous flow. This process\, informed by the idea that such games can reveal a “worldness” (as opposed to “gameness” characterized by a flow state) where players transcend the game mechanics to find new ways of self-expression\, allows a self-referential musical memory to unfold from a small kernel of inputs over time and past sonic material to re-enter and reshape future states. \nAbout the artist\nJulian Rubisch\, born in Vienna in 1981\, is a freelance sound artist\, software engineer\, and electroacoustic composer. \nHe has presented performances and installations at prestigious venues such as ZKM Karlsruhe\, Ars Electronica\, Francisco Carolinum Linz\, Alte Schmiede Vienna\, ORF Ö1 Kunstradio\, and others. \nHe loves to explore boundaries and interfaces:\n– Between sound art and music\,\n– Between order and chaos\,\n– Of perception and the different realms and phenomenologies of listening \n  \nXingxing Yang: UkuPlay: The Huggable Ukulele\n\nUkuPlay reimagines the ukulele’s interaction model by leveraging the unique material affordances of e-textiles to create a soft\, monolithic\, and huggable interface. By utilizing a deformable textile structure\, the system establishes a tactile feedback loop that integrates the instrument’s sensing capabilities directly into its physical form. Through the embedding of capacitive properties into a plush cushion\, UkuPlay transcends its role as a domestic object to function as a high-fidelity\, expressive instrument.\nVisitors are invited to explore this blur between “comfort-oriented soft goods” and “performance hardware”. Through intuitive gestures—such as strumming and fretting the fabric—the installation demonstrates how e-textile “smart matter” captures nuanced\, multi-dimensional performance data. UkuPlay offers a vision of future musical tools where tangible intimacy and expressive power coexist seamlessly. \nAbout the artist\nXingxing Yang is an interdisciplinary computer musician based in Hong Kong. She is a Ph.D. student at HKUST\, specializing in computer-assisted audio\, music\, and haptics. She received her bachelor’s and master’s degree in Music Tech from the Shanghai Conservatory of Music and Stanford University. She is interested in making novel sound toys\, doing AI-assisted music composition\, and building VR storytelling experiences\,s and constructive tools for builders. \n  \nYuxin Chen: Flower.Mirror \nFlower.Mirror is a poetry-driven multimedia interactive game that explores the interplay of poetry\, sound\, and visual space. The program guides its player through dream-like landscapes\, where the player puzzles through and trigger stages of the game by constructing texts into poetic phrases. Instead of a goal-oriented structure\, the experience unfolds in a meditative and contemplative state\, allowing each gesture\, sound\, and transition to take its time. The player is invited into a slower mode of exploration\, one that emphasizes listening\, patience\, and reflection\, and gradually enters the inter-cultural narrative embedded within the project. \nAs its title suggests\, Flower.Mirror unfolds across two chapters: “Mirror” and “Flower\,” where each is a multi-staged miniature poetic game. “Mirror” reflects a period in the artist’s life marked by anemoia—the reconstruction of memory around an idealized hometown that never truly existed\, formed during her first experience studying abroad. The player engages with language as a compositional material\, modulating nouns with verbs and adjectives by aligning words hori-zontally\, as if writing a poem in the space. Decisions regarding text placement directly shape the sound: the size of a selected text determines its associated sound’s volume\, while the drop location of the text affects its stereo panning. \n“Flower” represents a stage of reconciliation. In this chapter\, the artist quietly looks back on her childhood self\, recogniz-ing the beauty of uncertainty and unknowing\, and learning to embrace her past and present selves. These personal narra-tives are presented not as fixed stories\, but as fragments—moments that surface\, dissolve\, and reappear through interac-tion. Across multiple stages\, players align words to initiate musical development before transitioning into a navigational mode\, where hidden words are discovered and collected within a darkened visual field. The interaction becomes increas-ingly embodied\, shifting from writing to movement and presence. \nThe ideas of “Flower” and “Mirror” are deeply intertwined in traditional Chinese culture. The project draws inspiration from Dream of the Red Chamber\, where the concept of 镜花水月 (“Mirror\, Flower\, Water\, Moon”) is a recurring theme. Often translated as “flower in the mirror\, moon on the water\,” the phrase describes a beauty that is vivid yet transient. Through this lens\, the project observes the worldly concerns tied to intercultural identity\, how they evolve over time\, rise and fall in cycles of yin and yang\, and eventually soften into reconciliation. Our life\, like the flower in the mirror\, is filled at times with loneliness and sorrow\, at others with joy and tenderness\, yet remains a fleeting experience. \nAbout the artist\nMichelle Chen (Yuxin Chen\, and also known as Morning Close) is a composer and interactive-media artist whose work spans installations and soundtracks for VR\, game\, animation\, and film. Among the projets she worked on as lead\, indie game “Displacemen” was nominated as the Best Student Game at GDC IGF 2025. \nMichelle is currently a master’s student at Stanford’s Center for Computer Research in Music and Acoustics (CCRMA)\, where she explores the interplay of text\, visual music\, and a humanistic ap-proach to AI as a creative tool. Her practice is characterized by nonlinear storytelling and a poetic sen-sibility that runs through both her music and interactive media works. Across these pieces\, she often constructs a serene\, contemplative world that gradually reveals an underlying contrasting or dual nature. \n  \nEmanuele Sara: MirRaspiju\nMirRaspiju is an interactive sound installation that transforms a physical mirror into a performative sonic interface. The work explores the relationship between self-perception\, gesture\, and sound through an object that is simultaneously visual\, acoustic\, and responsive. A one-way mirrored glass panel becomes both a reflective surface and a sound-emitting body\, allowing the visitor to see themselves while generating sound through their own presence and gestures.\nThe installation consists of a unidirectional mirror mounted on a wall or pedestal\, behind which a camera is concealed. The mirror itself is equipped with contact transducers\, enabling the glass surface to vibrate and act as the sole sound source. When no one is present\, the system remains silent; sound emerges only when a person approaches and looks into the mirror\, establishing an intimate\, one-to-one interaction.\nGestural and facial data are captured in real-time via computer vision techniques implemented in Python using OpenCV and MediaPipe. Hand movements\, facial expressions\, mouth openings \, and eye closures are mapped to parameters controlling the playback and transformation of four preloaded audio buffers. These buffers consist of granular textures created in Max/MSP and processed through an original algorithm based on elastic sound transformation\, where rhythmic and timbral structures are continuously deformed by varying buffer playback speed and modulation parameters.\nThe core audio engine is developed in Max/MSP and exported to RNBO\, then compiled into native C++ code running on a Raspberry Pi 5. This embedded architecture allows the installation to operate autonomously\, without external computers\, ensuring low latency and stable performance in exhibition contexts. The entire system is self-contained and battery-powered\, facilitating flexible installation logistics.\nEach buffer is associated with a specific type of interaction: hand gestures modulate playback speed\, amplitude\, filtering\, and waveform modulation; mouth openings control texture density and temporal flow; eye closures activate reverberation parameters. These interactions generate a continuously evolving soundscape that responds directly to the visitor’s bodily presence\, transforming the act of looking at oneself into a compositional gesture.\nMirRaspiju positions the mirror as a liminal medium between vision and sound\, presence and transformation. Rather than functioning as a spectacle-driven interface\, the work emphasizes minimal\, introspective interaction\, inviting visitors to listen to their own reflected image. The installation proposes a form of embodied listening in which perception\, gesture\, and sound are inseparably linked\, transforming a familiar object into a subtle yet expressive musical instrument. \nAbout the artist\nEmanuele Sara is an Electroacoustic Composition Bachelor student at the Conservatoire “Luigi Canepa” in Sassari under the guidance of professor Walter Cianciusi\, then attending specialization courses in music applied to images and pop compositions held by Centro Sperimentale di Cinematografia Roma\, Centro Europeo di Toscolana scuola di Mogol\, various seminars such as Sergi Jordà\, Silvia Lanzalone\, Riccardo Mantelli\, he leads his sound experiments into the field of electronic music creating his own code of signs\, acoustics and visual symbols.\nBorn in Ossi\, Italy (1986) in addition to composing electronic music he performs as a singer-songwriter since 2008 with several albums released. Sara’s compositions have been performed in various festivals and events\, including Conservatoire “Canepa” Sassari\, Conservatoire “Respighi” Latina\, Conservatoire “Palestrina” Cagliari\, Festival Spazio Musica Cagliari.\nAs interpreter Sara wears a pseudonym “Namowam” and produced the electronics for several contemporary composition. \n  \nArne Eigenfeldt\, Jim Bizzocchi and Simon Overstall: F L W R: A generative audiovisual work of small file media\nA generative audio-visual work of small file media. Five videos consisting of a slow pan over flowers\, ranging in dura-tion from 41 to 72 seconds\, were compressed using five different algorithms to create 25 files of a size less than 1.44 MB each. This database is accessed by a generative audiovisual system to create scenes of five related videos\, slowly fading between them at a playback ranging from 11% to 33%. Each scene was combined with a generative audio stretched an equal amount. The end result of F L W R is a generative sampling of the visual poetics of video compression. \nAbout the artists\nArne Eigenfeldt is a composer of live electroacoustic music\, and a researcher into intelligent generative music systems. His music has been performed around the world\, and his collaborations range from Persian Tar masters to free improvisers to contemporary dance companies to musical robots. He has presented his research at major conferences and festivals\, and published over 60 peer-reviewed papers on his research and collaborations. \nJim Bizzocchi is a filmmaker currently working in video art and installation. His research interests include the aesthetics and design of the moving image\, interactive narrative\, and the development of computational video sequencing systems. He is interested in the effect of new technologies on cinematic visual expressions such as split-screens\, layered imagery\, image transitions\, and stereoscopic cinema. \nSimon Lysander Overstall is a computational media artist\, and musician/composer from Vancouver\, Canada. He develops works with generative\, interactive\, or performative elements. He is particularly interested in computational creativity in music\, physics-based sound synthesis and performance in virtual environments\, and biologically and ecologically inspired art and music systems. He has produced custom performance systems and interactive art installations that have been shown in Canada\, the US\, Europe\, and China. \n  \nYongwoo Lee: The Emille Bell: Resonance of Absence and the Abyss.\nSome sounds can no longer be struck. Under the names of preservation\, protection\, and history\, they have been removed from direct experience. The Emille Bell remains as form\, sound\, and legend. Its story—of a monk sacrificing an infant in pursuit of a “good sound”—has shaped a normative understanding of what a bell should sound like\, while obscuring the social contexts and repeated failures embedded in its making.\nThis work explores an alternative way of engaging with sonic heritage under such conditions. It reconstructs the form and sound of the bronze Emille Bell through physical modeling\, while simultaneously presenting an imaginary bell that never existed: the bell that failed to be realized within the legend itself. The Bell of Absence emerges from narrative omissions\, distortions\, and the traces of failure that have been historically excluded.\nIn this project\, physical modeling is not treated as a tool of faithful reproduction. Instead\, it functions as a speculative medium. Physical parameters—such as shape\, material\, and resonance—are not optimized for acoustic accuracy but are used as compositional materials through which absence and deviation can be articulated. The Bell of Absence is intentionally configured with unstable structures and low-frequency resonances\, producing sounds that diverge from traditional criteria of bell timbre.\nHere\, absence does not signify silence or lack. It is understood as a structural condition shaped by historical and narrative choices. Resonance becomes the means through which this absence remains audible—as vibration\, instability\, and persistence rather than resolution. Rather than reproducing an idealized sound\, this work listens to what was never allowed to fully emerge\, allowing failed and omitted sounds to resonate in the present. \nAbout the artist\nYongwoo Lee is a composer deeply interested in the humanities and aesthetics. He studied history and fusion culture content development as an undergraduate\, with a minor in composition. His musical perspective has been shaped by diverse life experiences\, including work as a student researcher at the History and Culture Archive Center and CREAMA (Center for Research in Electro-Acoustic Music and Audio)\, as well as his roles as a Conscripted Firefighters Agent (CFA) and cultural interpreter. Through these experiences\, he approaches composition as a process of transforming lived experience into sound\, while also engaging with technical research\, particularly in integrating physical modeling techniques into his compositional practice.
URL:http://icmc2026.ligeti-zentrum.de/event/installation-showcase/
LOCATION:Hamburg University of Technology\, Building H (H 0.03)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Installation,Showcase
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T133000
DTEND;TZID=Europe/Amsterdam:20260516T150000
DTSTAMP:20260530T101545
CREATED:20260421T163825Z
LAST-MODIFIED:20260515T145608Z
UID:10000105-1778938200-1778943600@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 6A
DESCRIPTION:Concert 6A forms a bridge between the distant past and a radically digital future. It is a search for the edges of the audible—whether in the almost imperceptible silence of a saxophone\, in the raw 1-bit synthesis of early computer music pioneers\, or in the lament of the Gorgons on a reconstructed ancient instrument. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nApparizione del Silenzio \nYisong Piao\nTenor saxophone: Moritz Christiansen (SPIIC Ensemble) \ntibone\nKerry Hagan \nA Hatful of Feathers \nMarc Ainger\nAlto flute: Ann Stimson \nchime\nTiffany Skidmore and Patti Cudd \nCyanotypes for Vibraphone and Live Electronics\nElaine Lillios\nPercussion: Patti Cudd\nPatch and sound: Marc Ainger \nGorgons’ Cry for Aulos and Live Electronics\nKonstantinos Karathanasis\nInstrumentalist: Cullum Armstrong \n  \nAbout the pieces & artists\nYisong Piao: Apparizione del Silenzio  \nApparizione Del Silenzio does not contain “silence” itself—at least\, not in the conventional sense of an absence of sound. Instead\, it is built upon sounds that lie at or beyond the threshold of human perception: vibrations outside the usual spectrum\, the friction between air and metal\, the dissipation of sound waves in space—those margins of sound that are ignored\, inaudible\, yet undeniably existent. The apparition of silence is therefore neither stillness nor emptiness\, but the manifestation of a presence perceived as silence. It is a non- sonic sound: at the limit of hearing\, silence ceases to signify absence and becomes another mode of existence.\nThe piece is written for tenor saxophone and electronics\, combining fixed media with live processing of hyper-amplified micro-sounds from the instrument. Semi-improvised passages invite the performer to enter the interstice between sound and silence\, where breath\, touch\, and hesitation become part of an almost inaudible voice.\nThe generative logic of the work is not the appearance of silence\, but its presentation: silence here is not what is conventionally called “silence\,” but a subject that reveals itself through its auditory traces. \nAbout the artists\nYisong Piao (b. 1992\, China) is a Seoul-based composer specializing in electroacoustic and instrumental music. His works have been presented at ICMC 2023 (China)\, ICMC 2024 (Korea)\, and ICMC 2025 (Boston). He is a researcher at the Center for Research in Electro-Acoustic Music and Audio (CREAMA)\, focusing on microtonality and algorithmic approaches in composition. \nTenor saxophone: Moritz Christiansen (SPIIC Ensemble) \n  \nMiller Puckette and Kerry Hagan: tibone \nKerry Hagan presents an improvisation on 1-bit synthesizers. Rather than pursuing chip tunes or similarly low-bit music\, she navigates a range of possible timbres in an exploratory performance. \nAbout the artists\nMiller Puckette and Kerry Hagan began focused collaborations on academic and musical projects in 2014. Together their duo has performed in North America and Europe. They have introduced novel synthesis algorithms through new performances. Their work explores timbre\, spatialization\, real-time computer processes\, algorithms\, interaction design\, performance practice\, and performance systems. \n  \nMarc Ainger: A Hatful of Feathers\nIn A Hatful of Feathers for Alto Flute and Computer\, the flutist creates a music in realtime that is informed by expanded possibilities\, using traditional and extended techniques. The work builds from Willian Sethares’ research into spectra and tuning.\nThe computer analyzes the pitch\, amplitude\, and spectral content of the flute playing (including all of the sounds created by the mechanism of the flute\, such as the sound of the keys)\, interacting with the live sound in various ways (stretching/contracting and/or spatializing various spectra\, retuning spectra\, granulating and creating micro-glissandi\, etc). We use a custom Max/Msp patch using some well-known spectral and spatial techniques\, along with some extensions of these techniques. \nAbout the artists\nMarc Ainger (USA) has developed an idiosyncratic body of work that embraces a wide range of music/sound and music/sound-making. He is interested in the relationships between the real and the imagined – the ways in which the visceral world of sound and sound production inform our imagined worlds of sound\, and the ways our imagined worlds\, in turn\, inform our concrete experiences.\nPerformances of Ainger’s works have included the New York Philharmonic Biennial; the INA/GRM; the Royal Danish Ballet; CBGB; Late Night with David Letterman; the Goethe Institute; the American Film Institute; SIGGRAPH; the Palais de Tokyo (Paris); FolkwangWoche NeueMusik(Essen); Gaggego!(Gothenburg); the Joyce Theater (New York); Guangdong Modern Dance; and New Circus artists. Awards include the Boulez/LA Philharmonic Composition Fellowship\, the Irino International Chamber Music Competition\, Musica Nova Prague\, Meet the Composer\, and the Esperia Foundation. \nAlto flute: Ann Stimson\nAnn Stimson made her professional debut at the age of eighteen as a member of the Debut Orchestra in Los Angeles and has gone on to perform with various orchestras and ensembles and as a soloist throughout the US and Europe. Her work seeks to extend traditional instruments and modes of performance into new\, imaginative realms of action and interaction. \n  \n  \n  \nPatti Cudd: chime\nPatti Cudd performs “chime\,” for percussion and fixed media\, composed for her by Tiffany M. Skidmore. “chime” requires 2 snare drums\, 6 crotales\, 12 distinctive beaters\, and 2 bluetooth bone conduction\, wireless speakers. Each speaker is affixed to the underside of one snare drum. All 6 crotales are placed on a single drumhead. The performer plays a complex series of patterns moving between bare drumhead and unmoored crotales using combinations of beaters. Mechanistic\, unpitched patterns begin to merge with melodic\, pitched elements that sometimes bend to ultimately become a metallic wall of overtones as the line between electronic and live acoustic sound comes into and out of focus. This piece was premiered by Cudd at the VT New Music + Technology Festival in May 2023\, ICMC represents the premiere of a revised version of the electronics and the first time Patti will use the bone conduction speakers that were originally intended for this piece. \n“chime” happens on three planes: a long\, liquidating chiasmus meets two rotating pitch constellations. \nAbout the artists\nComposer/Associate Director of the Mizzou New Music Initiative Tiffany M. Skidmore has held faculty positions at the University of Minnesota\, Virginia Tech\, and the University at Buffalo (SUNY)\, where from 2023-2024\, she held the Birge Cary Chair in Music Composition. In 2025\, she was Visiting Professor at McGill University\, in residence at the Centre for Interdisciplinary Research in Music Media and Technology. She is Co-Founder\, Executive Director\, and Artistic Director of 113\, producing the Twin Cities New Music Festival\, guest residencies\, and concerts throughout the world. \nDr. Patti Cudd is active as a percussion soloist\, chamber musician and educator. Patti is a member of the acclaimed new music ensemble\, Zeitgeist. Her other diverse performing opportunities have included CRASH\, the Minnesota Contemporary Ensemble\, Minnesota Dance Theatre and the Borrowed Bones Dance Theater.\nAs an active performer of the music of the 21st century\, she has given concerts and master classes throughout North America\, Asia\, Europe and South America. As a percussion soloist and chamber musician\, she has premiered well over 200 new works. \n  \nElaine Lillios: Cyanotypes \nCyanotypes\, with their characteristic white imprints on a deep blue field\, transcend mere photographic representation; they serve as blueprints that reveal the essence of objects through their negative form. This transformative process redefines the concept of the “object\,” not as a fixed entity\, but as an echo\, a trace\, or an imprint of presence. In this conceptual framework\, cyanotypes become a metaphor for the translation of physical and temporal phenomena into abstracted impressions. Inspired by this principle\, Cyanotype’s Five Studies approaches the vibraphone not through its direct sound or physicality\, but as a series of rhythmic imprints — sonic blueprints that capture the vibraphone’s articulate and resonant characteristics. \nThe vibraphone is renowned for its shimmering sustain\, dynamic control\, and ability to produce both melodic and percussive textures. In Cyanotype’s Five Studies\, these qualities are refracted through the instrumental language itself\, emphasising the vibraphone’s unique ability to articulate rhythmic patterns with clarity and tonal nuance. This work creates a rich sonic landscape for exploring how vibraphone rhythms can be abstracted\, deconstructed\, and re-imagined as imprints within sound. \nEach study acts as a sonic cyanotype\, distilling the essential rhythmic and timbral gestures of the vibraphone into textures that evoke the original instrument’s expressive potential without relying on straightforward replication. The vibraphone’s capacity for sustained tones and nuanced dynamic shading allows for a complex rendering of rhythmic articulation\, translating percussive strikes into lingering tonal shapes. The five studies function collectively as a blueprint series—each revealing different facets of the vibraphone’s character through a process of mediation\, exploring articulation\, rhythmic complexity\, timbral contrast\, and dynamic variation. \nBy conceptualising the work as an imprint rather than a direct transcription\, the piece invites listeners to reconsider the relationship between source and representation. It challenges traditional notions of musical interpretation by emphasising the transformative potential of the vibraphone to embody and reinterpret its own characteristic sound patterns. The blue-white dichotomy of the cyanotype process parallels the interplay between presence and absence in sound—notes articulated and decayed\, rhythm asserted and refracted\, the physical gesture and its sonic echo. \nUltimately\, Cyanotype’s Five Studies proposes a dialogue between visual and auditory art forms\, grounded in the shared concept of imprinting. Just as the cyanotype renders the visible object in reverse contrast\, this work explores how musical objects—rhythms and timbres—can be refracted through mediation to reveal new expressive dimensions. The vibraphone becomes both subject and medium\, transforming its distinctive voice into a series of articulate\, resonant imprints\, inviting a deeper engagement with the ephemeral nature of sound and the processes of artistic representation. \nAbout the artists\nComposer: Elaine Lillios \nElainie Lillios is an American composer whose music explores sound\, space\, and the physical experience of listening. Her works often blend acoustic instruments with electronics\, field recordings\, and subtle timbral shifts. Lillios’s music has been performed internationally and is known for its immersive\, textural quality and imaginative use of resonance and sonic detail. \nPercussion: Patti Cudd \nPatti Cudd is an American percussionist\, educator\, and new-music advocate. A member of Zeitgeist and a professor at the University of Wisconsin–River Falls\, she specializes in contemporary percussion\, electroacoustic music\, and commissioning new works. Cudd has performed internationally\, recorded widely\, and collaborated with leading composers to expand the modern percussion repertoire. \nSound design: Marc Ainger \nMarc Ainger (USA) has developed an idiosyncratic body of work that embraces a wide range of music/sound and music/sound-making. He is interested in the relationships between the real and the imagined – the ways in which the visceral world of sound and sound production inform our imagined worlds of sound\, and the ways our imagined worlds\, in turn\, inform our concrete experiences. \n  \nKonstantinos Karathanasis: Gorgons’ Cry for Aulos and Live Electronics\nThis programmatic composition is inspired by the 12th Pythian Ode\, written by Ancient Greek poet\, Pindar\, in honor of a formidable Aulos player. When Perseus\, aided by goddess Athena\, beheaded sleeping Medusa\, the only mortal of the three sister Gorgons\, the two immortal Gorgon sisters\, Stheno and Euryali woke up\, realized the crime and chased the culprit with terrible cries and laments. Athena listened to the Gorgons’ cries and created Aulos\, a double pipe-double reed wind instrument to imitate them.\nIn contrast to the ancient poet\, and profoundly stirred by ongoing contemporary reports of femicides\, the composer interprets this myth from a feminist perspective. Medusa is portrayed as a tragic victim of patriarchy\, and the Gorgons cry out in extreme anger\, mourning the lost beauty of their sister.\nIn modern days\, Archeomusicologists study fragments\, or entire pieces of excavated Auloi from various sites and eras to recreate exact replicas to learn more about the sounds and performing techniques of this long-lost instrument. This piece is based on a Pydna aulos\, an instrument entombed in Macedonia\, Greece at about the 2nd half of the 4th century BCE. Melodic materials derive from the archaic Spondeion scale that was used to accompany certain religious processions.\nThe computer alters the aulos sound in real-time based entirely on custom combinations of variable delay and FFT algorithms\, without using any prerecorded materials. Gorgons’ Cry is the first composition in the modern repertory involving aulos and live electronics. \nAbout the artists\nKonstantinos Karathanasis as an electroacoustic composer draws inspiration from modern poetry\, artistic cinema\, abstract painting\, mysticism\, Greek mythology\, and the writings of Carl Jung. His compositions have been performed at numerous festivals and received awards in international competitions\, including Musica Nova\, SIME\, SEAMUS/ASCAP\, Música Viva and Bourges. Recordings of his music are released by SEAMUS\, ICMA\, Musica Nova\, Innova\, Equilibrium and HELMCA. Ravello Records released in March 2026 his solo album Resonant Mythologies with the support of the University of Oklahoma. Konstantinos holds a Ph.D. in Music Composition from the University at Buffalo. He serves as Professor of Composition & Music Technology at the University of Oklahoma. More info at: http://karathanasis.org \nInstrumentalist: Callum Armstrong\nCallum Armstrong is an award winning multi-instrumentalist specialized in Early Music. For over a decade\, Callum has devoted a great deal of his time to the revival of ancient Greek and Roman auloi. He has a YouTube channel\, the ”The Aulos Collective” which is dedicated to how auloi were made\, played\, and used\, in collaboration with the luthier Max Brumberg. Callum regularly performs internationally as a soloist\, in various ensembles\, and works as a composer\, teacher and session musician for film and computer games. Recently Callum was the subject of the documentary ‘Callum Armstrong the Aulete’ which won 1st price from the Ierapetra international film festival. \n  \nVolunteers\nTechnical Director / Main Sound\nSteffen Lohrey\nLeon Sudahl \nSound Assistants\nJakob Seyberth\nTim Christiansen \nStage / Light / Video\nEvelin Lindberg\nDong Zhou\nJames Tsz-Him Cheung \nProduction\nAigerim Seilova\nHuixin Xue\nHaonan Guo\nXinyi Yang\nNiko Yin\nJiwon Seo\nMenghuan Feng \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-6a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T173000
DTSTAMP:20260530T101545
CREATED:20260421T190101Z
LAST-MODIFIED:20260511T143806Z
UID:10000179-1778929200-1778952600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Fixed Media | Program Overview\nComfortable Distance\nGiovanni Crovetto \nDisappearing\nMatteo Tomasetti\, Francesco Casanova\, Andrea Veneri\, Vili Pääkkö and Andrea Strata \nHokkaido Snow Soundscape\nZiwei Yang \nImpulse Impromptu III\nTolga Yayalar \n4-body Interactions (7’34’’)\nLeonidas Spiliopoulos \nArchitecture éphémère\nNicola Giannini \nConcerto for Piano and Loudspeaker Orchestra\nNeal Farwell \nCorium II\nMathieu Lacroix \nGott\nRikhardur H. Fridriksson \nMatters 10\nDaniel Mayer \nOBSess\nAllison Ogden \nOscillation of Life\nJan Jacob Hofmann \nPhe NoType\nVilbjørg Broch \nSonic Fragmentation – a fixed media multichannel piece\nDaniel Gomes \nCalling in “Raumforderungen” 8-channel diffusion work\nAleksandar Zecevic \nFluidante. A quadrophonic recording from the Latent Russando framework\nMartin Heinze \nOdradek\nCristian Gabriele Argento \n  \nAbout the pieces & artists\nGiovanni Crovetto: Comfortable Distance\nComfortable Distance is an electronic music work for fixed media that investigates the relationship between dramaturgy\, timbral transformation\, and perceived spatial depth. The musical discourse is articulated through processes of sound transformation rather than linear narration\, allowing form to arise from the internal behavior of the materials. The piece unfolds through a continuous play of tension and release\, shaped by the dramatic deployment of the full acoustic spectrum and by shifts between moments of expectation and rupture. Sudden impacts alternate with suspended sonic states\, while veiled\, distant sound masses contrast with intimate\, close-up details. These oppositions generate a form grounded in instability\, oscillating between predictability and unpredictability\, and between accumulation and sudden resolution. Conceived for octophonic spatialization\, the work uses multichannel space to support its formal dramaturgy. Spatial depth emerges through perceptual shifts between contraction and expansion\, as well as through abrupt transitions between proximity and distance\, constraint and release. \nAbout the artist\nGiovanni Crovetto (Milan\, 1991) is a composer and educator working in electroacoustic music and algorithmic composition\, with a focus on perception and dramaturgy. He studied Composition and Music Theory at the Kunstuniversität Graz and later earned a degree in Musicology from the University of Milan. He is currently completing a Master’s degree in Composition with Javier Torres Maldonado at the Conservatory of Milan and is enrolled in a PhD program in Composition and Musical Performance at the Conservatories of Ferrara\, Pescara\, Trieste\, and Udine. His work explores perceptual thresholds between complexity\, form\, and memory\, with particular attention to listening as an artistic and human practice. \n  \nMatteo Tomasetti\, Francesco Casanova\, Andrea Veneri\, Vili Pääkkö and Andrea Strata: Disappearing\nDisappearing is a five-minds spatial composition created during an artistic residency at Laidi Palace\, a historic palace in Latvia. The architecture\, the atmosphere\, and the sense of time suspended within its walls inspired us to imagine a space where presence and absence constantly shift. The piece explores the idea of appearing and disappearing; sounds\, gestures\, and trajectories emerging briefly before dissolving again into the environment. As we worked within the palace\, the building itself became an active presence: rooms\, corridors\, and reverberant spaces shaped the work as much as our intentions did. The piece reflects this dialogue with the place\, blurring the boundaries between visibility and invisibility. Disappearing is an attempt to capture a fragile state of being\, where moments surface\, fade\, and leave only traces behind. \nAbout the artists\nMatteo Tomasetti is a sound artist\, live performer\, and researcher working with spatial audio\, gesture-based interfaces\, and immersive musical experiences. He holds a PhD in Music Technology from the University of Trento and works across electroacoustic music\, sound art\, and audiovisual performance. He currently teaches electronic music at the Music Conservatory of Pescara (Italy). \nFrancesco Casanova is a sound artist based in Graz (Austria)\, active in music software development. His research focuses on sound design\, human–computer interaction\, multichannel audio\, and sound installations. He is currently studying Computer Music at the IEM in Graz. \nAndrea Veneri is an electronic music composer working with audiovisual performance\, live electronics\, and real-time audio systems. His practice centers on sound design and interactive tools developed in Max/MSP. He currently teaches electronic music at the Music Conservatory of Pescara (Italy). \nVili Pääkkö (Vili Aarre) is a Finnish sound artist working in contemporary performing arts\, music\, installations\, and video. He holds degrees in sound design from the University of the Arts Helsinki and has worked internationally with theaters and art institutions. \nAndrea Strata is an Italian multimedia artist and creative coder based in Berlin. With a background in computer music\, he is currently a PhD researcher at the Conservatory of Vicenza\, focusing on human–computer interaction\, movement analysis\, and real-time sound generation. \n  \nZiwei Yang: Hokkaido Snow Soundscape\nHokkaido Snow Soundscape is a fixed-media work based on the winter soundscapes of Hokkaido\, presented through an 8.1ch spatial audio design. All sound materials were recorded on location\, including the pedestrian area in front of Sapporo Station\, a snow-covered park in late-night Otaru\, and the walking trails of Mount Hakodate. These sites form a multi-layered sonic map of how snow exists and transforms across different environments. During field recording\, various methods were used to explore the acoustic expressiveness of snow: rubbing and compressing snow by hand\, footsteps with different shoe materials on icy ground\, and contact sounds created with shovels\, gloves\, and other tools. These approaches extend the expressive range of natural sound material and reveal the diverse timbres and physical “life” of snow. The 8.1ch spatial sound design allows precise placement and movement of sounds\, creating an immersive auditory field where the listener can perceive the flow\, depth\, and ephemerality of snow. The movement\, reflection\, and fading of sound in space are framed as part of winter’s natural cycle—an auditory expression of transience. As both a document of Hokkaido’s winter and a response to the disappearing sounds of nature\, the work preserves these fragile sonic moments in the face of global warming. Hokkaido Snow Soundscape invites listeners to rediscover the purity\, delicacy\, and fleeting presence of winter through sound. \nAbout the artist\nYang Ziwei (b.1999\, Hunan\, China) graduated from the Music Technology Department of Xinghai Conservatory of Music in 2021 and is currently pursuing a master’s degree in Music and Sound Design at Senzoku Gakuen College of Music\, Japan. He has studied composition and electronic music with Yoshihiro Nakagawa\, Takeyoshi Mori\, and Chang Lin. His works have been selected for events such as MUSICACOUSTICA-HANGZHOU 2024\, IEMC2024\, ICMC2025\, and CCMC2025. His research focuses on urban soundscapes and soundscape composition. His creative work investigates methods of recording\, processing\, and spatially reconstructing environmental sounds\, exploring sonic memory\, cultural symbolism\, and cross-cultural perspectives within contemporary soundscape practice. \n  \nTolga Yayalar: Impulse Impromptu III\nImpulse Impromptu III (2025) is an electroacoustic work based entirely on the sounds of two mechanical musical boxes. The piece investigates the musical box as both instrument and object\, focusing on its dual identity as a nostalgic sound source and a fragile mechanical system. Rather than treating the musical box solely as a melodic device\, the work explores its full sonic spectrum\, including pitched material\, mechanical noise\, creaks\, clicks\, and friction sounds. The compositional process is rooted in improvisation and unfolds in two distinct stages. The first stage consists of extensive acoustic improvisations with the musical boxes\, employing both conventional and unconventional techniques such as winding\, tapping\, scraping\, and manual interference with the mechanisms. These recordings function simultaneously as documentary material and as a sonic reservoir. In the second stage\, selected recordings are transformed through sampling and electronic processing to create custom virtual instruments\, enabling a further layer of improvisation within an electroacoustic context. Through this process\, the musical box is recontextualized as an immersive sonic environment rather than a fixed sound object. The piece aims to evoke the perceptual sensation of being “inside” the instrument itself\, as if the listener were miniaturized and placed within its inner workings. This perspective highlights the intimacy\, precision\, and instability of the mechanism\, revealing an eerie and delicate sound world that oscillates between familiarity and estrangement. Beyond its material exploration\, the work engages with themes of memory\, fragility\, and nostalgia. The musical box functions as a metaphor for recollection: precise yet vulnerable\, repetitive yet prone to degradation. By magnifying its internal sounds and spatializing them in the electroacoustic domain\, the piece reflects on the tenuous relationship between mechanical repetition and the emotional resonance often associated with remembered sound. \nAbout the artist\nTolga Yayalar (b. 1973) is a composer whose works have been performed by ensembles such as Le Nouvel Ensemble Moderne\, Alarm Will Sound\, and the Orchestre National de Lorraine\, and presented at festivals including MaerzMusik Berlin\, Ars Electronica\, and Acht Brücken Köln. He has received numerous composition awards and collaborated with choreographer Korhan Başaran on interdisciplinary projects. Yayalar holds degrees from Berklee and Istanbul Technical University\, earned a Ph.D. from Harvard\, and teaches composition at Bilkent University. \n  \nLeonidas Spiliopoulos: 4-body Interactions (7’34’’)\nA generative composition exploring the infinite possible interactions between four bodies entangled according to Newton’s law of universal gravitation. Each movement (or possibility) presents how four bodies can interact sonically and spatially in significantly different ways. Each body is represented as a different instrument orbiting in three-dimensional space embedded in an ambisonic sound field\, with the audience placed at the center of mass of the whole system. The coordinates and velocities of the bodies simultaneously modulate key parameters of the synthesized instruments\, such as amplitude\, pitch\, filtering\, frequency modulation\, etc. The system of equations of the four bodies permits a wide range of diverse dynamics\, ranging from periodic\, cyclical behavior to aperiodic and chaotic behavior\, which is highly dependent on the initial conditions of the system. The system for four bodies cannot be solved analytically\, but must be approximated instead\, leading to uncertainty from the perspective of the observer despite the underlying deterministic structure. Small errors compound over time leading to a significant divergence between our predictions and reality\, revealing our uncertainty about the future and the inherent limits of our roles as observer. The interactions of the four bodies in this composition reveal qualitatively different relationships between them\, representing the multitude and diversity of human interactions and patterns of participation generated by our attractions and proclivities to each other. In Movement/Possibility 1 all four bodies interact loosely as a single group with evolving fidelities revealing the complex interactions between human relationships. In Movement/Possibility 2\, three of the four bodies form an interaction group closely orbiting each other. One body has a unique trajectory\, initially moving away from the group\, gradually reversing course and even briefly interacting with the group\, but then temporarily escaping their pull to return on a solitary path. In Movement/Possibility 3\, the four bodies interact closely in two pairs. Within each pair the bodies exhibit tight coupling\, but the two pairs are on divergent solitary paths becoming increasingly estranged and polarised. \nAbout the artist\nLeonidas Spiliopoulos is an academic researcher at the Max Planck Institute for Human Development specialising in mathematical models of individual and strategic decision making and learning. His research is grounded in the inter-disciplinary insights afforded by the fields of economics\, game theory\, cognitive psychology/neuroscience\, and artificial intelligence. He is a keen explorer of the intersection of science and art\, particularly electroacoustic and generative music. \n  \nNicola Giannini: Architecture éphémère\nArchitecture éphémère is a fixed-media work that creates an immersive experience in which listeners can lose themselves in the time and space of the music. The title refers to the idea that spatial music can generate an ephemeral\, constantly evolving architecture that overlays the physical environment. Drawing on philosopher Gernot Böhme\, my practice explores how the diffusion of sound shapes the atmosphere of the spaces we inhabit. The piece explores tensions between opposing spatial sensations—proximity and distance\, intimacy and immensity—and the depth of field of the sonic space. Most of the materials are generated through sound synthesis\, which I use to create sounds with different shapes\, sizes\, and densities. Architecture éphémère unfolds as a journey through distinct atmospheres\, shifting from explosive\, detailed passages\, where trajectories can be pinpointed\, to soft\, diffuse\, hypnotic spaces that verge on disorientation. The opening section presents a frontal sound mass that slowly advances\, suggesting immensity and inexorability\, before bursting into aggressive gestures that travel along multiple trajectories\, as if caught in an explosion. Wide-range glissandi\, projected into a rich ambisonic reverberation\, reinforce the sense of motion and tension\, immersing the audience in a deep and articulated sound field. A second phase is inspired by the image of a vast snowy expanse whose boundaries remain invisible. Here\, slowly evolving sine waves\, often difficult to localise\, create an ambiguous\, enveloping atmosphere. Moving on circular trajectories at slightly different speeds\, they intersect to form chords\, clusters\, and beating patterns\, some in very low registers that engage the body as much as the ear. Occasional sharp editing cuts introduce subtle spatio-temporal breaks\, further intensifying the hypnotic effect. In the final section\, perception seems to fragment gradually. Different sound materials are spectrally split and rotated in space at slightly offset speeds\, a technique inspired by Robert Normandeau\, enveloping the listener in a hypnotic conclusion. Architecture éphémère was initially composed during the workshop series Composing Fixed-media Multichannel Music on a Hybrid Loudspeaker Array led by Pierre Alexandre Tremblay (2022–2023) at the Multimedia Room of CIRMMT in Montreal\, and reworked in 2025. \nAbout the artist\nNicola Giannini is an artist-researcher who creates immersive sound experiences. His practice lies at the intersection of experimental music\, sound art\, collaborative practices\, and creation in public space. He designs sound spaces as ephemeral architectures where intensity and lightness\, the real and the surreal\, the natural and the synthetic intertwine. His works have been presented in North and South America\, Asia\, Australia\, and Europe. He holds a doctorate in composition from the University of Montreal and is a postdoctoral fellow funded by the FRQSC at UQAM and McGill. \n  \nNeal Farwell: Concerto for Piano and Loudspeaker Orchestra\nI had the opportunity to write a concerto for a remarkable soloist\, the French pianist Marie Vermeulin. With it\, came the idea of writing for loudspeaker orchestra. A simple pivot in the word ‘orchestra’\, from the usual concerto accompaniment\, it opens up the possibility of sound spatialisation\, the challenge of melding that to a stage-bound piano\, and a fluid conception of the orchestral sound-world. In principle\, computer music can contain and mediate any kind of sound material — but in practice we seem to draw lines\, for instance between soundscape; acousmatic music; algorithmic composition; and the digital instrumentation of media composers. I wanted to move fluidly between these\, and to have fun\, while still writing a ‘serious’ piece. My soloist is an enchanter\, drawing energies between varied worlds. The original programme mentions that ‘the orchestra of loudspeakers gives the piano the possibility to take wing; and the orchestra in the loudspeakers lets it dance.’ The most literal sense of the piano taking wing is in the form of peeling bells in an imagined townscape\, a point of arrival after the journey from a naturalistic (but also constructed) woodland dawn. Not-quite-real instruments sing\, dance\, and morph. The programmatic element is worn on the concerto’s sleeve; but it is only one part of a musical argument involving sonic and material transformation. The piano is purely acoustic. Its pitch world is an innovative constructed tonality. It treats 19 semitones as its interval of equivalence (the interval from fundamental to third harmonic) and downplays octave chroma. It gives systematic possibilities akin to common practice harmony\, but able to sound very different while still suiting the keyboard. Computer models helped develop the material. The electronic materials are cast in 7.0.4 surround (i.e. 7.0 plus 4 height). They comprise multiple sound cues that overlap\, segue\, interrupt\, etc.; and a custom performance environment built in Max. All the material is pre-composed\, made in a studio with physical surround monitoring\, but reshaped within the performance tool. There is particular attention to performance adaptability. Some passages are ‘placed’\, with the soloist leading. In others\, the computer performer must conduct\, interpreting animated cues from the software UI to ensure sounding ensemble. There is an extended duet in which the computer performer plays ‘tablature’ patterns on MIDI keyboard\, via a layer of anticipatory score following (using Ircam antescofo)\, to interpolate multiple elements of the rhythmic dialogue in flexible tempo. These shifting strategies reflect the relationship of soloist and conductor in a work with live orchestra. The full Concerto plays in a single span: Part 1: — I. Invocation — II. Circles — III. Image — IV. Incantation: cadenza — V. Flight Part 2: — VI. Arc — VII. Nocturne — VIII. Envoi. We gave the first concert performances in 2024. To meet duration constraints for ICMC\, Part 1 is presented as a stand-alone performance\, with a shortened cadenza and a short alternate ending. This version is a demo with a digital realisation of the piano part. The 7.0.4 spatialisation has been remapped to flat-8 for the Listening Room. \nAbout the artist\nNeal Farwell composes acoustic\, acousmatic\, and mixed electroacoustic music. He gained his PhD in composition from the University of East Anglia\, studying with Simon Waters. In 1998 Neal moved to the USA as a Knox Fellow at Harvard University\, and continued his studies with Bernard Rands\, Mario Davidovsky and David Rakowski. Since January 2002\, Neal has taught at the University of Bristol\, UK\, where he is Professor of Composition. Neal is active also as a performer\, regularly conducting the University Symphony Orchestra\, working with outside ensembles\, and presenting the electroacoustic concert series Sonic Voyages. \n  \nMathieu Lacroix: Corium II\nCorium is a material that is created from a nuclear meltdown accident\, such as during the Chernobyl accident. Its texture looks similar to molten lava and it may be heated up to 2 500 degrees Celsius. The radiation is so intense that even decades later it can distort photographies and instantly kill. This is the second and final piece in this series. The piece attempts to combine aesthetic aspects of extreme drone metal with the harmonic subtleties of contemporary music. The sound sources are mainly from a Warr guitar (a touchstyle instrument similar to Chapman stick). \nAbout the artist\nMathieu Lacroix is a French-Canadian composer and music producer working in Norway. He has studied and/or worked with composers such as Hans Tutschku\, Kaija Saariaho\, Jaime Reis\, Ståle Kleiberg\, Trond Engum\, Michael Obst\, Markus Reuter\, and Annette vande Gorne. He completed his studies at NTNU in Norway\, IRCAM in France\, and Musiques & recherches in Belgium. He has been invited to festivals such as Mixtur\, Meta.Morf and Manifeste. His music is performed in over fifteen countries. He is a member of the Electric Audio Unit with Natasha Barrett and Ernst van der Loo. In 2021 he completed a PhD thesis on synchronization strategies in mixed music. He also plays Chapman Stick\, and works as a producer and sound engineer. He is an associate professor in composition and music production at University of Inland\, Norway. \n  \nRikhardur H. Fridriksson: Gott\nGott (2022) is a drawn-out rendering of one spoken sentence saying that my old hometown is a good place to live in. This was a famous quote from a former major of the town. When that same town\, many years later\, commissioned a piece from me\, I thought of this sentence. Of course as a way of flattering my benefactors\, but also as a way af expressing my fond memories of growing up there. The drawing-out of the sentence is far from being plain time stretch. I use the opportunity to play freely with variously big bits of words and letters. \nAbout the artist\nRikhardur H. Fridriksson (b. 1960) studied composition in Reykjavik\, New York\, Siena and The Hague. His music falls into two general categories; he either makes pure electro-acoustic music\, working with natural sounds and their movement in space\, or he does live improvisations\, playing electric guitar\, processed with live electronics\, either alone or with the Icelandic Sound Company. He teaches composition and electronic music at Kopavogur Music School. In his spare time he plays punk rock. \n  \nDaniel Mayer: Matters 10\nMatters\, a series of electro-acoustic multichannel pieces\, started in 2017. It reflects my practice-driven research\, where I’m artistically exploring various sound synthesis and spatialization variants. Matters 10 uses buffer rewriting\, the simultaneous reading from and writing to the same buffer with varying speeds. The result of this procedure is highly unpredictable. However\, algorithmic control of the various parameters is employed to contain the output and produce the formal structure and spatial distribution. Simultaneous writing to and reading from an audio buffer is a simple though widely unknown and undocumented idea\, which can lead to a wide range of surprising results. It continues the tradition of non-standard synthesis\, and there are only scattered hints at individual approaches. When buffer writing and reading to a buffer are performed under “ideal” conditions – equal rates\, writing before reading – the procedure results in a simple delay line. Things become interesting if rates are unequal or modulated. Then\, the delay is disturbed\, and the sounding result might include alias-like effects and glitches. Rate modulation can lead to audible sidebands\, thus mixing the concepts of buffer rewriting and buffer modulation\, which\, on its own\, is also an easy\, effective\, and underestimated processing technique. Feedback or overdubbing instead of plain rewriting are further possible extensions of the procedure; playing with the bounds of the buffer section is another one. Short impulses as input can lead to compelling resonance effects. As any input signal can be a source for buffer rewriting – and no-input variants with feedback are equally possible – it becomes clear that the variance of results is large. \nAbout the artist\nDaniel Mayer (*1967) works in the area of sound synthesis and generative computer algorithms. Performances at numerous festivals of electronic and contemporary music\, Giga-Hertz production prize 2007 at ZKM Karlsruhe. Completed studies of pure mathematics\, philosophy and composition (Gerd Kühr) in Graz. Postgraduate study at ES Basel with Hanspeter Kyburz. Visiting professor for electro-acoustic composition at IEM Graz. Edgard-Varèse guest professor of DAAD at TU Berlin in the winter 2022/23. \n  \nAllison Ogden: OBSess\nOBSess Program Notes: The origins and title of this piece were entirely unintentional. While brainstorming ideas for a different composition\, I began experimenting with oboe samples\, applying various filters to them. I named the patch “OBSess” (Oboe + Session) without much thought. However\, I found myself repeatedly returning to this patch\, going down the well-trod computer music rabbit hole of “What if I…?”. It wasn’t until I had accumulated several minutes of material that I noticed the double meaning of “OBSess\,” and it felt fitting. The piece is constructed by filtering and deconstructing oboe samples\, exploring a cycle of reconstruction and re-deconstruction. My initial curiosity was to see if I could sonically rebuild a “giant oboe” from its fragmented sounds in an immersive 8-channel setup\, simply because it seemed like a fun challenge. The process then evolved into further deconstructing the sound\, leading to a playful exploration of construction\, deconstruction\, and reconstruction. Ultimately\, this piece is about the joy of creation and experimentation—it was genuinely a lot of fun to make. OBSess was composed in the spring and summer of 2024. \nAbout the artist\nDr. Allison Ogden is a composer\, teacher and author who currently works as an Assistant Professor at The University of Louisville. She received her BM from The Eastman School of Music and her PhD from The University of Chicago. She now considers herself and “re-emerging composer”\, as she took time away from composition to be a mother to her two children\, and now seeks to raise awareness of the difficulties faced by those in the creative fields who need to step away due to child care\, elder care\, health concerns or other reasons\, issues faced more commonly\, though not exclusively\, by women. Allison’s music has demonstrated a connection to the natural environment\, with astronomy\, nocturnal experiences and light pollution in particular being of prime focus. Working in both acoustic and electroacoustic realms\, her music focuses on subtle textural shifts\, sonic soundscapes\, meditative and immersive acoustic spaces. As a Professor\, Allison has worked to expand music course offerings at the University of Louisville and to make the music studied more inclusive and reflective of a modern\, global society. A longtime fan of Hip Hop\, she created the very popular Hip Hop: Music and Culture course at UofL and has lectured at Universities and Colleges in the United States and Europe on the intersection of Hip Hop and social justice movements. In August 2025 her college-level textbook\, entitled Come Correct: A Comprehensive History of Hip Hop Music\, was published. \n  \nJan Jacob Hofmann: Oscillation of Life\nThis is an electroacoustic work in 7th order Ambisonics\, fixed media. For this venue a 3rd order decode for has been provided. The piece is about the generating forces of nature. About the idea of an underlying universal power that gives shape and energy to all living beings. What if there was a yet undiscovered oscillating energy beyond acoustic and electromagnetic oscillation\, that gave shape\, energy and interconnection to all living beings? That enabled/guided/facilitated the organisation of molecules and cells to higher organisms\, beyond genetic chemical reactions and metabolism\, opposed to the common increase of entropy? That creates shape like symmetry up to far more complex mathematical order\, beauty out of chaos by transmitting harmonic information? What would that oscillation sound like\, if we could perceive it? Would we listen? Would we be able to tune in? The piece is spatially encoded in 7th order Ambisonic. The sounds and the spatial design were created with the sound synthesis program “Csound”. Other programs were “Cmask” and “Blue”. \nAbout the artist\nJan Jacob Hofmann. Born 1966 at Duesseldorf\, Germany. Diploma in architecture 1995. Entered the class of Peter Cook and Enric Miralles at the Staedelschule Art School Frankfurt am Main in 1995\, a postgraduate class of conceptual design. Diploma in 1997. Works as a composer\, photographer and architect since. Since 1986 dealing with composition and electronic music. Since 1999: Work on spatialisation of sound. Several international performances since. Own research on Ambisonic and other spatialisation techniques. \n  \nVilbjørg Broch Phe: NoType\nAn immersive audio work for computer processed voice. Spatialization and other audio processes take place through a gigantic audio effect wave guide mesh structured after the 8D hypercube. The text fragments are cutups from present scientific publications on genetics and computational biology. \nAbout the artist\nVilbjørg Broch Phe. Born in 1967 in Denmark. Lived in The Netherlands for several decades but I am now based in Denmark. Studies include dance and improvisation at the SNDO Amsterdam and voice with coloratura soprano Marianne Blok. Worked with multi media and improvisational projects of all sorts and sizes the past 30 years. Projects include interpretations of a wide variety of text sources. I work with computer music for a bit more than 20 years. The development of this has been parallel with a self study of pure mathematics aimed at algorithmic composition and DSP. The work in spatial audio has developed thanks to working periods and residencies in places such as CCRMA Stanford\, IEM Graz\, ICST Zurich\, EMS Stockholm and NOTAM Oslo. \n  \nDaniel Gomes: Sonic Fragmentation – a fixed media multichannel piece\nThe piece explores the relationship between human and machine in artistic creation\, focusing on human decision-making in performance\, synthesis\, and media isomorphism. It suggests that technology and artistic performance are best unified through perceptual understanding\, balancing automated processes with human interaction. Glass and tile shards were chosen as sound objects. Though not naturally resonant\, these materials enabled exploration through vibration and human manipulation\, bridging physical objects with digital sound. Performance and improvisation were crucial in shaping the piece’s structure\, with tonality and gesture determined by performer’s choices and technique. Controlled sound events combine live performance with partial automation. Two key algorithms shaped the digital soundscape: Chebyshev’s Polynomials for filter design\, optimizing frequency selectivity and ripple control\, and the Sieve of Eratosthenes for prime sample intervals\, enhancing sound fidelity. Spatial reference was essential for distinguishing individual synthesis streams. The glass shard motif served as the primary interaction model\, with tile fragments helping define sound event morphology. The concept of linearity guided the overall form\, using sampling as an isomorphic representation. This framework allows various media to be projected through vector matrices across different spectra while preserving their essential characteristics and artistic integrity. \nAbout the artist\nDaniel Gomes is a Lisbon-based web developer\, fusing his passions for programming and digital art. His current focus lies in exploring computer music\, with a particular emphasis on real-time paradigms in digital media\, using sound as the primary medium for music synthesis. He holds a Master’s degree in Sonic Arts from the Sonic Arts Research Centre in Belfast. While engaged in his work and creative pursuits\, he also served as a peer reviewer for the ICMC panel. His musical works have been showcased in diverse locations\, ranging from Portugal to Paris (INA/GRM) and from Germany (ZKM in Karlsruhe) to international events such as ICMC 2018 in Daegu\, Korea\, and NYCEMF. Recently\, he has been delving deeper into the realms of digital arts and the aesthetics of music. \n  \nAleksandar Zecevic: Calling in “Raumforderungen” 8-channel diffusion work\nGerman experimental musician Sascha Stadlmeier\, founder of the Emerge label\, recorded various physical interactions and ambient room tones inside the massive gas tank at Gaswerk in Augsburg\, Germany. With his permission\, I used these recordings as source material to create a musique concrète composition titled Calling in Raumforderungen. The term Raumforderung—German for “space-occupying lesion”—is used here in a non-medical\, metaphorical sense. It refers to instances in which something occupies or asserts its presence within a given space\, whether physical\, conceptual\, or acoustic. In this composition\, that “something” is sound. Guided by a leitmotif of call-and-response\, the work explores how sound waves interact with and are shaped by the gas tank’s vast\, reverberant interior. The piece invites listeners to consider not just the sound itself\, but the space it inhabits—and how that space responds. \nAbout the artist\nAleksandar Zecevic is a sound artist\, audio designer\, electroacoustic composer\, interactive audio specialist\, and researcher. In his interactive and linear audio works\, he uses a variety of spatial audio techniques to extend sonic narratives and temporal experiences. Upon completing a music conservatory and a technical college in 1986\, he began working at Radio Television Belgrade\, Studio B\, Radio Belgrade Studio for Electronic Music\, and the Belgrade National Theatre. Under the mentorship of the Belgrade University Professor of Sound Design and Radiophonic Art\, Zoran Jerković\, he continued his education in the theory and praxis of sound design\, recording\, and electroacoustic art until his departure to Canada in 1992. In Canada\, he has been working as a freelance Sound Engineer\, Audio Designer\, Sound Artist\, Spatial audio specialist and Electroacoustic Composer on film\, television\, multimedia\, and performance projects. Aleksandar held the following positions: 1998 – 2018: Artistic and Technical Senior Sound Artist and Audio Director for Interactive Audio at Electronic Arts Canada. 2020 -2024 -Audio Director at Archiact inc Presently\, he is the Audio Director at Lakshya Digital His works have been presented at Phonurgia Nova\, MUTEK ( SAT )\, Gran Prix Nova\, EPICENTROOM\, PAYSAGES | COMPOSÉS\, FESTIVAL ECOS URBANOS\, Radiophrenia\, and Radio Belgrade 3. \n  \nMartin Heinze: Fluidante. A quadrophonic recording from the Latent Russando framework\n“Latent Russando” is a semi-generative compositional framework written in Pure Data dedicated to exploring musical qualities in working with generative neural nets for audio\, conceived both as hybrid instruments and as autonomous actors. Practices from generative music and algorithmic composition are used as mediators between human performer and the generative abilities of the neural nets\, displacing and circumventing concepts of authorship and genius by empowering multiple independent agents in an improvisation-driven\, co-creative process. The work is based on “Russando. Serenade for six German Sirens\, op. 43” by Hallgrímur Vilhjálmsson\, a heteronym of conceptual artist Georg Joachim Schmitt. The original piece was composed in 2008 and premiered in the context of the (also fictional) art exhibition “cologne contemporary — international art biennale 08” at Asbach-Uralt Werke in Rüdesheim. It is a three-part composition of approx. 33 minutes in length\, in which six German emergency and police sirens are alternately sounded together or alone. In consultation with the creator\, I trained neural audio models based on two architectures (RAVE\, vschaos2\, both courtesy of IRCAM\, Paris) on the original piece. For the ICMC 2026 Music Track\, I configured the “Latent Russando” framework into a quadrophonic version employing 8 model instances (each 4 RAVE and vschaos2) with their outputs distributed over all channels. My application contains the piece “Fluidante” that stands exemplary for a potentially infinite number of musical works that can be generated with this framework; it is the output of a joint creative act of human and artificial agents. With this\, both the conceptual genesis of Russando with its distributed or fictionalized authorship is reflected as well as the interplay of control and autonomy in a process that deflects claims of unique authorship and concepts of solitary genius. \nAbout the artist\nMartin Heinze is a sound artist\, composer and musician working in the field of experimental electronic music with a focus on algorithmic composition and generative neural audio synthesis. Part of his work revolves around injecting concepts of generative music and algorithmic composition into deterministically driven electronic music genres. Another practical research interest of his is integrating generative AI into creative processes in electronic music production holistically. \n  \nCristian Gabriele Argento: Odradek\nOdradek is a reflection on growth as transformation through mutation. The piece is composed exclusively from a single sonic organism: Valse Sideral (1962) by Jorge Antunes. This source was subjected to extreme AI-based cleaning processes\, not to clarify the signal\, but to harvest what was left behind: the residual noises\, the erased interference\, the discarded fragments. From this paradoxical gesture—a search in the margins—emerges a timbral proliferation: unstable\, shifting\, where the material fragments and regenerates into constantly changing forms. Like a living being adapting to survive\, the sound grows not by accumulation\, but through distortion\, error\, and adaptation. Far from a linear model of development\, Odradek enacts dysfunctional growth: glitch like persistence\, a rhythm that emerges and dissolves\, an identity that loses itself to become something else. The title refers to Kafka ’s enigmatic creature—an unclassifiable entity with no clear function and no end—a metaphor for a sonic lifeform that resists categorization and complete intelligibility. Ecologically\, Odradek offers a sonic metaphor for biodiversity. From a single source\, it generates an ecosystem of micro-events—competing\, overlapping\, coexisting. It is not a representation of biodiversity\, but its enactment: through the multiplication of differences\, through tension between form and disintegration. In a time when growth is often misunderstood as unchecked expansion\, Odradek explores a model of growth rooted in ambiguity\, instability\, and crisis. It grows not by colonizing space\, but by making it fertile for new perception. A sound that thrives by becoming less legible\, more complex—an auditory organism evolving through entropy. \nAbout the artist\nCristian Gabriele Argento\, Italy\, Electroacoustic composer. Born in Catania in 1998\, Cristian started to make music as a self-taught at the age of 14. His interest in new technologies applied to music was born in high school\, studying subjects such as electronic and computer science; during this period he did some extra school courses about new technologies and electronic music. After his high school studies he decided to make of electronic music his future so he decided to enroll at the conservatory of Palermo. Currently he attends the second year of the Master course of electronic music at the conservatory of Palermo in the class of Giuseppe Rapisarda. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-1-5/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T173000
DTSTAMP:20260530T101545
CREATED:20260421T183226Z
LAST-MODIFIED:20260514T084827Z
UID:10000188-1778929200-1778952600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Fixed Media | Program Overview\nA Voice Intolerable to Heaven and Earth\nFaming Qin \nCollapse\nVarun Kishore \nPaper Wreck\nChun-Han Huang \nRedDeadRouletteReconstruction\nNattakon Lertwattanaruk \nSingularity\nSilvia Matheus \nSpawn\nPaul Oehlers \nTekstil\nNayaka Adinata and Muhammad Welderahmat \nThe Unfinished Drum\nKeming Zeng \nThe Voice of the Tree\nYufen Qiu \nThe Lake Bell\nJing Li \nEmotion Driven Dialogue\nLluis Guerra Recas and Olivier Jambois \n  \nAbout the pieces & artists\nFaming Qin: A Voice Intolerable to Heaven and Earth\nA Voice Intolerable to Heaven and Earth is an electroacoustic music that explores the instability and reconstruction of order through sound. The piece unfolds within a fluctuating space between reality and illusion\, where sonic materials repeatedly emerge\, fracture\, and reassemble. Composed in four sections\, it employs the Kyma system for sound synthesis and transformation\, combined with additional processing tools to shape evolving textures. Through cycles of creation and collapse\, resonance is treated not as a fixed outcome but as a temporal trace—an echo that extends beyond linear causality. The work rejects stable form and rule-based structure\, instead allowing sound to drift back into broader currents of time and space. In doing so\, it reflects on sound as both a primordial force and an enduring presence\, probing origins while opening toward indeterminate futures. \nAbout the artist\nFaming Qin (Populian) is an electronic music composer and sound designer born in 2005 who is currently pursuing a Bachelor’s degree in Electronic Music Composition at the Xi’an Conservatory of Music\, China。His creative approach blends elements of realism and impressionism\, transforming everyday sounds into expressive musical narratives. \n  \nVarun Kishore: Collapse\n“There is no punctual moment of disaster; the world doesn’t end with a bang\, it winks out\, unravels\, gradually falls apart [. . .] and all that is left is the consumer-spectator\, trudging through the ruins and the relics.” – Mark Fisher\, Capitalist Realism Collapse draws on aesthetic influences from Brutalist architecture\, the large-scale concrete and metal artworks of Anselm Kiefer\, Urs Fischer’s excavated gallery floors\, and Mark Fisher’s Capitalist Realism. Sonic materials include field recordings of metal drums\, pipes\, cinderblocks\, concrete slabs and other detritus; these were used to generate a collection of phrases via a performable Max patch (a “drunken” Euclidean sequencer of my own design). These phrases were heavily and meticulously chipped away at\, like a sculpture emerging from a solid block of concrete\, forming gestures that transport the listener through sonic ruins falling apart around them. Additional materials include judiciously filtered electric guitar and noise textures\, modular synthesis\, and a single drum machine sample. \nAbout the artist\nVarun Kishore (b.1990) is a guitarist and composer from Kolkata\, India. His work explores interdisciplinary approaches to music technology\, with a focus on building frameworks for composition and improvisation to investigate maximalist methodologies and what he sees as the ‘apocalyptic’ nature of creative practice. Varun’s work has been performed at SEAMUS\, NYCEMF\, Arts Electronica\, and others. Varun is a PhD candidate in Composition & Computer Technologies at the University of Virginia. \n  \nChun-Han Huang: Paper Wreck\nPaper Wreck is a fixed media electroacoustic composition constructed primarily from the sounds of paper materials. Utilizing Foley recording techniques—such as tearing\, friction\, and the destruction of cardboard and paper sheets—combined with vocal elements\, the piece explores the sonic potential of “soft” matter. Through digital signal processing techniques including granular synthesis and cepstral morphing\, these raw\, noise-like textures are transformed into a cohesive musical structure. While the work explores complex spectral textures\, this version is presented in stereo format. \nAbout the artist\nChun-Han Huang (b. 2002) is a composer and sound artist based in Taiwan. He is currently a graduate student majoring in Computer Music at the Institute of Music\, National Yang Ming Chiao Tung University (NYCU). His creative practice focuses on electroacoustic composition and sound design\, exploring the intersection of organic sound sources and digital signal processing. \n  \nNattakon Lertwattanaruk: RedDeadRouletteReconstruction\nEverything heard in RedDeadRouletteReconstruction is reconstructed from either of two sources: the mechanical churn of revolvers sampled from the video game Red Dead Redemption 2 (2018)\, and fragments from Korean pop outfit Red Velvet’s 2016 hit title track Russian Roulette. In their original contexts\, these sounds suggest play—stylized video game violence\, catchy bubblegum pop hooks\, glossy surfaces. Here\, they are recast: disassembled\, distorted\, and folded into a dark irony where the same little details are relentlessly repeated and saturated until they collapse into a violent mess. \nAbout the artist\nNattakon Lertwattanaruk (b. 2006) is a composer and performer originally from Bangkok\, Thailand. His works often engage with the reconstruction of cultural and musical phenomena abstracted from their original contexts\, instruments as a site of physical exploration and extension\, and the integration of multimedia in dialogue with the concert setting. He is a recipient of the Distinguished Prize at the SCG Young Thai Artist Award (2022\, 2024) and has collaborated with ensembles including Tacet(i)\, the Thai Youth Orchestra\, Orkest De Ereprijs\, OSSIA New Music\, Duo Dubois\, and more. His work has been presented at numerous international festivals\, such as the Thailand New Music and Arts Symposium\, IntAct Festival\, Thailand International Composition Festival\, Princess Galyani Vadhana International Music Festival\, and the China-ASEAN Music Festival. Nattakon is currently pursuing a Bachelor of Music in Composition at the Eastman School of Music in Rochester\, New York\, where he studies under Dr. Evis Sammoutis. Previous mentors include Piyawat Louilarpprasert\, Daniel Pesca\, and Mikel Kuehn. \n  \nSilvia Matheus: Singularity\nSingularity seeks a point of convergence within a field of instability. A central melodic line\, generated with a Buchla system\, carries traces of early electronic sound. Around it\, resonant metallic textures emerge and recede. Silence shapes the form\, allowing the melody to fragment and drift into distance. Sound is activated through breath\, using the Kyma system to connect physical gesture and electronic response. The piece moves not toward climax\, but toward disappearance. Singularity seeks a point of convergence within a field of instability. A central melodic line\, generated with a Buchla system\, carries traces of early electronic sound. Around it\, resonant metallic textures emerge and recede. Silence shapes the form\, allowing the melody to fragment and drift into distance. Sound is activated through breath\, using the Kyma system to connect physical gesture and electronic response. The piece moves not toward climax\, but toward disappearance. \nAbout the artist\nSilvia Matheus is a Brazilian composer\, sound artist\, and performer based in the United States. Her work centers on electronic and electroacoustic music\, interactive performance\, and embodied sound practices\, exploring themes of temporal trace\, time\, and physical gesture through live electronics\, sensor-based systems\, and acoustic instruments. She holds an MFA in Electronic Music and Recording Media from Mills College and studied interactive music and performance at the Center for New Music and Audio Technologies (UC Berkeley). Her early training in Brazil included composition studies with Hans-Joachim Koellreutter\, whose experimental approach strongly influenced her artistic development. Since the 1980s\, Matheus has worked at the intersection of score\, instrument\, and technology\, developing interactive systems where physical gesture\, breath\, and movement directly shape sound. Her work has been presented internationally at festivals\, conferences\, and art spaces\, including the International Computer Music Conference (ICMC) in Hong Kong\, New York\, Havana\, Japan\, Denmark\, and Canada. Through solo and collaborative projects\, she continues to create immersive works for improvisation. \n  \nPaul Oehlers: Spawn\nCommissioned to celebrate the fortieth anniversary of the University of Illinois Experimental Music Studios\, Spawn celebrates the legacy of the studios and explores creative ground through its completion. \nAbout the artist\nPaul A. Oehlers is most recognized for his “extraordinarily evocative” film scores. (Variety) Films incorporating his music have won the Grand Jury prize at the Hamptons International Film Festival\, the Atlanta International Film Festival\, and the Indiefest Film Festival. In addition\, films with his music have screened at dozens of festivals in Europe\, Asia\, Africa\, and Australia. Paul A. Oehlers’ compositions have been performed in the United States and abroad including performances at the Society for Electro-acoustic Music in the United States national conferences\, the International Computer Music Conferences\, the Gamper New Music Festival\, the Seoul International Electro-acoustic Music Festival\, the Institut für Neue Musik und Musikerziehung in Darmstadt\, Germany\, and the VII Annual Brazilian Electronic Music Festival\, as well as a 1987 command performance for former United States President Ronald Reagan. He was the first composer ever commissioned by the Nature Conservancy to compose a concert composition about prairie conservation. Paul was named the Margaret Lee Crofts Fellow by the MacDowell Colony for the year 2006. He is currently Associate Professor of Audio Technology at American University in Washington\, DC. \n  \nNayaka Adinata and Muhammad Welderahmat: Tekstil\nTekstil is a fixed-media sound work by Nayaka Farrell and Muhammad Welderahmat is made entirely from everyday sounds recorded in the artists’ surrounding environments. The recordings are not used to document specific places or events\, but as raw sonic material shaped by how each artist listens\, selects\, and arranges sound. Coming from different regions and backgrounds\, the two artists bring distinct approaches to everyday sound\, which are combined to form a shared yet varied sonic vocabulary. \nAbout the artists\nMuhammad Welderahmat is a composer\, live coder\, songwriter\, and improviser born in Palu\, Central Sulawesi (2002) and raised in Parigi Moutong. Active since 2018\, he works across experimental music\, free improvisation\, soundscape\, ambient\, and live coding. He studied with Edy Subianto\, Talis\, Irwan Kurniawan\, and Rangga Purnama Aji. Environmental sound is central to his practice\, engaging with empirical experience\, cultural contexts\, social phenomena\, and critical expression. He has released three albums: Phenomenon (2023)\, Senyap (2025)\, and Menuju Beranda (2025)\, and is an active member of Paguyuban Algorave Indonesia (PAI). \nNayaka Farrell Adinata (b. 2005) is a composer studying at Pelita Harapan University under Stevie Jonathan Sutanto. Trained in classical guitar from an early age\, he studied at Sekolah Menengah Musik (SMM) Yogyakarta before focusing on composition. He has participated in ARTJOG\, OMCM\, and Jogja Noise Bombing\, and received awards including 1st Prize at The Papandayan International Jazz Competition (2023) and the Best New Young Talent Award (2023). His electronic work Lost Contact premiered at the 2025 Immersive Festival in Lisbon. \n  \nKeming Zeng: The Unfinished Drum\nThe Unfinished Drum is an electroacoustic work born from a core philosophical inquiry: what is the ultimate destination of the sound of a drum that is perpetually struck yet never “finished”? The piece deconstructs traditional rhythmic pulses into continuously evolving sonic entities through extreme electronic transformation and spatial reconstruction of acoustic drum sources. These sounds constantly morph on the boundary between “formation” and “dissipation\,” between “signal” and “echo\,” creating an immersive sound field that is both oppressive and meditative. It invites the listener to confront the very existence and evaporation of sound in its absolute state\, experiencing an acoustic ritual without end. \nAbout the artist\nKeming Zeng\, 2002.1.7\, first-year graduate student at the Wuhan Conservatory of Music. \n  \nYufen Qiu: The Voice of the Tree\nThe Voice of the Tree is a fixed media work composed using recorded performances of shakuhachi\, piano\, bass drum\, and timpani. Taking the tree as its central metaphor\, the piece explores the idea of an “inaudible voice”—forms of natural presence that do not produce sound directly\, yet become perceivable through relationships and attentive listening. The work is structured around three interconnected sections corresponding to a tree’s physical form: roots\, trunk\, and branches/leaves. Rather than following a linear narrative\, the composition develops through a mapping between physical morphology and sound strategies. Structural and tactile qualities associated with each element—such as rooting and spreading\, structural support and inner grain\, and extension with breath-like motion—are abstracted and translated into instrumental writing that shapes timbre\, density\, and temporal flow. In the compositional process\, recorded performances of shakuhachi\, piano\, and percussion are further transformed and used as the primary sound materials of the work. As the piece unfolds\, clear instrumental characteristics and compositional traces are retained\, while the sound gradually emphasizes continuity\, internal resonance\, and slow temporal change\, allowing the presence of the tree to emerge through transformation rather than representation. Presented in stereo\, the work maintains melodic contours in the shakuhachi and rhythmic momentum in the piano and percussion\, while placing them alongside sustained resonance and subtle shifts in texture. In this way\, melody and rhythm function both as structural cues and as materials that can be extended and reshaped in post-production\, creating a listening experience that evokes processes of natural growth and flow. Through The Voice of the Tree\, the composer invites the audience to reconsider the relationship between sound\, silence\, and perception\, and to attend to overlooked forms of natural existence. \nAbout the artist\nYufen Qiu is a graduate student specializing in electroacoustic music and sound design. Their work focuses on the interaction between acoustic instruments and electronic processing\, exploring immersive spatialization techniques and experimental sound textures. Currently\, they are developing a series of works centered on environmental themes\, using instruments to mimic natural sounds and investigate new sonic possibilities. Through this approach\, they aim to deepen the connection between music\, nature\, and ecological awareness. While continuing to refine my artistic practice\, they are actively seeking opportunities to present and further develop their work in both musical and academic contexts. \n  \n璟 李 (Li Jing): The Lake Bell\nThis fixed media acousmatic work is crafted based on audio signal processing\, drawing inspiration from the legend of “the ancient bell summoning springs” at Honey Spring Lake. The piece integrates three core sound elements: resonant bell tones that evoke the mythic narrative\, rhythmic drum beats mirroring the laborious digging pace of the people in the legend\, and authentic field recordings of the lake’s surrounding environment to construct a vivid sense of time and place. Through digital signal processing techniques—including spectral distortion\, phase modulation\, and fragmentary deconstruction and reassembly—these acoustic materials are transformed beyond their original forms. By blurring the boundaries between natural soundscapes\, traditional instrumental timbres\, and processed electronic textures\, the work attempts to let sound itself carry the weight of history and collective memory\, even as the physical traces of the legend fade over time. \nAbout the artist\nLi Jing (b. 14.02.2006) is an undergraduate student majoring in Music Acoustics Direction (Electronic Music Production) at Wuhan Conservatory of Music (enrolled 2024). His creative focus lies in the artistic application of audio signal processing in electronic music\, exploring psychoacoustics and auditory illusion experiences. He constructs experimental and immersive electronic music language through spectral shaping\, phase modulation and other technologies. \n  \nLluis Guerra Recas and Olivier Jambois: Emotion Driven Dialogue\nImprovisatory work where a pianist and an improvising guitarist interact with the Biofeedback Suite (BFS)\, a multimodal system that maps real-time physiological and gestural data to sound. GSR\, motion\, and facial cues drive electronic parameters\, creating a reactive sonic environment that mirrors the performers’ embodied state. The guitarist uses extended techniques\, pedal effects\, and PD processing; audio signals are also used and transformed alongside BFS-generated material. The piece explores how biofeedback-informed electronics can function as a dynamic extension of acoustic performance\, documented through exploratory sessions that demonstrate the integration of physiological sensing\, motion analysis\, and real-time processing in collaborative improvisation. Further technical and conceptual details underlying this performance are discussed in a companion paper [reference omitted for double-blind review] submitted to ICMC 2026. \nAbout the artists\nLluis Guerra Recas is a researcher\, composer\, and educator working at the intersection of artistic research\, interactive systems\, and embodied music cognition. He holds a PhD Cum Laude in Art: Production and Research (UPV\, 2021) focused on emotions and interactive systems in video game music. His work spans orchestral and chamber music\, film scoring\, jazz\, pop\, and contemporary digital composition.\nHe is Academic Director of Music & Sound at ENTI–UB (Barcelona) and Visiting Researcher at CESEM–NOVA FCSH and ITI LARSys (Lisbon). His practice-based research focuses on biofeedback-informed music systems\, real-time audiovisual interaction\, and the use of physiological and gestural data in performance. He is the designer of the Biofeedback Suite (BFS) and an active performer in piano and improvisation. \nGuitarist/Improviser: Olivier Jambois\nOlivier Jambois is a French-Catalan guitarist and composer working across jazz\, improvisation\, and experimental music. He received the Rezzo–Jazz à Vienne and Jazz(s)RA awards (2011)\, and his debut album (Naïve) was acclaimed by Jazz Magazine. In 2020\, he was artist-in-residence at La Marfà (Girona)\, collaborating with drummer Jim Black on Eclosió (Underpool).\nHe maintains an active solo practice exploring pedal-based textures and real-time Pure Data processing\, performs at major European jazz festivals\, and teaches composition and electric guitar at ENTI–UB (Barcelona). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-2-5/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T123000
DTSTAMP:20260530T101545
CREATED:20260415T143012Z
LAST-MODIFIED:20260513T102541Z
UID:10000104-1778929200-1778934600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 12: Studio Reports II & Immersive Media
DESCRIPTION:Session Chair: Konstantina Orlandatou\n\nNote: Two studio reports and one paper will be presented.\nPaper abstracts\nHefang Ma\, Jingyu Luo\, Paul Francis\, Mara Helmuth\, Sangbong Nam and Wei-Huai Chen: “Studio Report: Center for Computer Music 026″\n\nThe Center for Computer Music continues to function as an active site for research\, composition\, performance\, and pedagogy in computer music. During the current period\, research at the Center has focused on algorithmic and AI-assisted composition systems\, real-time sonification and data-driven sound synthesis\, beat tracking and performance synchronization\, and music programming environments developed by faculty and students. These projects emphasize structured workflows\, probabilistic processes\, real-time analysis\, and their application with- in compositional and interactive performance contexts. Creative output includes electroacoustic works\, live electronics\, spatialized sound\, and multimedia performances presented at CCM as well as at national and international venues.\n\nPedro Rebelo and Craig Jackson: “SARC Studio Report”\nWe outline recent developments at SARC\, Queen’s University Belfast following its re-formation on the occasion of its 20th anniversary as SARC: Centre for Interdisciplinary Research in Sound and Music. This transition prompted a re-evaluation of research scope alongside significant investment in technologies and facilities. This studio report summarises the rationale for these changes and presents current state-of-the-art facilities supporting research in immersive sound\, composition\, performance\, improvisation\, inclusive music making\, instrument and interaction design\, virtual acoustic instruments\, ecological sound\, participatory practice\, and music scholarship. \nGuilherme Coelho: “Latent Music: Emergent Sonic Forms and Sonic Liminality in Text-to-Audio Systems”\nThis paper introduces the concept of hyper-environment — an additional spatial layer superimposed on the choreographic space\, where physical movement becomes a means of navigating and activating pre-analyzed sound materials. The work examines Dancing Cabiria\, a reenactment in four scenes from Giovanni Pastrone’s silent film Cabiria (1914)\, as a case study to explore performative hyper-environments that employ corpus-based synthesis techniques within a virtual reality framework. Through the use of motion-tracking suits\, four choreographies are performed\, each one by four dancers whose movements are translated into sound via audio corpora distributed throughout the virtual space surrounding each performer. Each choreography outlines different uses and configurations of this hyper-environment\, and allow for the discussion of compositional and instrumental issues such as the scale and density of the corpora\, the relationship that emerges between movements width\, corpus dimensions\, and virtual space volume\, and the role of real-time feedback in the design of hybrid instruments for performers. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-12-studio-reports-ii/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T090000
DTEND;TZID=Europe/Amsterdam:20260516T103000
DTSTAMP:20260530T101545
CREATED:20260415T142737Z
LAST-MODIFIED:20260511T161933Z
UID:10000102-1778922000-1778927400@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 11: Studio Reports I
DESCRIPTION:Session Chair: Dong Zhou\n  \nPaper abstracts\nTakeyoshi Mori: “Studio Report: Laboratory of Advanced Music Production\, Senzoku Gakuen College of Music”\nThe Laboratory of Advanced Music Production at Senzoku Gakuen College of Music explores new forms of artistic expression through the integration of music and technology. Our mission is to expand the possibilities of music creation\, performance\, and listening beyond the framework of traditional music research and practice. The Laboratory brings together artists\, engineers\, and researchers in a collaborative environment that integrates education\, creative production\, research\, and international\nexchange. The facility supports immersive and technology-driven artistic work\, including multichannel and spatial audio systems\, multi-projection environments\, and motion-capture technologies. These systems can be flexibly combined through a dedicated high-speed media network within the college campus\, enabling large-scale and experimentally oriented productions. This studio report introduces the structure\, facilities\, and activities of the Laboratory\, outlining its research and creative directions in the field of computer music. By sharing our work with the international community\, we aim to contribute to the ongoing development of technologically informed musical expression. \n\nJosé Ricardo Barboza and Gilberto Bernardes: “Studio Report: A Third-Order Periphonic Ambisonics System for Teaching and Research at FEUP and INESC TEC’s SMC Lab”\nWe present the design\, implementation\, and educational deployment of a third-order periphonic Ambisonics loudspeaker system at the FEUP and INESC TEC’s Sound and Music Computing Lab. The installation comprises twenty lightweight coaxial loudspeakers mounted at the vertices of a dodecahedral layout in four elevation rings\, yielding symmetric sampling of the sound field around a central sweet spot. The system decodes 16 higher-order Ambisonics (HOA) channels (N=3) to 20 outputs and was specified to be laptop-friendly\, cross-platform\, and cost-effective. We justify the choice of HOA over Dolby Atmos and Wave Field Synthesis and detail the geometric derivation of loudspeaker directions\, practical mounting solutions\, and a calibration workflow that combines precise mechanical alignment with decoder-level angle and gain compensation. Over four years of continuous use\, the array has supported courses\, theses\, and studio projects in immersive audio\, with consistent reports of convincing externalization and localization despite modest driver fidelity. We share azimuth/elevation coordinates and integration notes for open-source Ambisonics tools\, enabling reproducibility and rapid onboarding for new users. The system offers a flexible foundation for research and teaching and a clear upgrade path toward higher orders and hybrid reproduction formats.\n\nLudger Brümmer\, Götz Dipper and Dan Wilcox: “20 Years Zirkonium and Klangdom at ZKM”\n2026 marks the 20th anniversary of the first release of the Zirkonium spatialized-music composition environment\, created over three versions from 2006-2026. Initiated for use with the Klangdom\, ZKM’s 47.4-channel dome sound system\, Zirkonium is focused on accessible use of spatialization algorithms for composers and live performers. This paper describes the historical development stages of the three versions of the Zirkonium software\, provides an overview of practical working methods with Zirkonium\, and explains the current technical status of development in the third generation of the project\, as well as future plans. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-11-studio-reports-i/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T070000
DTEND;TZID=Europe/Amsterdam:20260516T200000
DTSTAMP:20260530T101545
CREATED:20260430T152154Z
LAST-MODIFIED:20260430T152617Z
UID:10000242-1778914800-1778961600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Healing Soundscapes (invited)
DESCRIPTION:Healing Soundscapes are developed and implemented for waiting and working areas in the University Medical Center Hamburg-Eppendorf.   \nThe installation presented at ICMC HAMBURG 2026 was developed for the waiting area of the emergency department and is played there 24/7. It is intended to create a positive atmosphere in the waiting area\, thereby making the wait more pleasant for patients.  \nThe Healing Soundscapes project is part of the interdisciplinary ligeti center\, which is funded by the Federal Ministry of Research\, Technology and Space (BMFTR) and the City of Hamburg as part of the Federal-State Initiative Innovative University.  \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-healing-soundscapes-invited/2026-05-16/
LOCATION:Hamburg University of Technology\, Building J\, Library (Rotunde)\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T223000
DTEND;TZID=Europe/Amsterdam:20260515T223000
DTSTAMP:20260530T101545
CREATED:20260421T195201Z
LAST-MODIFIED:20260505T105233Z
UID:10000101-1778884200-1778884200@icmc2026.ligeti-zentrum.de
SUMMARY:Excursion: Departure (Return) to Hamburg
DESCRIPTION:Buses returning to Hamburg will depart from Lübeck at 10:30 p.m. Please note that\, due to limited seating capacity\, only participants who have registered for the Lübeck excursion will be able to use the arranged shuttle service back to Hamburg. \n\nPick-up locationWallstraße 16\n23560 Lübeck
URL:http://icmc2026.ligeti-zentrum.de/event/excursion-departure-return-to-hamburg/
LOCATION:Pick-up Location (Lübeck Excursion | Return to Hamburg)\, Wallstraße 16\, Lübeck\, 23560\, Germany
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:20260515T200000
DTEND;TZID=Europe/Amsterdam:20260515T220000
DTSTAMP:20260530T101545
CREATED:20260421T171512Z
LAST-MODIFIED:20260516T112406Z
UID:10000177-1778875200-1778882400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 5B (Lübeck)
DESCRIPTION:Program Overview\nFound Violin x Aromantic Hobby \nDong Zhou \nThe Letter\nMinho Kang \nTidal Unit for Sonic Activities\nIlia Viazov \nTokens & Strings: an improvisation between an electric guitarist and a local LLM\nOlivier Jambois \nRhythmic Traces | Twisted Electronics\nNicola Leonard Hein \nMoloch whose mind is pure machinery!\nEric Lyon \nImprovising Machine #7325: Inside My Trumpet\, Again\nJeff Kaiser \n  \nAbout the pieces & artists\nDong Zhou: Found Violin x Aromantic Hobby \nFound Violin is an improvisation system that treats the violin as just one of many sound objects. Since late 2024\, Dong Zhou has started to develop Aromantic Hobby\, a series of strap-on midi controllers. After a few prototypes\, the current controller features a bunny-shaped appearance and wirelessly transmits kinetic data from the wearer to control a chaotic synthesizer. With Found Violin played with the upper body and Aromantic Hobby on on lower body\, the musician plays a duo with themselves. \nAbout the artist\nDong Zhou is a composer-performer based in Hamburg. Zhou gained a B.A. in music engineering at the Shanghai Conservatory and an M.A. in multimedia composition at the Hamburg University of Music and Drama. Zhou won several prizes\, including the first prize in the 2018 ICMC Hacker-N- Makerthon\, the finalist of the 2019 Deutscher Musikwettbewerb\, the Nota-n-ear Award 2022\, and the shortlist of the 2025 Giga-Herz Pop Experimental Production Award. Zhou had works included in the ‘Sound of World’ Microsoft ringtones collection and was commissioned by festivals and institutions such as the Shanghai International Art Festival\, ZKM Karlsruhe\, Stimme X Festival\, etc. Zhou is currently a doctoral candidate in ICAM of Leuphana University. \n  \nMinho Kang: The Letter\nThe Letter is a work of consolation created using an FFT Channel Vocoder with Additive Synthesizer. \nHistorically\, the vocoder was developed during wartime to enable communication among allies. It reduces wideband speech to a narrower band for transmission and then reconstructs it at the receiver. In short\, a vocoder sends important words over distance and makes their faint traces audible again.\nAs a composer\, creating music is much the same. I keep listening to people and the world\, their voices. Then\, I compress\, interpret\, and reassemble those words in my own terms and offer them back as a piece.\nUnlike the vocoder’s original purpose\, in a time when war is no longer shocking news\, I wanted to use this technology to carry comfort. The lyrics come from a poem I wrote during my military service to endure a hard period (not in combat). This piece does not present a political agenda; it is a letter to anyone facing painful circumstances\, on any side\, in any degree. \nTechnically\, I aimed to design a vocoder with greater precision than a conventional channel vocoder. Instead of using bandpass filters\, I applied Fast Fourier Transform (FFT) analysis to collect more detailed and accurate amplitude information\, which allowed clearer rendering of vowel formants. This approach led to the creation of a Max for Live (M4L) FFT Channel Vocoder patch.\nI also developed an Additive Synthesizer M4L patch capable of producing a wide spectrum of sounds\, from pure sine waves to noise. When combined with the vocoder\, this synthesizer allows the clarity and harmonicity of speech to change according to the lyrics. Since the text relates to the transformation of light\, I used this Additive Synthesizer to achieve a tone painting that reflects those luminous changes. \nAbout the artist\nMinho Kang is a Korea-born composer and computer musician. His artistic interests\, which began in popular music and moved into contemporary music\, have expanded into electronic music at the intersection of technology and art. Drawing on introspective reflection and close observation of the world\, he brings diverse imaginings into his works.\nHis music has been presented at conferences and festivals including SEAMUS\, ICMC\, and the TurnUp Multimedia Festival. He completed his bachelor’s degree at Indiana University\, where he studied composition with Jeremy Podgursky\, Aaron Travers\, P. Q. Phan\, David Dzubay\, and Don Freund\, and electronic music with John Gibson and Chi Wang at the Center for Electronic and Computer Music. \n  \nIlia Viazov: Tidal Unit for Sonic Activities\nPerformance-presentation of tusa (Tidal Unit for Sonic Activities). Tusa is a framework for Tidal Cycles live-coding environment that binds together different parts of the application in one Bash executable. It is an attempt to accomplish Tidal Cycles\, expanding it to a software DMI. It seeks to fulfill essential needs during performance with the environment\, keeping the setup very minimal yet sturdy\, while remaining modular and extendable. The framework allows the user access to the interpreter\, text editor\, reference window and server during live-coding practices.\nThe performance is aimed on live-coding improvisation with machine learning tools using spatialisation synthesis techniques. \nAbout the artists\nIlia Viazov (born in 1999 in Voronezh\, Russia) is a composer and sound artist working at the intersection of electronic music\, performance\, self-built instruments\, machine learning\, and software development. His personal and collaborative works have been presented at and supported by Ars Electronica Festival\, platformB Stuttgart\, and Darmstädter Ferienkurse. He is developing the framework tusa for Tidal Cycles live-coding environment\, a terminal implementation that allows the user run it locally\, fully interact with all parts of the environment and extend it. \nSoftware Development: Ilia Viazov and Nicola L. Hein \n  \nOlivier Jambois : Tokens & Strings: an improvisation between an electric guitarist and a local LLM\nThis performance explores a real-time co-creation between a human performer and a machine\, specifically investigating the improvisational capabilities of Large Language Models (LLMs) within a musical context. The project originates from an inquiry into the potential of using established LLM architectures —notably the one behind ChatGPT— as responsive\, autonomous improvisational partners. \nA primary challenge in this research is the nature of the LLM: as these models are designed for symbolic processing rather than direct audio generation\, the system must bridge the gap between acoustic signals and semantic analysis. A secondary challenge lies in giving the LLM “a voice”. \nA portable system was developed using a local LLM that listens to the guitar in real time and generates a pattern for a minimal drum set. The pattern is then routed through a RAVE module (Real-time Audio Variational auto-Encoder\, developed by IRCAM)\, allowing the raw source to be transformed into a more sophisticated timbric sound. \nWhile local models typically feature smaller reasoning capacities\, the system has been optimized for musical generation and inference speed through careful prompt design and constraint-based logic. This opens the door to a responsive dialogue between the musician and the LLM-based machine\, making this live exploration possible. \nAbout the artist\nOlivier Jambois is a guitarist\, composer\, and researcher working at the intersection of acoustic tradition\, analog electronics\, and digital innovation. He holds a PhD in condensed matter physics and a master’s degree in jazz and modern music\, a dual background that defines his analytical yet avant-garde approach to music.\nHe has won the Jazz à Vienne national competition in 2012\, received “Revelation” honors from Jazz Magazine for his album “Les composantes invisibles” and a grant from the Generalitat de Catalunya to support his research into DIY magnetic tape echoes (2023). He has published several albums\, performed at major european festivals. His 2025 release\, Eclosió\, featuring drummer Jim Black\, reflects his ongoing involvement in the contemporary improvisation scene.\nHe is currently professor and researcher at ENTI\, University of Barcelona\, Spain. His research focuses on AI and generative systems. \n  \nNicola Leonard Hein: Rhythmic Traces | Twisted Electronics\nThe piece Rhythmic Traces|Twisted Electronics deals with the question of how the integration of the body and skin resistance into the circuit of an analog synthesizer(Buchla Music Easel) and the connection with a machine learning-based musical agent system(SuperCollider) can change the tonal and rhythmic fluidity of the instrument and develop it beyond its limits. For this piece\, Nicola Leonard Hein uses a unique circuit-bending controller that completely alters the musical reading of the 1970s Buchla Music Easel. Furthermore\, he uses a multi-effect unit programmed in SC and realized with a Bela Microcomputer. Hein’s musical agent learns to interact musically\, creating the music in real time together with Hein on the synthesizer and developing the interaction between a human and a machine musical voice. The systemic economy of movement and the interaction with the AI musical agent create polyphonic rhythmic\, tonal\, and spatial structures. The piece focuses on the emergent Dances of Agency (Pickering). \nAbout the artist\nDr. Nicola Leonard Hein is a sound artist\, guitarist\, composer\, and researcher in music aesthetics and cybernetics. He is a professor of Sound Arts & Creative Music Technology\, as well as the artistic director of the studio for electronic music at the University of Music Lübeck.\nHe holds a Ph.D. from Columbia University\, where he conducted extensive research in Critical Improvisation Studies and Human-Machine Improvisation\, working with George E. Lewis. His work is determined by the interaction of sound\, space\, light\, movement\, and the emergent dynamics of aesthetic systems. He fuses cybernetic human-machine interaction with interactive AI music systems\, augmented reality\, telematic real-time art\, ambisonic sound projection\, instrument-making\, and conceptual compositions. With the support of the Goethe-Institut and numerous other institutions\, his works have been realized in over 30 countries. Presentations of his work have taken place at MaerzMusik Festival (Berlin)\, Ars Electronica (Linz)\, Moers Festival\, A L’ARME! FESTIVAL (Berlin)\, Super Deluxe (Tokyo)\, Sonica Festival (Glasgow)\, Experimental Intermedia (New York)\, and many more. \n  \nEric Lyon: Moloch whose mind is pure machinery!\nAllen Ginsburg’s poem Howl was published in 1956\, the same year as the Dartmouth Summer Research Project on Artificial Intelligence. The two events portend seemingly incompatible futures that nonetheless are both with us now. A bursting forth of cultural chaos in an “armed madhouse” and the technocratic reduction of intelligence to code. Ginsburg’s poem’s ritualistic and repetitive rant about Moloch inspired this performance\, a tone poem that derives its sounds from two main sources – AI-generated music and the OB-Xd virtual analog synthesizer VST plugin manipulated using the Slewable Utility for Random Parameters (SLURP) designed by the composer. The performance interface consists of a Korg nanoKONTROL2 unit and the Google MediaPipe face landmarker. \nAbout the artist\nEric Lyon is a composer and audio researcher focused on high-density loudspeaker arrays\, dynamic timbres\, virtual drum machines\, and performer-computer interactions. His audio signal processing software includes “FFTease” and “LyonPotpourri.” He has authored two computer music books\, “Designing Audio Objects for Max/MSP and Pd\,” a guidebook for writing audio DSP code for live performance\, and “Automated Sound Design\,” a book that presents technical processes for implementing oracular synthesis and processing of sound across a wide domain of audio applications. He has written extensively about the possibilities of multichannel spatial audio. In 2016-17\, Lyon was guest editor for the Computer Music Journal on Volume 40(4) and 41(1) covering various aspects of High-Density Loudspeaker Arrays (HDLAs). \nIn 2015-16\, Lyon architected both the Spatial Music Workshop and Cube Fest at Virginia Tech to support the work of other artists working with HDLAs. In 2025 he co-created the Spatial Audio Tidepool to provide technical instruction for creative uses of high-density loudspeaker arrays. Lyon’s compositional work has been recognized with a ZKM Giga-Hertz prize\, MUSLAB award\, the League ISCM World Music Days competition\, and a Guggenheim Fellowship. Lyon teaches in the School of Performing Arts at Virginia Tech\, and is a Faculty Fellow at the Institute for Creativity\, Arts\, and Technology. \n  \nJeff Kaiser: Improvising Machine #7325: Inside My Trumpet\, Again\n“Improvising Machine #7325: Inside My Trumpet\, Again” places the audience inside a trumpet\, exploring the instrument’s interior sonic world through an immersive human–machine improvisation system. The work is built from an extensive\, purpose-built sample library captured by placing microphones deep within the instrument. These samples document the mechanical sounds and embodied actions of trumpet performance without the instrument being played traditionally—collections of the sound of valves descending\, springs releasing\, air being compressed and released by slides\, valve caps loosening\, spit-valve gurgles\, and a range of non-tonal lip\, air\, and tongue sounds produced through the mouthpiece and leadpipe. \nTwenty-eight autonomous virtual agents (“robots”)\, authored by the composer in Max/MSP and hosted in Ableton Live\, inhabit a 360-degree ambisonic field surrounding the audience. Each agent draws from its own subset of the sample library and listens to the live trumpet performance in real time. Their behaviors fluctuate between responsive and indifferent\, generating shifting environments that range from highly chaotic to unexpectedly calm. As a result\, the improvising performer becomes entangled with a machine ensemble that both reflects and subverts the human gestures\, creating a continuously changing dialogue between human and technological agents. \nAbout the artist\nJeff Kaiser is a trumpet player\, media technologist\, and scholar. Classically trained as a trumpet player and composer\, Kaiser now takes an integrative\, systemic view that involves his traditional instrument\, emergent technology (in the form of custom interactive/generative software and hardware interfaces)\, space\, and audience: all being critical and integral participants in his performances. He gains inspiration and ideas from the rich history of experimental improvisation and composition\, as well as cognitive science\, and the vast timbral and formal affordances provided by combining traditional instruments with new and repurposed technologies. The roots of his music are firmly in the experimental traditions within jazz\, improvisation\, and Western art music practices. Kaiser is currently Associate Professor of Music Technology and Composition at the University of Central Missouri. \nMore information at https://jeffkaiser.com/ \n  \nVolunteers\nTechnical Director / FOH\nKris Kuldkepp \nAssistants\nGoeun Kim\nGrigorii Osipov \n 
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:20260515T170000
DTEND;TZID=Europe/Amsterdam:20260515T190000
DTSTAMP:20260530T101545
CREATED:20260421T121755Z
LAST-MODIFIED:20260516T112814Z
UID:10000166-1778864400-1778871600@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Pierre Alexandre Tremblay\, Nicola Leonard Hein and Gilbert Nouno: 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. \n  \nRequirements\nListen and Discuss. \nThis workshop will be filmed and participants may also appear in photo or video recordings. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \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. \nDr. Nicola Leonard Hein is a sound artist\, guitarist\, composer\, and researcher in music aesthetics and cybernetics. He is a professor of Sound Arts & Creative Music Technology\, as well as the artistic director of the studio for electronic music at the University of Music Lübeck.\nHe holds a Ph.D. from Columbia University\, where he conducted extensive research in Critical Improvisation Studies and Human-Machine Improvisation\, working with George E. Lewis. His work is determined by the interaction of sound\, space\, light\, movement\, and the emergent dynamics of aesthetic systems. He fuses cybernetic human-machine interaction with interactive AI music systems\, augmented reality\, telematic real-time art\, ambisonic sound projection\, instrument-making\, and conceptual compositions. With the support of the Goethe-Institut and numerous other institutions\, his works have been realized in over 30 countries. Presentations of his work have taken place at MaerzMusik Festival (Berlin)\, Ars Electronica (Linz)\, Moers Festival\, A L’ARME! FESTIVAL (Berlin)\, Super Deluxe (Tokyo)\, Sonica Festival (Glasgow)\, Experimental Intermedia (New York)\, and many more. \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  \nVolunteers\nSound Engineering \nEduardo Loria \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:20260515T170000
DTEND;TZID=Europe/Amsterdam:20260515T190000
DTSTAMP:20260530T101545
CREATED:20260421T113808Z
LAST-MODIFIED:20260516T112728Z
UID:10000161-1778864400-1778871600@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Shelly Knotts\, Daniel Ratliff and Lucy Whalley: 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. \n  \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. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitators\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  \nVolunteers\nSound Engineering \nGoeun Kim
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:20260515T153000
DTEND;TZID=Europe/Amsterdam:20260515T163000
DTSTAMP:20260530T101545
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:20260515T133000
DTEND;TZID=Europe/Amsterdam:20260515T150000
DTSTAMP:20260530T101545
CREATED:20260421T172624Z
LAST-MODIFIED:20260516T112612Z
UID:10000178-1778851800-1778857200@icmc2026.ligeti-zentrum.de
SUMMARY:Piece & Paper Session
DESCRIPTION:Music Program Overview\nLinear A\nChristopher Trapani\nBP clarinet: Sophie Kockler \nRituals of Forgetting and Remembering\nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya \n雨/Rain \nYuan Zhang and Xinran Zhang \n  \nPaper abstracts\nChristopher Trapani: “Linear A: A Composer’s Integrated Workspace”\nThis paper explores the tools used in the composition of Linear A for Bohlen-Pierce clarinet and electronics (2021). The piece explores the many ways a single microtonal line can be manipulated: echoed\, transposed\, splintered\, zig-zagged\, chopped into bubbling snippets\, and finally\, realigned into a closing chorale. Microtonal features in the bach library\, critical in both the planning and performance stages\, are exploited to pivot between fingerings and the precise non-tempered Bohlen-Pierce tuning. A notation interface uses a system of markers to visualize canonic replies in the electronics. This information is in turn used to generate a master file for real time score following with Antescofo~. The result is a dynamic\, flexible\, self-contained environment that accommodates the peculiarities of the project. \n  \nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya: “Magnetic Memory Rushnyk”\nIn what ways can two separate but traditionally gendered types of memory—symbolic embroidered memory encoded in ritualistic textile objects and magnetically encoded memory in historic aeronautical computing—intersect to create a performative decoding instrument? This paper introduces Magnetic Memory Rushnyk\, a woven score-instrument that synthesizes symbolic embroidered memory with hand-woven magnetic memory. The project investigates the convergence of ritual textile embroidery (historically used to carry social and generational meaning) with the ”core memory” techniques developed for early computing and aerospace contexts. By embedding magnetic elements into a traditional East Slavic rushnyk (ritual cloth)\, we create a single performative object where weaving serves as a material practice of memory-making. The installation is activated through a custom-built electromagnetic interface\, allowing performers to ”read” the cloth through touch\, gesture\, and sound. This work extends the Women’s Labor artistic research project\, moving from the sonification of domestic tools to the performative decoding of ritual objects\, proposing a model of memory that is materially durable and physically traversable. \n  \nYuan Zhang and Xinran Zhang: “Hexagram-Based Semantic Composition: Discretizing Embedding Spaces into Symbolic Compositional States for Improvised Performance”\nRecent AI-assisted composition systems often emphasize sound generation and continuous parameter control\, treating semantic embeddings as latent spaces for producing musical material. This paper proposes an alternative approach in which semantic computation supports compositional decision-making rather than sound generation. Building upon prior work on semantic-driven digital scores\, we introduce a method that extracts semantic embeddings from a composer-defined corpus and intentionally reduces and discretizes the resulting continuous space into hexagram indices. These indices are interpreted as symbolic compositional states\, not as predictors of musical content. Each state configures structural conditions — such as the balance between fixed and open score layers\, performer agency\, and degrees of stability and change — within which musical behavior may emerge. Hexagrams neither encode musical materials nor prescribe performer actions; instead\, they function as compact interfaces for selecting and constraining compositional worlds. An artistic example demonstrates how this hexagram-based discretization supports interpretable\, repeatable\, and open-ended improvisational performance within a digital score framework. By combining semantic embedding reduction with a highly compressed symbolic system\, this work reframes AI-assisted composition as a decision-oriented practice that assists composers in shaping musical worlds rather than automating sound production. \n  \nAbout the pieces & artists\nChristopher Trapani: Linear A\nThis paper explores the tools used in the composition of Linear A for Bohlen-Pierce clarinet and electronics (2021). The piece explores the many ways a single microtonal line can be manipulated: echoed\, transposed\, splintered\, zig-zagged\, chopped into bubbling snippets\, and finally\, realigned into a closing chorale. Microtonal features in the bach library\, critical in both the planning and performance stages\, are exploited to pivot between fingerings and the precise non-tempered Bohlen-Pierce tuning. A notation interface uses a system of markers to visualize canonic replies in the electronics. This information is in turn used to generate a master file for real time score following with Antescofo~. The result is a dynamic\, flexible\, self-contained environment that accommodates the peculiarities of the project. \nAbout the artists\nChristopher Trapani earned a Bachelor’s degree from Harvard\, then spent most of his twenties in London\, Istanbul\, and Paris\, where he studied with Philippe Leroux and worked at IRCAM.\nAt thirty he moved to New York City\, earning a doctorate at Columbia in 2017. He is currently Assistant Professor of Electronic Music and Digital Media at Louisiana State University.\nRecent commissions have come from Klangforum Wien\, Ensemble Modern\, and Radio France. His works have been heard at Carnegie Hall\, Southbank Centre\, Wiener Konzerthaus\, Ravenna Festival\, and Wigmore Hall.\nChristopher is a Guggenheim Fellow (2019)\, winner of the Rome Prize (2016) and the Gaudeamus Prize (2007). Waterlines\, his debut portrait CD\, was released on New Focus Recordings in 2018\, followed by Horizontal Drift in 2022 and Noise Uprising in 2024.\nChristopher splits his time between his hometown of New Orleans and his European base in Palermo\, Sicily.\nFor more information: www.christophertrapani.com \nBP clarinet: Sophie Kockler \n  \nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya: Rituals of Forgetting and Remembering\nRituals of Forgetting and Remembering is a performance work for three interrelated instruments: the new Magnetically Memory Rushnyk\, the EM Embroidery Hoop\, the Embedded Iron\, together with ritualistic found objects. Together\, these instruments explore gestures of women’s domestic and ritual labour\, activated as sound.\nThe work responds to forms of labour that are historically taken for granted and structurally forgotten—embroidering\, weaving\, ironing\, maintaining—labour that sustains life yet leaves little trace. The Rushnyk functions as a woven site of memory\, carrying patterned inscription through embroidery and embedded magnetic structures. It is activated through performance rather than display.\nThe EM Embroidery Hoop\, developed in Housework Commons\, operates as an electromagnetic sensing instrument. As performers move the hoop across the surface of the cloth\, variations in proximity\, speed\, and pressure are translated into sound. It decodes signals that are invisible and inaudible through performance gesture. The Embedded Iron\, likewise developed in earlier Women’s Labor works\, extends this reading through acts of pressing\, hovering\, and traversal. Gestures associated with smoothing\, care\, and repetition—often understood as erasing traces—are refigured as acts that reveal and activate what is embedded in the cloth.\nSound in Rituals of Forgetting and Remembering does not emerge through instantaneous access or clean retrieval. It unfolds through physical effort\, friction\, and sustained engagement. Memory is encountered as something that must be worked for: activated through the body\, maintained through repetition\, and made audible through care.\nBy treating textile gestures as both labour and performance\, the work reframes forgotten memory\, rituals\, and techne and their remembering as intertwined processes. The piece offers remembering not as representation\, but as embodied practice—enacted through textiles\, tools\, and the persistence of women’s work across time. \nAbout the artists\nHo\, Schedel\, and Yuditskaya form the core team for Women’s Labor\, presenting work internationally at venues including the Smithsonian Museum (Washington\, D.C.)\, Goethe Lounge (Sydney)\, and Governors Island (New York). \nDr. Jocelyn Ho is an internationally acclaimed pianist\, multidisciplinary artist\, theorist\, and composer whose work integrates embodied performance\, multimedia technologies\, and audience interaction to reimagine contemporary concert practices. She has published on embodied cognition\, gesture\, music and technology\, and early recording analysis\, and is a Lecturer at the Sydney Conservatorium of Music. \nDr. Margaret Schedel is an interdisciplinary researcher and Professor of Music at Stony Brook University\, and Co-Director of the Human-Centered Computing group at the Institute for Advanced Computational Science. Her work bridges sound art\, AI\, and human-centered applications\, including machine learning in creative practice and neurorehabilitation. \nDr. Sofy Yuditskaya is a site-specific media artist and educator working with sound\, interactivity\, code\, and salvaged material. Her practice explores techno-occult ritual\, participatory performance\, and the entanglements of technology\, petro-culture\, and consciousness. She is research faculty at De Vinci Higher Education in Paris. \n  \nYuan Zhang and Xinran Zhang: 雨/Rain\nRain / 雨 is a digital-score composition that explores how semantic meaning can be translated into performative musical states. The work begins with Chinese poetic fragments related to rain\, which are processed through language embeddings and mapped onto hexagram-based structures. Rather than using AI to generate musical material directly\, the system uses semantic computation to select symbolic states that shape the behaviour of the score. \nThe resulting digital score presents six animated layers\, corresponding to the six lines of a hexagram. These layers guide density\, gesture\, continuity\, and interaction\, while leaving space for performer agency. For this ICMC presentation\, Rain is presented as one realization of the same digital score\, whose identity lies not in fixed instrumentation\, but in its semantic state\, layered score behaviour\, and shared field of listening. In this work\, “rain” emerges not as a fixed image or sound effect\, but as a field of resonance\, accumulation\, and transformation. \nAbout the artists\nYuan Zhang\, Central Conservatory of Music\nYuan Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music and holds a PhD in Electronic Music Composition. She is a core member of the Digital Score Laboratory\, a collaboration with the European Research Council (ERC)\, and translated the Chinese edition of The Digital Score: Musicianship\, Creativity and Innovation.\nHer work focuses on digital scores\, semantic-driven composition\, and performer-centered AI systems. She served as Conference Organising Chair for TENOR 2025 and edited the conference proceedings. \nXinran Zhang\, Central Conservatory of Music\nXinran Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music and holds doctoral degrees in engineering and the arts. His research focuses on music signal processing and language models. He has published over 20 papers in venues including ACL and IEEE\, serves as a guest editor for IEEE Transactions on Computational Social Systems\, and was the global champion of Track A in the 2023 Sound Demixing Challenge. He edited the proceedings of SOMI 2023. \n  \nVolunteers\nSession Chair\nViola Yip \nSound Engineering \nIlia Viazov\nAssistants\nSeha Kim \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:20260515T110000
DTEND;TZID=Europe/Amsterdam:20260515T110000
DTSTAMP:20260530T101545
CREATED:20260421T195205Z
LAST-MODIFIED:20260515T080304Z
UID:10000100-1778842800-1778842800@icmc2026.ligeti-zentrum.de
SUMMARY:Excursion: Departure to Lübeck
DESCRIPTION:Buses to Lübeck depart from Hamburg University of Technology at 11 am on Friday. Please note that\, due to limited seating capacity\, only participants who have registered for the Lübeck excursion will be able to join. \nUpdate May 15: There are currently a few seats still available on the bus. If you would like to join the excursion spontaneously\, please come to the registration desk. \n  \nPick-up Location\nAm Schwarzenberg-Campus 5\n21071 Hamburg \n 
URL:http://icmc2026.ligeti-zentrum.de/event/excursion-departure-to-lubeck/
LOCATION:Hamburg University of Technology\, Building H\, Am Schwarzenberg-Campus 5\, Hamburg\, 21071\, Germany
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:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260530T101545
CREATED:20260423T140937Z
LAST-MODIFIED:20260511T161811Z
UID:10000226-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10a: AI & Sonification
DESCRIPTION:Session Chair: Paulo Chagas\n  \nPaper abstracts\nBob Sturm and Elin Kanhov: “oljud—ʇᴉnɹq(n): A Sonic Manifesto of Resistance to Generative AI in Music”\nSome discourses about music and AI are frustratingly shallow and insular\, raising outdated musical tropes and ignoring modern developments\, flattening the rich and varied functions of music in life\, and overlooking serious ethical issues with the technology (creating it\, maintaining it\, using it\, and imposing it). We respond to this shallowness via artistic activism and agonistic artistic research\, resulting in the site-specific work “oljud—bruit (n)”. Our action was directed at an “AI music composition” competition in 2025 organised as part of a very expensive engineering workshop focused on music generation research\, but our motivations are more broad. This paper records the context\, composition and realization of our “sonic manifesto of resistance”\, which was ultimately disqualified from the competition. \nLing Qi\, Teng Ma and Alexandria Smith: “Music of Changing Lines: Toward a Culturally Situated Approach to the I-Ching”\nThe I-Ching is one of the most influential texts in Chinese intellectual history\, integrating divination\, cosmology\, and ethical reflection. While Western experimental music\, most notably John Cage\, has drawn on the I-Ching as a source of chance operation\, such appropriations have often detached its formal mechanisms from the interpretive and philosophical processes that give the text meaning. This work\, Music of Changing Lines\, presents an interactive system that re-centers the I-Ching as a meaning-bearing framework rather than a neutral randomizer. Users per- form Wen Wang Fa coin casting\, which is accompanied in real time through probabilistic musical processes. The resulting hexagrams and changing lines are interpreted by a large language model\, Gemini\, in relation to the user’s inquiry. This textual interpretation is then translated into a prompt for a generative music model\, Lyria\, producing a responsive musical realization. By situating AI as an interpretive intermediary rather than a compositional authority\, the system foregrounds the I-Ching’s ritual\, interpretation\, and participation as the primary sonic materials. Music of Changing Lines extends process-driven traditions in computer music by demonstrating how generative AI can support participatory\, meaning-driven musical processes without prescribing musical structure or replacing human agency. \nChangda Ma\, Sunshiyu Wang\, Canting Zhu and Alexandria Smith: “Extending Xenakis: From Architectural Geometry to Sonification of the Philips Pavilion”\nArchitecture and music have been linked through proportion and temporal structure\, yet architectural geometry is rarely viewed as a source of generative music. Revisiting Xenakis’ one-directional transformation from string glissandi in Metastaseis to the ruled surfaces of the Philips Pavilion\, we invert this workflow and sonify the completed Pavilion as a temporal composition. We reconstruct the Pavilion as nine ruled surfaces\, extract their governing ruling lines\, and subdivide each surface into structural lines and spatial sampling points. Four evenly spaced ruling lines per surface generate continuous string glissandi\, while 3\,357 sampled points develop five density-based energy blocks and a sparse brass and woodwind subsequence. Implemented in Python\, the system produces MIDI rendered in Ableton Live\, accompanied by a real-time 3D visualization that reveals architectural motion\, stasis\, and structural contrast through sound and image. In general\, this work paves the way for the transfer of architectural geometry as a performable musical structure\, extending Xenakis’s architectural and musical thinking to sonification and interactive music practice. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-10a-ai-sonification/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, 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:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260530T101545
CREATED:20260415T142419Z
LAST-MODIFIED:20260511T161723Z
UID:10000099-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10b: Interactive Media II
DESCRIPTION:Session Chair: Felipe Otondo\n\nPaper abstracts\nFabian Ostermann: “BbMuse: A Blackboard-Driven Framework for Real-Time Interactive Music”\nInteractive music systems are frequently built as ad hoc multi-agent architectures with custom communication protocols and project-specific execution models\, while recent machine-learning approaches often encapsulate behavior in monolithic\, computationally expensive black boxes. This paper revisits blackboard architectures for real-time interactive music generation and argues that composition and musical interaction can be modeled as distributed decision-making processes operating on shared musical state. We introduce BbMuse (BlackBoard MUSic Engine)\, an open-source\, platform-independent Python framework that implements a dataflow-oriented blackboard variant inspired by real-time robotics. System state is encoded as typed representations on a global blackboard\, while modules explicitly declare required and provided information\, enabling automatic scheduling via topological sorting. As a result\, system development becomes incremental and module-focused\, since no inter-module dependencies must be specified. Further\, the framework supports concurrent execution and demonstrates that real-time performance is possible with Python using native-library acceleration. We provide a growing collection of example projects\, discuss diverse use cases and outline future features for learning-based module replacement as well as a GUI editor. \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”\nMusic can evoke measurable physiological responses\, yet these responses have been predominantly explored from the performer’s perspective in interactive and biofeedback-based music systems. In contrast\, the sonification of audience physiology remains relatively underexplored in live music contexts. We present The Singing Skin\, a real-time\, audience-centered biofeedback system for live performance that integrates listeners’ physiological responses into musical control. The system measures galvanic skin response (GSR) and uses the phasic component of the GSR signal as an index of moment-to-moment audience engagement. This phasic GSR–based control signal is normalized and mapped to the rhythmic subdivision of a monophonic lead line generated by a wavetable synthesizer. Rather than directly modifying tempo or pitch\, the control signal modulates the cutoff rate of a low-pass filter\, producing an indirect pacing effect that influences perceived musical drive and energy. The system is demonstrated in a live performance setting involving a violinist and a listener equipped with GSR sensors. This work contributes a novel approach to audience-inclusive musical interaction by extending audience physiology as an active control source in live music\nperformance.\nPenelope Bekiari and Anastasia Georgaki: “Hyponoia: An Affective Computing System for Augmented Musical Performance — A Case Study”\nThis paper investigates how EEG-driven biofeedback systems influence performability and listening strategies in contemporary electroacoustic performance. We introduce Hyponoia (Hyper-Observational Neuro-Oscillation Interactive Agency)\, a real-time interactive system that translates performers’ neurophysiological activity into state-based compositional behaviours. Unlike conventional EEG-based musical interfaces that map signals to discrete parameters\, Hyponoia operates at the level of musical processes\, structuring sonic form through inferred neuro-affective states. The system integrates EEG and heart-rate data within a closed biophysical feedback loop\, in which performers’ internal cognitive and affective states dynamically interact with the evolving sonic environment. A comparative case study was conducted with expert and non-expert musicians performing in open-form electroacoustic contexts. We hypothesise that performers with sound-based expertise exhibit distinct patterns of neural engagement and interaction with the system. Results indicate that expert performers demonstrate richer theta activity\, more coherent alpha modulation\, and greater neural variability\, associated with enhanced internal auditory imagery and anticipatory listening. In contrast\, non-expert performers exhibit more constrained neural responses and reduced sensitivity to spectromorphological change. These findings suggest that performability in biofeedback-driven systems depends less on instrumental technique than on listening literacy and embodied sonic awareness. Rather than acting as an autonomous agent\, the system functions as a responsive mediator that amplifies differences in perceptual and cognitive engagement\, contributing to an emerging performance aesthetic grounded in physiological feedback and real-time interaction. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-10b-interactive-media/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, 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:20260515T070000
DTEND;TZID=Europe/Amsterdam:20260515T200000
DTSTAMP:20260530T101545
CREATED:20260430T152154Z
LAST-MODIFIED:20260430T152617Z
UID:10000241-1778828400-1778875200@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Healing Soundscapes (invited)
DESCRIPTION:Healing Soundscapes are developed and implemented for waiting and working areas in the University Medical Center Hamburg-Eppendorf.   \nThe installation presented at ICMC HAMBURG 2026 was developed for the waiting area of the emergency department and is played there 24/7. It is intended to create a positive atmosphere in the waiting area\, thereby making the wait more pleasant for patients.  \nThe Healing Soundscapes project is part of the interdisciplinary ligeti center\, which is funded by the Federal Ministry of Research\, Technology and Space (BMFTR) and the City of Hamburg as part of the Federal-State Initiative Innovative University.  \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-healing-soundscapes-invited/2026-05-15/
LOCATION:Hamburg University of Technology\, Building J\, Library (Rotunde)\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T213000
DTEND;TZID=Europe/Amsterdam:20260514T233000
DTSTAMP:20260530T101545
CREATED:20260421T163434Z
LAST-MODIFIED:20260512T081025Z
UID:10000069-1778794200-1778801400@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 4C
DESCRIPTION:Program Overview\nMerzmania\nGintas Kraptavicius \nImprovisation for Spheres \nCalvin McCormack \nMarsia 3\nJonathan Impett\nAlto flute: Richard Craig \noscheat\nMoritz Wesp\, Eric Haupt and Victor Gelling \nThe Skin of the Earth: Fragments\nPaulo C. Chagas\nSoprano: Adriane Queiroz\nLive electronics & video: Paulo C. Chagas \nThe Long Now III \nCat Hope and Juan Parra Cancino \nTape Microscopy\nAndrew Loveless \n  \nAbout the pieces & artists\nGintas Kraptavicius: Merzmania\nElectroacoustic live electronics performance made using my own created instrument made from computer\, Plogue Bidule software & midi controller assigned to VST plugins. All software parameters controlled\, altered live in a real time during performance using knobs & sliders of midi controller attached to VST plugins parameters. Performance made from synthesized sounds\, no samples or before recorded sounds as fields’ recordings are used. Merzmania it is piece connecting classical music skills with today noise music (slight allusion to noise icon – Merzbow). Merzmania main playing method is real time interaction with computer which i am using on all my live compositions. I am using Computer as Music Instrument just like any other acoustic music instrument. Like a guitar. Onstage i get the same emotional feeling playing with computer as playing with any other acoustic/electric instrument. Main thing in a live performance it is energy and emotion to the pot like to rock’n’roll concerts. Merzmania featuring the motif of the Lithuanian folk song “Teka\, teka šviesi saulė” (“The sun is rising\, the bright sun is rising”). \nAbout the artist\nGintas K (Gintas Kraptavičius) a Lithuanian sound artist\, composer living and working in Lithuania.\nNowadays Gintas is working in the field of digital experimental and electroacoustic music\, making music for films\, sound installations. His compositions are based on granular synthesis\, live electronic\, hard digital computer music\, small melodies. Collaborations with sound artists @c\, Paulo Raposo\, Kouhei Matsunaga\, David Ellis and many others. He has released numerous of records on labels such as Cronica\, Baskaru\, Con-v\, Copy for Your Records\, Bolt\, Creative Sources\, Sub Rosa and others.\nSince 2011 member of Lithuanian Composers Union. He has presented his works\, performed at various international festivals\, conferences\, symposiums as Transmediale.05\, Transmediale.07\, ISEA2015\, ISSTA2016\, IRCAM forum workshop 2017 \, xCoAx 2018\, ICMC2018\,ICMC2022 ICMC2025 ICMC-NYCEMF 2019\, NYCEMF 2020 \, NYCEMF 2021\, NYCEMF 2022\, NYCEMF 2023\, NYCEMF 2024\, NYCEMF 2025\, Ars Electronica Festival 2020\,. Ars Electronica Festival 2023 Ars Electronica Festival 2024 . IRCAM forum workshop 2025 Paris Ars Electronica Forum Wallis 2025\, FARM 2025\nArtist in residency at DAR 2016\, DAR 2011 \, MoKS 2016\, KKKC 2023\nWinner of the II International Sound-Art Contest Broadcasting Art 2010 \, Spain.\nWinner of The University of South Florida New-Music Consortium 2019 International Call for Scores in electronic composition category. \n  \nCalvin McCormack: Improvisation for Spheres\nImprovisation for Spheres is a live electronic work for two custom spherical controllers with reactive visuals. Each sphere combines surface-embedded capacitive touch pads with an inertial measurement unit\, wirelessly transmitting sphere orientation and touch sensing. Each sphere sits in a chalice cradle\, with a ring of touch sensors embedded around the rim. The spherical form factor affords intuitive spatialization\, the sphere’s rotation corresponds to the sound’s position in ambisonics\, making spatial movement as immediate and embodied as pitch selection. Touch pads support expressive melodic and harmonic performance\, and skin-touchpad contact area allowing dynamic and timbral expression. The work explores the sphere as both instrument and spatializer\, where single gestures unite melodic\, timbral\, and spatial control. This audiovisual improvisation demonstrates how spatialization can be performed artistically rather than mixed\, elevated from post-production to real-time expression. \nAbout the artist\nCalvin McCormack is an MST student at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. His research focuses on accessible HCI and inclusive design for musical applications. He also conducts research in auditory neuroscience and plays jazz guitar. \n  \nJonathan Impett: Marsia 3\nThis is the final piece of a series written for the installation Apollo e Marsia in 2024. This work expands the moment in time represented by Tintoretto in his painting La gara tra Apollo e Marsia (c.1545). Apollo\, playing a bowed instrument with sympathetic strings\, has been challenged by the satyr Marsia\, playing a woodwind instrument\, to see who is the greater musician. Ovid’s retelling of the story describes a terrible end for Marsia\, but in the moment depicted by Tintoretto both musicians are waiting for the judgement of Midas\, both trying to remember and assess what they and their competitor have just played. \nThe piece is therefore a play on the nonlinearity of memory under stress as both try to replay the performances in their mind. Moments are recalled\, replayed or intrude\, but are always changing in their reconstruction. Memories of themselves and of the other constantly modulate each other. New constructs emerge in memory through this process\, and obsessive recall generates attractors and mirrors; we know from recent neuroscience that remembering and imagining are essentially the same reconstructive process. \nAt its root\, the material all derives from two hymns to Apollo inscribed in stone at Delphi\, arguably the earliest remaining instances of music notation\, and likewise fragmented by erasures. Across time\, musicians have attempted to reconstruct this partially-lost memory in different ways\, creating new formations in the process. \nHere\, the Delphic material is subject to layers of nonlinear memory process\, implemented in Open Music as forward- and backward-moving wave phenomena\, sweeping up emergent patterns as they develop. This produces a score that often requires the performer to assimilate a polyphony of musical materials and physical behaviours as layers of memory. Analogous processes are used in the recorded and live sound processing\, largely through physical modelling\, cross-resynthesis and filtering – digital and analogue. This is in turn heard through a model of the stringed instrument of Marsia’s opponent\, Apollo. An AI brings the live performance into relation with the behaviours\, memory and projection of both competitors. \nAbout the artists\nJonathan Impett (1956) is a composer\, trumpet player and writer. His work is concerned with the discourses and practices of contemporary musical creativity\, particularly the nature of the technologically-situated musical artefact. Activity in the space between composition and improvisation has led to continuous research in the areas of interactive systems\, interfaces and modes of collaborative performance. Recent works combine installation\, live electronics and computational models with notated and improvised performance\, using fluid dynamics as a unifying behavioural model. A new project Anamnesis takes a radical approach to AI\, identifying creative paths implied but unnoticed. He leads the research group “Music\, Thought and Technology” at the Orpheus Institute\, Ghent. \nAlto flute: Richard Craig\nRichard Craig (alto flute) was born in Glasgow. He studied at the Royal Conservatoire of Scotland and the Conservatoire de Strasbourg. He performs with groups such as Musikfabrik\, Klangforum Wien\, ELISION and in Scandinavia with CAPUT\, Kammarensemblen. He has released two solo discs of contemporary works\, Vale and Inward\, and recorded for Another Timbre\, Wergo\, FHR\, Métier\, as well as SWR\, BBC and Finnish Radio. Not only a celebrated advocate of contemporary music\, his recent album of the Telemann Fantasias and his improvisations was lauded as “bold\, beautiful and clever” (Gramophone). He is also an improviser\, composer and teacher\, currently Director of Performance at the University of Edinburgh. \n  \nMoritz Wesp\, Eric Haupt and Victor Gelling: oscheat\nThis contribution presents oscheat\, a work-in-progress OSC-based interface\, designed to extend ensemble communication beyond conventional musical gestures. By providing a modular and user-friendly environment\, oscheat allows performers to directly control each other’s digital instruments\, enabling novel forms of interaction\, role-sharing\, and emergent musical structures in real time.\nOur instrumental system is structured into three functional sections reflecting core musical building blocks: synthesizers for melodic and harmonic material\, sequencers for rhythmic organization\, and samplers for vocal and sound-based material.\nAdditional functionality includes real-time MIDI recording and looping\, pitch mapping with support for alternative tunings\, spatialization\, and global macro controls for large-scale structural manipulation. Each performer manages their instruments individually while making the controls accessible through oscheat.\nMoritz Wesp\, Eric Haupt and Victor Gelling are playing an eight-minute improvisation\, demonstrating oscheat’s potential for rapid musical exchange\, shared authorship\, and collective decision-making. By exposing critical control parameters to all participants\, the interface encourages social negotiation and flexible role allocation\, making it relevant for both creative research and educational contexts. \nAbout the artists\nMoritz Wesp lives in Cologne (GER) and plays trombone\, virtual trombone and other instruments that he designs\, programs and builds. As an improviser he is working with different ensembles like Mariá Portugal Erosao\, Matthias Muche’s Bonecrusher or the Simon Rummel Ensemble. Besides this he composes music and is part of the Audio-VR project SONA. \nEric Haupt is a guitarist and composer working in experimental music and punk. He completed his Bachelor of Music at the HfMT Cologne in 2018. He is a founding member of the ensembles Now My Life Is Sweet Like Cinnamon and Lawn Chair\, as well as the initiator of the experimental game-show performance Sport1. His music has been presented at festivals throughout Europe and collaborations include internationally renowned producers Olaf O.P.A.L. and Chris Coady. His punk compositions have been broadcast on international radio stations such as BBC Radio 6 Music. \nVictor Gelling is an improviser and composer who uses stringed instruments including but not limited to upright bass\, tenor banjo\, Pedalsteel- and Nonpedalsteel-Guitars in addition to pedals\, synthesizers and barely working self-coded computer programs to create sounds. Their work spans genres from jazz to noise to electric cowboy songs to complex music\, which culminates in their large ensemble works with Trash & Post-Chaotic Music\, their alt-country/post-punk alias Slowklahoma\, solo works or their playing in the Jorik Bergman Trio. \n  \nPaulo C. Chagas: The Skin of the Earth: Fragments\nThe Skin of the Earth: Fragments explores the fragile boundary between human presence\, technology\, and the living world. Inspired by Jean-Luc Nancy’s idea of the Earth as a sensitive\, permeable “skin\,” the work unfolds as a field of sonic and visual traces in which voice\, electronics\, and image interact in continuous transformation.\nThe soprano part moves between singing and speaking\, incorporating extended techniques\, subtle timbral inflections\, and silence. Vocal gestures—breath\, articulation\, and embodied presence—form the core musical material. Live electronics are realized in real time using custom Max/MSP processes\, including pitch shifting\, delay\, and dense temporal layering. These processes generate evolving\, granular textures shaped during performance through gestural control.\nThe visual component combines AI-generated imagery with real-time processing in TouchDesigner. The visual material is continuously transformed through algorithmic modulation\, spatial deformation\, and temporal drift. Operating as an autonomous yet related layer\, the visuals do not illustrate the music but emerge alongside it\, sharing a logic of indeterminacy and continuous becoming.\nThe work invites listeners to experience sound and image as a living surface—fragile\, unstable\, and shared—where perception remains inseparable from what is in flux\, unresolved\, and still becoming. \nAbout the artists\nPaulo C. Chagas is a Brazilian-American composer and Professor of Composition at the University of California\, Riverside. With over 220 works across orchestral\, chamber\, electroacoustic\, audiovisual\, and multimedia formats\, his work integrates advanced technology and expressive depth. He studied in Brazil\, Belgium\, and Germany\, earning a Ph.D. from the Université de Liège\, and was composer-in-residence at the WDR Electronic Studio. A Fulbright Scholar (Berlin\, 2022–23) and ICMA board member\, his work is widely performed and published.\nhttps://solo.to/paulocchagas \nSoprano: Adriane Queiroz\nBrazilian soprano Adriane Queiroz trained in Pará\, Missouri\, and Vienna. Since 2002/03 she has been a member of the Staatsoper Unter den Linden\, performing roles such as Pamina\, Micaëla\, Susanna\, and Liù. She has appeared at major venues including the Hamburg State Opera\, Semperoper Dresden\, and Wiener Festwochen\, and in concerts at the Musikverein and Konzerthaus Vienna. Her repertoire spans Mozart to contemporary works\, including Schönberg’s Erwartung and Nono’s La fabbrica illuminata\, with recent premieres under Sir Simon Rattle.\nwww.adrianequeiroz.com \n  \nCat Hope and Juan Parra Cancino: The Long Now III  \nThis a scored work for live modular synthesiser performance\, with a backing track. It explores the potential of digital notation for modern electronic instruments\, in this case\, the contemporary modular synthesiser. It is named after the Long Now Foundation\, that aims to provide counterpoint to today’s accelerating culture by encouraging long-term thinking\, fostering responsibility in the framework of the next 10\,000 years. Music provides complex answers to the question of “How Long is Now?”\, and in this work\, a slow descent into very low sound by the performer\, where pitch is either uncontrollable or almost inaudible\, reflects the limits of human action in and perception of sound as it passes through time\, highlighting that there may be other ways to listen\, and other ways to experience our passing through time.\nThe fixed media part of this piece was created at EMS in Sweden\, using the Buchla 200’s 4 x 259 waveform generators and the score is read on the Decibel ScorePlayer\, which also produces the fixed media part. \nAbout the artists\nJuan Parra Cancino studied Composition at the Catholic University of Chile and Sonology at the Royal Conservatoire The Hague\, earning a Master’s degree focused on electronic music composition and performance. In 2014\, he completed his PhD at Leiden University with his thesis “Multiple Paths: Towards a\nPerformance Practice in Computer Music. Parra has been a research fellow at the Orpheus Institute since 2009. \nCat Hope is a award winning Australian composer who focuses on the extremes of sound – from extreme noise to barely audible delicacy. Her works have been performed world wide by ensembles such as Yarn Wire (US)\, the BBC Scottish Symphony (UK) and her works are published internationally on labels such as Hat (Hut) Art\, with her monograph CD Ephemeral Rivers winning the German Critics Prize in 2017. Cat is a represented composer with the Australian Music Centre\, and her music is published by Material Press. Her first opera\, Speechless\, won the Best New Dramatic work in the 2020 Art Music Awards. \n  \nAndrew Loveless: Tape Microscopy\nThis performance explores the musical potential of playback speed manipulation\, controlled feedback\, and layered sound material using a dual-transport digital tape instrument. The source of the sound material is the distinct\, high-pitched whine of a CRT television’s flyback transformer\, which was chosen for its nearly inaudible high-frequency energy and analog character. The sound is heard briefly at normal speed before being slowed almost to a halt to reveal its hidden textures. Inspired by the tape experiments of pioneer Éliane Radigue\, this performance utilizes two virtual tape transports that interact through carefully tuned speed relationships\, harmonizing and phasing against one another. Live overdubbing and feedback routed between the transports create new layers and delays\, shaped by the performer’s listening and interactions. A real-time visualization shows the speed of each transport’s spinning reels\, adding an engaging layer that helps in following the unfolding sounds. \nAbout the artist\nAndrew Loveless is a graduate student in Music Technology at the Georgia Institute of Technology. Their work focuses on performance-centered instrument design and improvisation\, with an emphasis on preserving tape music techniques and making them more accessible through hands-on\, educational tools. \n  \nVolunteers\nTechnical Director / Main Sound\nTade Lorenzen \nSound Assistant / Light\nBastian Weißenbach \nStage / Video\nIsay Ramirez \nProduction Manager\nJuliana Lüer \nProduction / Stage\nGianni Tamanini \n 
URL:http://icmc2026.ligeti-zentrum.de/event/club-concert-4c/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:14-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T193000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260530T101545
CREATED:20260421T194433Z
LAST-MODIFIED:20260506T120248Z
UID:10000199-1778787000-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:MOVED: Fixed-Media Cinema Screening
DESCRIPTION:Important Notice\nDue to unforeseen organizational reasons\, the Metropolis cinema remains closed until May 15\, 2026. All scheduled fixed media pieces have been moved to Listening Rooms and Concerts. \nThe film screening of The Man in the Mangroves counts to Sleep by James A. Moorer et al. will be shown during the Evening Concert 6B on May 16\, 2026. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/cinema/
LOCATION:Metropolis @ Planet Harburg\, Herbert-und-Greta-Wehner-Platz\, Hamburg\, 21073\, Germany
CATEGORIES:14-05
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260530T101545
CREATED:20260421T163025Z
LAST-MODIFIED:20260513T090720Z
UID:10000096-1778785200-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 4B
DESCRIPTION:Concert 4B presents the full range of contemporary computer music in a chamber ensemble setting. Ensemble 404—Hamburg’s specialists in new music—navigates a program that spans highly spatialized sound worlds to audiovisual metamorphoses.\nExperience how physical instruments meet the precision of algorithms\, creating new hybrid identities in the process. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nUnforeseen Metamorphic\nJoshua Rodenberg and Fumiaki Odajima \nKryptobioza\nLidia Zielinska \nTide\, breath\nZihan Wang \nEverybody Loves Me\nHoward Kenty \nIntermission – 15 mins \nPresent-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nNaotoshi Osaka \nComing and Vanishing \nYixuan Zhao \nZusammenspiel I\nJavier Alejandro Garavaglia \nVesscape\nDanni Zhao and Congren Dai \n  \nMusicians\nEnsemble 404 \nFlute: Giusy Panzanaro \nRecorder: Karolina Mydlářová \nClarinet: Yuriy Nepomnyashchyy \nBassoon: Rodrigo Rodrigues \nPercussions: Vitalia Agrba \nPiano: Valentina Donato \nViolin: Wakako Matsubara \nViola: Malte Buschenlange\, Zeynep Sertoğlu \nCello: Antonio Lo Curto \nDouble bass: Ricardo Silva \n  \nAbout the pieces & artists\nJoshua Rodenberg and Fumiaki Odajima: Unforeseen Metamorphic\nA seven minute acousmatic performance explores perception as a field where sound becomes a medium of transformation. The work begins with pure sine waves tuned in just intonation\, forming a low intensity sonic layer that permeates the space rather than occupying the foreground. Slow modulation and close interval relationships generate micro beating and phase drift\, unfolding at the threshold of audibility and drawing attention to subtle shifts in listening.\nWithin this continuous membrane\, a second live system of modular synthesis enters as an autonomous partner. Instead of accompanying the sine field\, it negotiates with it\, introducing pulses\, harmonics\, and timbral pressure that can align\, destabilize\, or dissolve. The piece is shaped by interference\, emergent resonance\, and the physical behavior of sound in the room\, producing a shared acoustic field that changes moment to moment. \nAbout the artists\nJoshua Rodenberg is a sound and video artist based in Doha\, Qatar\, where he is Head of the Innovative Media Studios and Associate Professor at Virginia Commonwealth University School of the Arts in Qatar. His practice connects art\, technology\, and environmental research\, translating natural oscillations and field data into live sonic and visual performance. In 2024 he received the VCU Quest Research Grant and participated in the Arctic Circle Artist Residency in Svalbard. His work has been presented internationally\, including the International Computer Music Conference in Boston\, Haus 1 in Berlin\, and EAI ArtsIT 2025 in Dubai. \nFumiaki Odajima is a Tokyo and Amami based artist working with multichannel pure sine waves\, just intonation\, and long timescale transformations to shape perceptual listening environments. He holds a BFA from The Ohio State University and an MFA from Virginia Commonwealth University. Recent projects focus on large scale sine wave diffusion\, exploring interference\, micro beating\, and sound as material at sensory thresholds. Selected performances include Synthesis at ART SPACE BAR BUENA in 2024 and Re:Synthesis at Safi Heimlichkeit Nikai in 2024\, and he released Icecream Daydreaming in 2020 with the improvisational unit kani kani club. \n  \nLidia Zielinska: Kryptobioza\nCryptobiosis is a reversible\, temporary state of extreme reduction in life activities of a composer\, as a response to unfavourable environmental conditions. \nAbout the artist\nLidia Zielinska (*1953) – Polish composer\, professor-emeritus of composition and director of the Electroacoustic Music Studio at the Poznan Academy of Music; numerous awards for orchestral\, multimedial\, electroacoustic works; books\, papers\, guest lectures\, summer courses in Europe\, both Americas\, Asia\, New Zealand; vice-president of the Polish Society for Electroacoustic Music. \n  \nZihan Wang: Tide\, breath\nThis work integrates spatialised fixed-media electronic music with semi-improvised acoustic instrumental performance. Animated scores and sound scores are employed to guide performers and to synchronise their actions with the electronic sections. The compositional focus is spatial counterpoint which extending the interplay of traditional contrapuntal voice relationships into three-dimensional space. This approach generates perceptible parallels\, interweaving\, imitation\, and conflict between instrumental and electronic elements through the parameters of position\, distance\, diffusion\, and timbre. Spatial attributes therefore function as primary compositional parameters rather than post-production effects.\nThe work is inspired by reflections on the macro and micro-structures of two kinds of sound: human crowds and natural environments. Through extensive field recording\, I observed a shared underlying principle: both soundscapes arise from the continuous accumulation and interaction of innumerable micro-sonic events\, producing macro-level shifts in energy\, fluctuations in density\, and emergent directional tendencies. For example\, footsteps\, conversations\, breathing\, and whispers in a crowd collectively form an ever-shifting granular timbre. Similarly\, natural sounds such as rain\, wind\, rivers\, and flocks of birds can exhibit comparable behaviours. This work seeks to establish a perceptual and structural connection between these two sound worlds through electronic composition. \nAbout the artist\nZihan Wang is an electroacoustic music composer\, film composer\, and sonic artist. He is currently a post graduate research student at Monash University\, Melbourne\, Australia\, where his work investigates compositional strategies for ambisonics-based environments. His research engages with Robert Normandeau’s concept of timbre spatialisation and Denis Smalley’s theory of spectromorphology\, with a particular emphasis on timbre\, spatial articulation\, and electroacoustic composition. His creative practice includes fixed-media electroacoustic works\, sound installations\, animated score composition\, and film scoring. His work has been presented at venues and conferences including TENOR 2025 and the Melbourne International Film Festival (MIFF). \n  \nHoward Kenty: Everybody Loves Me\nThis piece was written in 2017 and performed regularly through his first administration. The view backward in 2026 is very different\, considering all that’s transpired and our current state. I’ve wrestled with the benefits and meaning of performing the piece in 2026; can it elucidate\, change anyone’s mind\, serve as a cathartic repudiation\, or something else?\nUltimately\, it feels right to bring it back now. So let us use his own words to reveal a progression of behavior and influence that begins with deep insecurity\, an insatiable need for validation\, and an extreme sense of entitlement\, untempered by want. Let us trace this through to the fear\, intolerance\, and violence that the speaker stokes in many of his followers. Where does this path ultimately end?\nThe salient question for me is how to expose this inherent toxicity to those who don’t immediately recognize it; his power lies in exciting latent fear. When we each enter this type of exploration\, what deep-rooted fears of Other might we find that we harbor within ourselves? Crucially\, how do we deal with them in our actual interactions?\nThis piece attempts these challenges by taking his quotations as its compositional seeds\, adapting their contours\, cadences\, and words directly into pitches\, rhythms\, and text\, implementing and re-arranging them to form the entirety of the work. While the audience’s challenge is reflection and considered action\, the performer’s is simultaneously more difficult and potentially more alluring; they must possess themself entirely of this visceral\, uninhibited id\, becoming pure reactive malice\, discord\, and excitation\, unencumbered by contemplation or morality. It’s a remarkably seductive path for everyone\, regardless of philosophy.\nBurdens of persuasion this tremendous are perhaps impossible for this piece; maybe another desperate scream of absurdity and horror is the only thing realized. Nevertheless\, I believe it is a profound moral obligation for each of us to consider these questions and to act on our considerations\, deliberately.\nThis piece was composed while in residence at the Aaron Copland House\, from July through August\, 2017. Great thanks go to the Copland House organization and the premiere performer\, the dauntless Daniel Pate. \nAbout the artist\nHowie Kenty is a Brooklyn-based composer and performer\, occasionally known by his musical alter-ego\, Hwarg. His music\, called “remarkable” with “astonishing poetic power” (International Compendium Prix Ars Electronica)\, is stylistically diverse\, encompassing ideas from contemporary classical\, electronic\, rock\, and ambient genres\, as well as sound art\, political issues\, and visual and theatrical elements. \nBesides regularly composing and performing his own music\, Howie is half of Ju-eh+Hwarg\, whose The Living Dying Opera has been called “a profoundly entertaining\, interactive night of operatic fun” (New York Music Daily). He plays guitar and composes in the progressive rock group The Benzene Ring\, whose album Crossing the Divide has been hailed as “a true masterpiece” and a “gorgeous piece of experimental rock/metal” (Recyclable Sounds; Progarchy). Howie earned his PhD in Music Composition from Stony Brook University\, and is an Assistant Professor in the Studio Composition program at Purchase College. Random past fancy bits include a Carnegie Hall performance by PUBLIQuartet\, first prize at Shanghai Electronic Music Week\, a residency at Copland House\, and performing his own raucous experimental political art at National Sawdust. Listen at hwarg.com. \n  \nNaotoshi Osaka: Present-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nIto Jakuchu (1716–1800) was a mid Edo period Japanese painter renowned for his brilliantly colored depictions of plants and animals. I have long been fascinated by his works. There was a time when I myself collected butterflies\, and I was deeply captivated by the designs and patterns on their wings. This piece is inspired by those wing patterns\, transforming their visual designs into musical imagery. Jakuchu also painted butterflies\, and with the idea of composing as if I myself were Jakuchu painting a picture\, I titled this work as part of my “Present-Day Jakuchu” series.\nWhen visual and auditory perception are viewed at a higher level of abstraction\, they share many common qualities. In this work\, the visual impressions of the butterfly are linked to the sounds and musical structure.\nInachis io (The European Peacock Butterfly) has eye spot patterns on a reddish brown ground\, reminiscent of a peacock’s feathers\, which gives the species its name. Although it is not found in North America\, South America\, or Oceania\, it is widely distributed across the Eurasian continent\, including Europe and Asia. Many butterflies of the Nymphalidae family are elegant in appearance\, and this species is no exception; it can be seen in many places. In the composition\, I developed the music around two motifs: the background coloration and the eye spot patterns. Unlike my previous work\, this piece does not depict flight or resting behavior; instead\, it focuses solely on the coloration and patterns visible when the wings are fully spread.\nThis piece was originally written in 2023 for violin and piano. For this performance\, it has been newly expanded with an added electroacoustic part\, making this the premiere of the updated version. The electroacoustic materials were created as fixed media\, primarily using granular synthesis and FM synthesis. However\, the sound files are structured as passage level cues\, and their playback timing is performer controlled and triggered in real time. \nAbout the artist\nNaotoshi Osaka received his Master’s degree from Waseda University and\, after working at NTT Laboratories\, has pursued research and composition in electroacoustic music. His works have been selected for the ICMCfive times\, and for the New York City Electroacoustic Music Festival (NYCEMF)three times. He served as President of the Japan Society for Sonic Arts (JSSA) from 2009 to 2018. He is currently a research fellow at Waseda University and Tokyo Denki University\, holds a Ph.D. in engineering\, and is Professor Emeritus at Tokyo Denki University. \n  \nYixuan Zhao: Coming and Vanishing  \nComing and Vanishing is an Audiovisual work for solo flute and electronics that explores a transient and unstable phenomenon.\nThe flute interacts closely with the electronic layer through air sounds\, breath tones\, and extended techniques. Pitch and noise are deliberately blurred\, allowing the instrument to function not as a melodic foreground but as a fluctuating presence. The electronic part is primarily built from processed human whispers and breaths\, materials detached from linguistic meaning. Through subtle layering and diffusion\, the voices lose semantic clarity and become abstract sonic matter. Acoustic and electronic sound exist in a continuous state of mutual negotiation\, shaping and destabilizing one another in real time.\nThe visual draws inspiration from traditional Chinese landscape painting while incorporating a surrealist sensibility. Through gradual transformations of light and shadow\, the imagery reveals and amplifies microscopic details within the sound. Rather than illustrating the music\, the visuals function as a parallel perceptual layer\, extending the listening experience into a spatial and visual field.\nSound and visual are not merely layered media\, but revealing a dynamic process\, existing only within the persistent tension between appearance and disappearance\, presence and loss\, immediacy and dissolution. \nAbout the artists\nComposer: ZHAO Yixuan is a composer\, a lecturer at the Dept. of Music AI and Music Information Technology\, Central Conservatory of Music\, China\, and a visiting researcher at the Royal Birmingham Conservatoire\, UK.\nShe has been dedicated to exploring the practice of digital audio and artificial intelligence in music composition and collaborating with performers to search for more possibilities in technological performance environments. Her composition spans interactive music\, electroacoustic music\, contemporary music\, and new media art. \nVisual Designer: WU Shuangqi (/’su:ki/) is an inter-media creator and visual-physical experimenter engaged in visual media\, contemporary theatre\, physical improvisation\, visual design\, sound\, audiovisual\, photography\, editing\, etc.\nHer creations are mainly based on physical experience\, deconstructing and visually outputting the body and external information\, intending to explore the assembly\, pattern\, motivation and form in the algorithms of flesh and behaviour\, to gain extension in perversion and mutation. \n  \nJavier Alejandro Garavaglia: Zusammenspiel I\nComposition in which viola and clarinet are combined with spectral digital effects and multi-channel spatialization. The idea of “playing together” contained in the title in German was the starting point of the artistic working process. This is clearly noticeable from bar 1\, as the chosen pitches for both instruments are intertwined so that\, together with the real-time electronics\, all 3 create timbres that portray their fusion rather than the sound of each instrument alone. In addition\, the composition presents innovative aspects in terms of real-time digital effects\, for example\, the accumulation and evaporation of spectra of both instruments captured by the electronics in real time or the combination of different techniques (among others Ambisonics) responsible for the particular spatialization of the electronics. Moreover\, the composition is another example of the complete automation of the electronics\, a technique developed by the author for years.\nZUSAMMENSPIEL I was made possible thanks to the support and funding provided by MUSIKFONDS Deutschland. \nAbout the artist\nJavier Alejandro Garavaglia. Award-winning composer\, violist\, sound artist and retired university music professor with a broad and interdisciplinary approach to digital art and related technologies. His work focuses primarily on various aspects of music/sound composition and performance supported by computing\, with a constant search for new sonic experiences combining new developments in computer-aided sound synthesis\, live interaction\, extended instrumental techniques and sound spatialisation. Compositions are performed/broadcast in Europe\, America and Asia in world-renowned concert halls/broadcasters and include electroacoustic music (acousmatic\, interactive\, multimedia)\, instrumental music (e.g.\, solo instrument\, ensemble & orchestra) and sound art (e.g.\, installations). Plenty of his acousmatic music can also be found on commercial CDs by Edition DEGEM\, Cybele\, EMF\, etc.\nMore about Javier Alejandro Garavaglia here. \n  \nDanni Zhao and Congren Dai: Vesscape\nThis work repeatedly performs the same action: pouring sound into a hollow system. \nThe breath of the flute is not treated as lyrical material\, but as a continuously failing act\, namely\, blowing\, gasping\, breaking\, and losing control. Pitches emerge again and again\, yet never settle. The electric bass introduces low-frequency pressure and inertia\, an irresistible downward pull that keeps the entire sound field at the edge of overload. \nA live electronic system analyses the performed sound using AI\, distributing features such as breath\, impact\, and pitch deviation across multiple “vessel” sound sources and visual entities. In its touring performance version\, the original vessel installation has been translated into an 8.1 spatial audio field\, allowing the acoustic presence and directional behavior of the vessels to be simulated through multichannel diffusion. These vessels are not metaphors for containers; they function as receivers of pressure\, being filled\, stretched\, and forced into vibration. The harder the music pushes\, the more unstable the vessels become; when the performer attempts to regain control\, the system exposes even more fractures. \nThe structure begins with an almost violent injection of energy\, gradually shifting into a direct confrontation between body and object. Unstable registers and microtonal deviations are continuously amplified; rhythm is fragmented into dense\, short bursts of broken gestures\, until the system briefly collapses. In the end\, sound is exhausted\, leaving only residual breath and unfinished pitch afterimages. \nThis is not a work about “generation”. It is a sustained experiment in pressure\, control\, capacity\, and limits. The system never truly responds to the performer; it merely records how pressure fails\, again and again. \nAbout the artists\nDanni Zhao is a Chinese composer and electronic music artist. She studies Electronic Music Composition at the Central Conservatory of Music\, where she received the National Scholarship and recommendation for postgraduate study. Her works have won awards at international composition and electronic music competitions and have been presented at events such as ICMC and major music festivals. She is active in concert music\, film\, documentary\, theatre\, and game scoring. \nCongren Dai is a PhD candidate at the Central Conservatory of Music\, specialising in Music AI. He holds an MRes in AI and Machine Learning from Imperial College London and an MSc in Data Science from King’s College London. Having interned in computer vision at Google and engaged in music AI projects at Huawei\, he now applies Large Language Models to musical score understanding and instrument recognition in his research\, alongside contributions to continual learning. \n  \nVolunteers\nTechnical Director / FOH\nGiovanni Dinello \nSound Engineering \nLuciano Correa \nLight Design\nGabriel Saber\, Lukas Becker \nStage & Sound Assistance\nAdrián Velasco \nProduction\nValentina Donato\nHaewon Sim \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-4b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T170000
DTEND;TZID=Europe/Amsterdam:20260514T183000
DTSTAMP:20260530T101545
CREATED:20260421T133619Z
LAST-MODIFIED:20260511T093119Z
UID:10000095-1778778000-1778783400@icmc2026.ligeti-zentrum.de
SUMMARY:Panel: Music\, Technology and the Mind
DESCRIPTION:Panelists\nLars Rye Bertelsen \nPia Preißler \nGoran Lazarevic \nMiriam Akkermann \nLi Zhong \nLi Xiaobing \nModeration: Eckhard Weymann \n  \nAbout the panelists & their perspectives\nLars Rye Bertelsen: MusicStar\nLars Rye Bertelsen will present on the MusicStar app. as a technology for health. The background\, thoughts and visions for its development will be presented\, along with an overview of its use and distribution worldwide. The app has been in use as a personal coping-strategy both clinically for patients during admittance and after dismissal from hospital\, in refugee rehabilitation and several quality studies ad research projects\, and it is also available for private use. \nAbout the panelist\nLars Rye Bertelsen began his music therapy training at Aalborg University in the program’s first cohort in 1982. He has since worked as a private music therapy clinician since 1987 and later established a private music therapy clinic in 1999 with three colleagues. From 2004 to 2024\, he held a part-time position at the music therapy research clinic at Aalborg University Hospital – Psychiatry\, where he conducted both clinical work and research in music therapy and music medicine. Bertelsen is co-inventor of the MusicStar app and specializes in designing playlists for arousal regulation. He earned his PhD in music therapy at Aalborg University in 2025. Moreover\, he is a certified Bonny Method GIM therapist and a fellow of the European Association for Music and Imagery (EAMI). \n  \nPia Preißler and Goran Lazarevic: The Healing Soundscapes\nWe will be presenting our work and the most recent developments in the Healing Soundscapes project – an interdisciplinary project at the intersection of music therapy\, psychology\, composition\, and technology\, where each of these branches is simultaneously supporting and enhancing the others. The project integrates scientific research\, artistic practice\, and AI-driven tools to create “neutral” sound environments for clinical spaces – blending seemlesly into the existing environement and at the same time enriching it in ways that promote the well-being of persons experiencing it. Moving beyond purely functional audio\, we explore how complex\, artful sound can resonate across individual preferences in a genre-agnostic way\, offering new listening experiences for patients and staff\, and redefining the role of music outside the concert hall. \nAbout the panelists\nDr. Pia Preißler is a qualified music therapist\, psycho-oncologist and research fellow at the University Medical Center Hamburg-Eppendorf (UKE)\, and a lecturer at the University of Music and Drama in Hamburg (HfMT). Her work combines clinical practice with research\, as in the ‘Healing Soundscapes’ project\, which she has been leading since 2023 within the context of the ligeti center. Here\, sound installations are implemented in waiting and work areas within the hospital and their effects are studied. \nGoran Lazarevic is a Hamburg-based improviser\, composer\, accordionist and researcher. His main interests lie in the fields of live electronics\, microtonal music\, free improvisation and computer music\, as well as brain-computer-music interfaces (BCMI) and cognitive science. Goran Lazarević works as a project coordinator for the Hamburg Open Online University (HOOU) at the University of Music and Drama in Hamburg (HfMT) and has been a part of the ‘Healing Soundscapes’ project group since 2016. \n  \nMiriam Akkermann: “music as sleep aid – between expectation and personalization”\nListening to music can have strong effects on humans\, which can be traced in both subjective reactions and changes in the brain’s neurophysiology. One area that draws on these effects is the use of music to promote relaxation and help people to fall asleep. While positive effects could be already shown in people suffering from e.g. insomnia and dementia\, also healthy adults are using more and more music as a non-pharmaceutical sleep aid to increase individual well-being. Situated at the intersection of music research\, psychology\, neuroscience\, cognitive science\, and computer science\, the research on the effects of music on sleep unfolds as a highly interdisciplinary research field. In our project\, we are particularly interested in the relation between more general effects and individual preferences for music as well as the role of expectation towards the effect of specific sounds or musics. Hereby\, we explore approaches such as the personalization of the music using generative music as well as the associations evoked by technically mediated (audible) space in music productions. \nAbout the panelist\nMiriam Akkermann is musicologist and sound artist. Her research areas include music of the 20th and 21st century\, computer music/music technology\, musical performance practices\, archiving music in the digital age\, as well as the effect of music on sleep. She received a PhD in musicology from the Berlin University of the Arts\, and completed her habilitation at Bayreuth University. As a musician and sound artist\, she performs with flute and live electronic\, and creates compositions and sound installations\, that have been shown at concerts\, festivals and exhibitions\, in Europe\, North America\, and Asia. \nFrom 2024-2026\, she held the Ernst-von-Siemens Musikstiftungsprofessur at FU Berlin\, in March 2026\, she took over the professorship for systematic musicology at TU Dortmund. \n  \nLi Zhong \nLi Zhong’s speech highlights the growing role of music in promoting holistic health\, including emotional\, cognitive\, and social well-being. He underscores China’s efforts under the “Healthy China” strategy to advance interdisciplinary collaboration across music\, technology\, medicine\, and psychology. The Central Conservatory of Music is presented as a key driver in this field\, actively leading cross-disciplinary research and innovation in areas such as music neuroscience and artificial intelligence\, and expanding the role of music in public health. The speech calls for stronger international cooperation to further advance this field and contribute to global well-being. \nAbout the panelist\nLi Zhong was born in September\, 1972 in Shuozhou\, Shanxi province\, Han nationality. Started working in July 1995\, he achieved the Master of Laws degree. Being the Master’s Supervisor in the major of  Intercultural Communication and Language Broadcasting at the Communication University of China and the associate research fellow\, he has been the Vice Chairman of the University Council of the Communication University of China and is the Vice Chairman of the University Council of the Central Conservatory of Music presently.\nHe is the supervisor of the 11th Council of the Party Building Research Association for Universities in Beijing; Vice President of the first Party Building Research Association for Radio and Television of China Federation of Radio and Television Social Organizations; Member of the 9th Council of the Ideological and Political Education Branch of Chinese Association of Higher Education.\nFrom April to July 2009\, he visited the University of Reading in the UK to conduct research primarily in student affairs management and educational development. He has been dedicated to systematic research in the fields of cross-cultural communication and language dissemination\, focusing on cultural interaction mechanisms within a globalized context. He explores collaborative training models for international talents in response to the needs for enhanced international communication efficacy\, continually promoting the integration of academic development with practical demands. His achievements are significant both in theoretical innovation and practical application. \n  \nLi Xiaobing: “Artificial Intelligence\, Artistic Intelligence @ Machinism”\nThis presentation takes the dialectical relationship between two forms of “AI”—Artificial Intelligence and Artistic Intelligence—as its point of departure\, proposing and elaborating the conceptual framework of “Machinism.” From the interdisciplinary perspective of science\, technology\, and art\, it reconsiders the subject structure of artistic creation and the mechanisms of meaning generation in the age of artificial intelligence. Here\, “Machinism” is not a doctrinal theory about machines\, but rather a conceptual framework for understanding the reconfiguration of subject relations in human–machine collaborative creation.\nMachinism points toward two dimensions: first\, within the framework of human values and ethics\, intelligent systems are incorporated into processes of meaning production\, shifting art from “subjective expression” toward “human–machine co-generation”; second\, as a philosophical extension\, when intelligent systems develop more complex cognitive structures\, artistic creation may evolve into a generative field involving multiple subjects\, thereby opening new possibilities for understanding the “creative subject.” \nIn the future of Artificial Intelligence\, Artistic Intelligence @ Machinism\, where will human art go? \nAbout the panelist\nLi Xiaobing is Professor and Doctoral Supervisor at the Central Conservatory of Music\, Director of the Department of Music Artificial Intelligence\, National Leading Talent in Philosophy and Social Sciences\, recipient of the Central Propaganda Department’s “Four Kinds of Talents” award\, expert entitled to special government allowances\, Principal Investigator of major national social science projects\, the Chair of the China Computer Federation (CCF) Computational Art Branch\, the Chair of the Chinese Association for Artificial Intelligence (CAAI) Art and Artificial Intelligence Commission. He also leads the “National Huang Danian-style Faculty Team” in higher education.\nA Doctor of Composition\, Li Xiaobing graduated from the Composition Department of the Central Conservatory of Music\, where he studied under the renowned composer Professor Wu Zuqiang\, Honorary President of the Chinese Musicians Association and the Central Conservatory of Music. His musical creations span almost all genres\, with works enjoying wide popularity and significant influence. He has been honored with numerous domestic and international awards\, including the Golden Bell Award\, the Wenhua Grand Prize\, the Wenhua Composition Award\, first prizes in national opera and dance drama competitions\, and the “Five One Project” Award from the Central Propaganda Department.
URL:http://icmc2026.ligeti-zentrum.de/event/panel-music-technology-and-the-mind/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Panel
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T160000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260530T101545
CREATED:20260421T112429Z
LAST-MODIFIED:20260423T174523Z
UID:10000160-1778774400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Robert Cole Rizzi: The Art of Listening – To Hamburg. A Participatory Soundwalk Workshop
DESCRIPTION:How does the world sound when we truly listen? In this participatory workshop\, participants explore their sonic environment through attentive listening\, simple drawing\, poetry\, and playful composition — no musical experience required. \nThe workshop begins with a guided soundwalk\, where participants listen closely to everyday sounds while also making small line drawings based on visual details in the environment\, such as skylines\, patterns\, trees\, or bushes. Back indoors\, the listening experiences are transformed into short poetic texts\, and the drawings are translated into music using mechanical music boxes.\nThe workshop offers an accessible and hands-on introduction to sound-based creativity\, showing how artistic processes can emerge from listening\, observation\, and simple materials. Developed over more than ten years at the Danish National Academy of Music (SDMK)\, the format has been tested with a wide range of participants\, from schoolchildren to professional artists. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitator\nRobert Cole Rizzi is an assistant professor at the Danish National Academy of Music (SDMK) in Esbjerg\, where he teaches electronic music and sound art. His work focuses on making creative sound practice accessible to everyone\, developing pedagogical methods that welcome participants without requiring musical or technical prerequisites.\nAs a practicing artist working with sound\, visual art\, and experimental music technology\, Robert collaborates internationally with institutions such as the Prince Claus Conservatoire in the Netherlands\, and the Technische- and Musikhochschule in Lübeck. His artistic research explores how nature’s movements and traces can become sources for audiovisual composition\, using techniques from field recording to biodata sonification.\nRobert has spent the past decade developing and refining the “Impression – Imprint – Expression” methodology presented in this workshop. It has been successfully implemented with primary school students\, conservatory composition students\, public library visitors\, and museum participants across Denmark. His approach demonstrates that everyone can engage meaningfully with sound art when given accessible tools and encouragement to experiment. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-robert-cole-rizzi-art-listening-hamburg-soundwalk/
LOCATION:Hamburg University of Technology\, Building H (H 0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T160000
DTEND;TZID=Europe/Amsterdam:20260514T170000
DTSTAMP:20260530T101545
CREATED:20260415T142150Z
LAST-MODIFIED:20260511T161549Z
UID:10000098-1778774400-1778778000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 9: Music & Health
DESCRIPTION:Paper abstracts \nYunze Mu\, Lorna Segall and Zhixin Xu: “Acoustic Interactive Sand Tray Therapy System: An Em-bodied Interface for Multisensory Sound Interaction”\nFoundational work in computer music and gestural interface design has emphasized embodied and tangible interaction as a central component of expressive musical systems [1\, 2]. This paper introduces the Acoustic Interactive Sand Tray System\, an innovative interface that translates the continuous physical manipulation of sand into real-time auditory feedback. Utilizing an overhead depth-sensing camera and the YOLO v11 object detection model\, the system captures complex surface geometries and identifies physical artifacts within the tray. We ex-tract perceptually salient features\, such as surface flat-ness and regional elevation\, which are transmitted via OSC to a hybrid sound engine implemented in Max/MSP\, Unity\, and RTcmix (RTcmix and WebRTcmix). While the system supports interdisciplinary applications\, this paper focuses on its technical architecture\, specifically the sensing pipeline and the many-to-many mapping strategies that link material deformation to sound synthesis. By prioritizing material affordances over symbolic control\, the system facilitates exploratory\, low-cognitive-load engagement\, allowing users to intuitively shape ”sound worlds” through tactile interaction. The Acoustic Interactive Sand Tray System contributes a robust framework for material-based sound control\, demonstrating the potential for non-rigid\, natural inter-faces to foster immersive and embodied musical experiences. \n\n  \nSophie Rose: “CALM: Translating Somatic Experience into Compositional Structure as a Trauma-Informed Methodology”\nCALM is a performance work and compositional system that translates bilateral\, body-focused movement into sound behaviour and spatial form. Drawing on trauma-informed movement practices\, the work treats somatic engagement as a generative compositional constraint rather than a representational or expressive metaphor. CALM deliberately subverts common assumptions that stillness and meditative movement are inherently calming. Instead\, it externalizes bodily instability\, fragmentation\, and heightened internal noise that can arise for some trauma survivors during periods of stillness. Using wearable gestural interfaces\, spatial audio\, and voice-based synthesis\, CALM maps movement rate\, bilateral coordination\, and physical effort to sonic density\, timbre\, and spatial distribution. Musical structure emerges through sustained bodily negotiation\, constraint\, and breakdown rather than through virtuosic control or symbolic gesture. The paper positions CALM as a practice-based methodological framework for translating somatic experience into sound behaviour\, contributing to research in embodied computer music\, trauma-informed creative practice\, and participatory listening contexts.\n\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-9-music-health/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T153000
DTEND;TZID=Europe/Amsterdam:20260514T160000
DTSTAMP:20260530T101545
CREATED:20260421T143705Z
LAST-MODIFIED:20260421T143727Z
UID:10000094-1778772600-1778774400@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Psyche Loui: Scales for Predictions\, Creativity\, and Music-Based Interventions
DESCRIPTION:  \nMusic unites listeners through shared predictions and reward. At the heart of this process is the musical scale—a designed object that quantizes pitch into structures capable of generating and fulfilling expectation. A survey of the world’s scales reveals five core design features and a single overarching dimension of enculturation\, ranging from deeply familiar tonal systems to entirely novel sonic environments. The Bohlen-Pierce (BP) scale occupies a unique position in this multidimensional space: combining a non-octave equivalence interval with near-zero enculturation\, it sits at the intersection where the need for rigorous enculturation research is most acute. Harnessing the capacity of the BP scale to generate genuinely new predictions\, this talk presents behavioral and neuroscience findings from the MIND Laboratory examining how children and adults across different countries acquire musical structure from an unfamiliar system. Results illuminate the developmental trajectory of statistical learning\, the neural signatures of prediction error\, and the timescales over which aesthetic preferences emerge from exposure. Beyond perception\, the BP scale serves as a test bed for studying creative cognition\, enabling novel assessments of musical improvisation and imagination. The talk closes by connecting these findings to clinical applications\, considering how principles of enculturation and prediction inform optimal dosage design for music-based interventions targeting cognition and brain health.   \n  \nPsyche Loui\nPsyche Loui is Associate Professor of Music and Psychology at Northeastern University\, where she directs the MIND (Music\, Imaging\, and Neural Dynamics) Lab and serves as Associate Dean of Research in the College of Arts\, Media and Design and Associate Director of the Institute for Cognitive and Brain Health. She brings a unique perspective to music research as both a neuroscientist and performing violinist\, bridging experimental rigor with artistic practice. Loui’s research explores how the brain learns\, processes\, and creates music\, with particular emphasis on using artificial musical systems as controlled laboratories for understanding neural mechanisms. Her pioneering work with the Bohlen-Pierce scale—a microtonal system based on the tritave rather than the octave—demonstrates how novel tuning systems can reveal fundamental principles of musical learning\, prediction\, and pleasure. By creating controlled compositional experiments that exist outside of Western tonal traditions\, she illuminates how brains adapt to unfamiliar sonic worlds and what this reveals about music cognition more broadly. Loui directs the MIND Lab (Music\, Imaging\, and Neural Dynamics laboratory) which combines cutting-edge neuroscience methods (fMRI\, EEG\, diffusion tensor imaging) with computational approaches including machine learning and natural language processing to decode musical experience. Recent work investigates how people generate mental imagery in response to music\, revealing that seemingly idiosyncratic imaginings are often broadly shared across listeners. She has developed novel computational tools to analyze free-response descriptions of music listening\, enabling robust empirical study of subjective experiences previously considered intractable. Loui’s research extends from fundamental discovery to clinical translation. Her work on gamma-enhanced music interventions for Alzheimer’s disease leverages technological advances in sound synthesis to create therapeutic applications\, supported by multiple NIH grants. She has secured over $6 million in external funding\, including an NSF CAREER award for her work on artificial musical systems. \nLoui plays violin in Boston’s Longwood Symphony Orchestra\, advises the Boston Landmarks Orchestra\, and plays banjo and mandolin in a chamber music/indie rock ensemble. She is also author of the forthcoming book Strange Scales: How Novel Music Reveals the Secrets of the Predictive Brain (MIT Press) and co-editor of Science-Music Borderlands (MIT Press\, 2023)\, which won the Ruth A. Solie Award from the American Musicological Society. Her work has appeared in leading journals including Psychological Science\, Journal of Neuroscience\, NeuroImage\, and Cognition\, and has been featured in The New Yorker\, New York Times\, BBC\, and NPR. \nLoui serves as President-Elect of the Society for Music Perception and Cognition and Associate Editor of Cognition. She holds a PhD in Psychology from UC Berkeley and dual bachelor’s degrees in Psychology and Music from Duke University. \nMore about Psyche Loui here. \n  \n  \n 
URL:http://icmc2026.ligeti-zentrum.de/event/keynote-psyche-loui-scales-for-predictions-creativity-and-music-based-interventions/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T133000
DTEND;TZID=Europe/Amsterdam:20260514T150000
DTSTAMP:20260530T101545
CREATED:20260421T162627Z
LAST-MODIFIED:20260514T103041Z
UID:10000093-1778765400-1778770800@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 4A
DESCRIPTION:Concert 4A marks a special moment of collaboration between Hamburg’s local music scene and international composers. A particular highlight are two world premieres written especially for the renowned Hamburg-based double bassist John Eckhardt. Known for his explorations at the boundaries between new music and sound art\, Eckhardt here pushes the sonic extremes of his instrument in dialogue with the computer.\nAlongside the focus on the double bass\, the audience can expect a journey ranging from “electroacoustic romanticism” to AI-driven violin improvisations. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nX6 – Hexaphonic Spatialized Guitar\nFrancesco Perissi and Giovanni Magaglio \nThe Water lily in the blaze\nNatsuki Kambe\nDouble bass: John Eckhardt \nconfim\, assim\, sem fim\nRodrigo Pascale\nDouble bass: John Eckhardt \nThe Week\nHenrik von Coler \nEmpress Luo\nYao Hsiao \nResonant Thresholds\nCecilia Suhr \n\n\n  \nAbout the pieces & artists\nFrancesco Perissi and Giovanni Magaglio: X6 – Hexaphonic Spatialized Guitar\n\nThe “X6 – Hexaphonic Spatialized Guitar” project is about an augmented electric guitar designed for 6.1 channel spatialization. With the X6 setup and a special breakout cable\, it is possible to manage the sound from a hexaphonic pickup\, which separates the guitar signal into six independent channels\, one for each string. These signals are sent to a computer\, where Max/MSP processes them in real time with filters\, loops\, sound manipulation\, and spatial projection. The first version of the project had a fixed structure controlled by a sequencer that automated the filters. In the latest version\, a flexible multi-channel filter matrix has been added\, together with inputs for voice\, electronic instruments\, and samples. This makes the performance more open and improvisational\, allowing for control over time\, sound layering\, spatial gestures\, and vocal or electronic transformations. The idea is to build a self-made hyper-instrument where the performer and the algorithms influence each other\, creating electroacoustic music distributed in space and combining different musical practices. The newest patch\, version 20\, also uses artificial intelligence. With machine learning tools (FluCoMa)\, the system can recognize instrumental gestures and automatically change filter settings. With neural synthesis (RAVE)\, it can modify the sound of each string by acting on the latent spaces of the model\, producing deep timbral changes. The project also includes an interactive audio-visual part made with software TouchDesigner\, where the screen is divided into six sections that represent the six guitar strings. The visuals are generated with AI using prompts inspired by Renaissance painting\, but mixed with modern themes such as social distortion\, bias\, and the perceptual effects of today’s hyper-technological world. Overall\, the concept points to a kind of “second Renaissance.” It suggests that we are living in a new era in which imagination is shaped not by traditional art forms or systems of patronage\, but by digital technology. This new technè inaugurates unprecedented creative possibilities\, while also raising ethical\, cognitive\, and epistemological questions that we are only beginning to grasp. \nAbout the artists\nFrancesco Perissi is a composer\, guitarist\, and sound engineer based in Florence. He teaches Computer Music at the “Maderna Lettimi” Conservatory in Cesena and is the creator of the “X6” project for hexaphonic spatialized guitar\, as well as the founder of “match”\, a meeting dedicated to electroacoustic improvisation. His research explores the expressive potential of technology in music\, with a focus on the relationship between instruments and sound spatialization. Using interactive devices\, multichannel systems\, and real-time processing\, he creates works for electronic music\, installations\, and live performance\, blending contemporary languages with avant-pop influences and emphasizing the relationship between body\, gesture\, and space.\nGiovanni Magaglio is a sound and visual artist whose work centers on concrete sound\, timbral transformation\, and the perception of acoustic space. He creates layered soundscapes that invite immersive and active listening. He teaches Multimedia at the Conservatory of Florence and works across installations\, theater\, and audiovisual productions for short and feature films. His practice investigates the interplay between image\, sound\, and perceptual space\, shaping sensory environments where reality and representation intersect.\n\nGiovanni Magaglio\n  \n\nNatsuki Kambe: The Water lily in the blaze \nThis work for double bass and live computer electronics explores the wide range and rich timbral possibilities of the instrument through real-time signal processing in Max. Combining the powerful energy of the low register with the delicate beauty of flageolet harmonics in the high register\, the piece evokes the poetic image of water lilies glowing in a blazing sunset. This work was composed to explore the wide range and rich timbral possibilities of the contrabass. In addition to the instrument’s inherent variety of tone colors\, the composer further expands its sonic potential through live electronics. The low register conveys a powerful\, flame-like energy\, while the high register\, produced through flageolet harmonics\, possesses a delicate beauty reminiscent of water lilies. These contrasting elements are brought together into a single poetic image: a burning sunset reflected on a pond\, with water lilies blooming in its shadow.\nFor the electronic component\, the composer used TRLib\, a Max object library for the realization of interactive computer music developed by Takayuki Rai. Throughout the piece\, grbFM\, which realizes granular sampling techniques in real time\, is employed extensively: in the low register\, it generates noise-based textures\, including quarter-tone inflections\, while in the high register\, it creates chordal sonorities inspired by the Japanese traditional wind instrument shō.\nAbout the artists\nNatsuki Kambe was born in 2004 in Yokohama\, Japan. They began studying piano at the age of five and started composition studies with Kazuo Mise at the age of fifteen. In 2020\, she graduated from the Music Department of Toho Girls’ High School.\nIn the same year\, they entered Toho Gakuen College of Music as a composition major and are currently a third-year student (as of January 2026). Since April 2024\, she has been studying computer music under Takayuki Rai. \nDouble bass: John Eckhardt \n  \nRodrigo Pascale: confim\, assim\, sem fim\n“confim\, assim\, sem fim” was composed in 2024 during the Laboratorio de Composición Mixta of Resonancias Iberoamericanas. It is dedicated to the Festival Expresiones Contemporáneas and to Francisco. This composition explores the concept of infinity within limited systems.\nThe pre-compositional research involved extensive explorations of harmonies based on mathematical ratios. I established a structure featuring 15 harmonies\, beginning with two frequencies at a ratio of 16/15. Each subsequent harmony added a new frequency derived from the initial ratio\, multiplied by a series of ratios following the sequence [16/15\, 15/14\, 14/13\, 13/12\, 12/11\, 11/10\, 10/9\, 9/8\, 8/7\, 7/6\, 6/5\, 5/4\, 4/3\, 3/2\, 2/1]. Notably\, some harmonies—including the second—utilized this sequence in reverse. For instance\, the ratio [15/14] was employed as the foundation for the first two frequencies\, while the third harmony emerged from multiplying [15/14] by [16/15]\, yielding [8/7].\nThe forward sequence often led to more dissonant harmonies\, while the backward sequence inclined towards consonance\, and I frequently juxtaposed the two. An exception occurred between harmonies 13 and 14\, where both utilized forward sequences to create heightened tension\, concluding in a consonant 15th harmony. The sequence employs a set of regressive numbers\, each divided by its preceding integer. This approach allows for the potential to extend beyond 2/1 to 1/0\, thus engaging with a well-known mathematical problem. As the results of division increase when the denominator decreases\, division by zero is said to “tend to infinity.”\nIn this exploration\, I realized that the logical conclusion of the composition was to approach infinity musically. However\, I confronted the challenge that the double bass can only produce a finite range of sounds\, and that the human hearing spans approximately from 20 Hz to 20 kHz. Faced with this problem\, I sought solutions that transcended the confines of the system itself. This led me to investigate how the limitations of our auditory perception could be brought to the forefront\, creating illusions of seemingly ever-rising glissandi and of rhythm turning to pitch. The transformation of percussive sounds into frequencies and the use of Shepard tones played a crucial role in this composition.\nconfim\, assim\, sem fim delves into the boundaries of auditory perception\, aiming to investigate the concept of infinity within limited systems. This composition begins with a sequence of harmonies\, where subtle facets of infinty aer explored through the techniques of the double bass. In its culminating section\, the work unveils the full potential of this exploration by incorporating exceptionally high frequencies and an enduring reverberation\, creating an immersive sonic landscape that invites listeners to experience the infinity within these media. \nAbout the artists\nRodrigo Pascale (b. 1996) is an internationally awarded Brazilian composer whose works have been performed worldwide by leading ensembles including JACK Quartet\, ICE\, MCME\, Splinter Reeds\, loadbang\, Hypercube\, Hinge\, and Sound Icon. A Prix CIME 2025 recipient and Gaudeamus Award 2026 Finalist\, he is pursuing a DMA at Peabody and has studied with Haas\, Kampela\, Fineberg\, Wubbels\, and Hersch. \nDouble bass: John Eckhardt \n  \nHenrik von Coler: The Week\nOne Week is an acousmatic composition that integrates a staged reading in live performance. Drawing on an introspective autobiographical text\, it reflects on emotional states and personal experiences during periods of transition and uncertainty. The work may be understood as a form of Electroacoustic Romanticism: in line with the 2026 ICMC theme\, One Week translates romantic ideas into the language of electroacoustic music. In doing so\, it explores a balance between technological investigation and personal expressivity. At the same time\, the piece seeks to reach a broader range of listeners by foregrounding emotional engagement and incorporating a contemporary text that resonates with present-day cultural contexts. \nThe tape part of One Week is constructed from autobiographical field recordings combined with analog signal processing and experimental sound synthesis. In addition to conventional contemporary techniques\, the production draws on echo chambers\, analog and digital tape machines\, and vintage synthesizers and effects units. This process produces dense\, noisy\, and organic timbres and textures while consciously engaging with recognizable tropes of acousmatic music. During performance\, the tape part is live-diffused by the composer. Delivered in Ambisonics (up to seventh order)\, the work can be realized on a wide range of spatial sound systems\, in both 2D and 3D configurations. \nThe staged reading is performed by a musician and multimedia artist zl!ster\, who collaborated closely with the composer to refine the original text for performance. Through this revision\, the text is reshaped for the present moment while remaining anchored in the work’s autobiographical framework. \nAbout the artist\nPerformer: zl!ster is a Panamanian-American artist based out of Atlanta\, Georgia. His music embodies self-exploration through misinterpretations and exaggerations of real life. At times\, his work is a direct reflection of self; at others\, it is distorted\, shaped more by perception than reality. Rooted in curiosity and at times bravado\, his music lives in the realms of alternative rap and indie rock. \nComposer: Henrik von Coler is a musician and researcher\, working at the intersection of art\, science and technology. In 2024 he founded the Lab for Interaction and Immersion (L42i) at Georgia Tech’s School of Music. Before that he was the director of the Electronic Music Studio at TU Berlin and head of the Computer Music Team at the Audio Communication Group. In his research and creative work\, Henrik has explored various aspects of electronic music and musical instruments. This includes interface design\, algorithms for sound generation and experimental concepts for composition and performance. Most of his projects treat space as an integral part of music. In 2017 he founded the Electronic Orchestra Charlottenburg – an ensemble of up to 12 electronic musicians – 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  \nYao Hsiao: Empress Luo\nEmpress Luo is a mixed-media electroacoustic composition inspired by the historical and literary figure Zhen Mi\, whose image is intertwined with the Luo River Goddess depicted in Cao Zhi’s poetic work Ode to the Nymph of the Luo River. Drawing from Peking opera traditions associated with this narrative\, the piece explores themes of political power\, gendered violence\, and silenced agency through an integration of live voice\, processed sound\, and gestural control.\nThe work incorporates melodic and expressive references to the Peking opera Ode to the Nymph of the Luo River\, particularly scenes associated with the guqin and the lament Eighteen Songs of a Nomad Flute\, historically attributed to Cai Wenji. These materials are recontextualized within an electroacoustic framework to highlight parallels between women whose lives were shaped by forced displacement\, marriage\, and warfare.\nA Wacom tablet is employed as a gestural controller\, functioning both as a performative interface and as a symbolic extension of the protagonist’s corporeal presence. Through touch-based interaction\, the performer shapes selected sonic parameters in real time\, evoking both the physical posture of guqin performance and the imagined divine authority of the Luo River Goddess. This interface mediates control between the performer and the system\, reflecting fluctuating degrees of autonomy and constraint.\nThe sonic structure combines live vocal performance with pre-recorded and live-triggered audio materials. At times\, the voice assumes a dominant role; at others\, it is fragmented\, processed\, or submerged within the playback system. This dynamic relationship mirrors the tension between personal expression and externally imposed forces\, suggesting a trajectory from presence and agency toward erasure.\nTextual fragments drawn from classical Chinese poetry appear within the work\, referencing fraternal conflict\, political rivalry\, and lamentation. Through the interaction of voice\, gesture\, and electronic sound\, Empress Luo reflects on historical narratives of loss and power while reimagining them within a contemporary performance context. \nAbout the artist\nYao Hsiao is a performer-composer and voice artist from Taiwan\, specializing in music\, theater\, and multimedia art. They are the First Prize winner of the 2025 SEAMUS Student Commission Competition for Daiyu\, and a finalist in the 2024 Sweetwater/SEAMUS Student Commission Competition for Consort Yu. Hsiao has performed at international festivals including NIME\, SEAMUS\, ICMC\, NYCEMF\, MOXsonic\, EMM\, SPLICE\, CampGround\, and Click Fest.\nThey hold a Master of Music in Composition from Indiana University and are pursuing a Ph.D. in Data-driven Music Performance and Composition at the University of Oregon under Jeffrey Stolet\, where they also serve as a Graduate Employee.\nInspired by literature—from Western poetry to Chinese verse and Japanese haikus—Hsiao creates interdisciplinary works that blend traditional vocal techniques\, Peking and Yue Opera\, and Chinese dance with live electronics\, reflecting their cross-cultural and technological vision. \n  \nCecilia Suhr: Resonant Thresholds\nResonant Thresholds explores the liminal space between human expression and technologically mediated sound. Structured around a fixed audio score\, the work unfolds as a slowly transforming audiovisual environment in which live violin performance interacts with real-time electronic processing. Noise\, resonance\, and breath-like textures blur distinctions between acoustic intimacy and digital vastness\, allowing the materiality of sound to become porous and unstable. Through structured live comprovisation (composed improvisation)\, the performer actively shapes the unfolding sonic landscape\, while the processed audio simultaneously generates an evolving visual score that functions as a symbolic translation of sound. The work invites listeners to inhabit a threshold between perception and imagination\, where meaning emerges through the continuous negotiation between composed structure\, live performance\, and technological extension. \nAbout the artist\nCecilia Suhr is an award-winning intermedia artist\, multimedia composer\, researcher\, author\, and multi-instrumentalist (violin\, cello\, voice\, piano\, bamboo flute). Her honors include the Pauline Oliveros Award (IAWM)\, a MacArthur Foundation DML Grant\, the American Prize (Honorable Mention)\, Global Music Awards\, Best of Competition from BEA\, among other distinctions. Her work has been presented at ICMC\, SEAMUS\, NYCEMF\, EMM\, SCI\, ACMC\, Mise-En\, MoXsonic\, and many more. She is a Full Professor at Miami University Regionals. \n  \nVolunteers\nTechnical Director / Main Sound\nSteffen Lohrey\nLeon Sudahl \nSound Assistants\nJakob Seyberth\nTim Christiansen \nStage / Light / Video\nEvelin Lindberg\nDong Zhou\nJames Tsz-Him Cheung \nProduction\nAigerim Seilova\nHuixin Xue\nHaonan Guo\nXinyi Yang\nNiko Yin\nJiwon Seo\nMenghuan Feng \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-4a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T123000
DTEND;TZID=Europe/Amsterdam:20260514T133000
DTSTAMP:20260530T101545
CREATED:20260423T164652Z
LAST-MODIFIED:20260508T135636Z
UID:10000229-1778761800-1778765400@icmc2026.ligeti-zentrum.de
SUMMARY:ICMA General Meeting
DESCRIPTION:TBA
URL:http://icmc2026.ligeti-zentrum.de/event/icma-general-meeting/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,ICMA
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
END:VCALENDAR