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DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T173000
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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
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DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260531T164501
CREATED:20260421T182814Z
LAST-MODIFIED:20260504T080608Z
UID:10000187-1778756400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Fixed Media | Program Overview\nMakuta\nFelipe Otondo \nMechanization\nYu-Cheng Huang \nSpazio di accumulazione\nLeo Cicala \nThe Lament of Prince Hamlet\nChen Mu Hsi \nThe Throat of the Earth\nYe Peng \nTime Crystal Structure II\nHe Jing \nTriangle\nRay Fields \nUndercurrents\nAntonio Scarcia \n蜜蜂之后\nLia Su \nSuwol\nSeongah Shin \nFMVP!\nGuanjun Qin \n  \nAbout the pieces & artists\nFelipe Otondo: Makuta\nMakuta brings together Afro-Cuban and Congolese rhythms with electronic synthesis and field recordings made in Kenya and England. Composed and produced at the Arts and Technology Lab at Universidad Austral de Chile\, the piece unfolds gradually through shifting rhythmic and textural layers\, exploring how different sound materials can coexist and evolve within the same sonic space. \nAbout the artist\nFelipe Otondo is a Chilean composer and sound artist working with spatial audio\, soundscapes and electronic music. He has held research and teaching positions at institutions including the Technical University of Denmark and Lancaster University. His works — from radio pieces to sound installations — have been presented in more than thirty countries. He is currently Professor at Universidad Austral de Chile and Director of the Arts and Technology Lab. More information: www.otondo.net and www.soundlapse.net \n  \nYu-Cheng Huang: Mechanization\n“Mechanization” is a fixed medium work. Its conception stems from my long-standing reflection on the changing nature of performative freedom throughout the history of music. Beginning in the Renaissance\, performers were able to freely add ornamentation and adjust accompaniment patterns; interpretation itself involved a high degree of improvisation and indeterminacy. With the advent of the Romantic period\, performance remained personal and expressive\, yet dependence on notated conventions gradually intensified. In contemporary music\, nearly every aspect of performance—gestural actions\, dynamic variation\, timbral control\, and even detailed playing techniques—is precisely prescribed through explicit notation. Performers increasingly function as exact executors rather than free re-creators\, as if they were simply carrying out a set of instructions. This leads me to ask: When performance can only be executed by following instructions\, do we still need performers at all? Are performers gradually becoming machine-like? \nAbout the artist\nYu-Cheng Huang\, born in Taipei in 2001\, is currently pursuing a master’s degree at the Graduate Institute of Music\, National Yang Ming Chiao Tung University\, with a focus on contemporary music and multimedia composition. His creative work spans piano\, string instruments\, electronic music\, and environmental sound recording\, and explores the relationship between music and everyday experience. His compositional style is diverse\, often integrating narrative elements\, poetic sensibilities\, and sensory memory to create distinctive listening experiences and evocative emotional spaces. \n  \nLeo Cicala: Spazio di accumulazione\nSpazio di accumulazione [9′ 40″] (2025-26) The piece is constructed through processes of progressive accumulation of musical material: simple\, repetitive and initially functional cells are added one after the other without anything ever really being eliminated. Each new element arises as a necessity\, but over time loses its original role\, becoming weight\, background noise\, clutter. The accumulation does not lead to development\, but rather to a saturation of the sound space\, in which quantity defines meaning. Music thus becomes a metaphor for the compulsive accumulation of contemporary society: the desire for possession generates a continuous stratification that suffocates emptiness\, but also the possibility of listening\, choice and silence. \nAbout the artist\nLeo Cicala\, 1970 Composer\, acusmatic performer\, live performer\, teacher. He studied Instrumentation for Band at the Tito Schipa music conservatory of Lecce and graduated magna cum laude in Electronic Music at the same Institution; He also a degree in Biology. He has performed on the acousmonium more than two hundred works from the classic and contemporary electroacustic repertoire\, In 2015 he published the handbook entitled “Acousmatic Interpretation Manual” for Salatino musical edition\, and a series of related video tutorials can also be found on the web (www.acusma.it). In 2014 he published the cd “Rust” by the Apulian label “Art & classic” “; has released the cd “Punto di Accunulazione” for the label “ Creative Sources Recordings”and he also composed the soundtrack for the short film “Io sono qui” directed by Pierluigi Ferrandini and “ Storia di Valentina” directed by Antonio Palumbo. He has set up in Bari the association “ACUSMA Theater of sound” that encourages sound arts of research promoting activities of teaching\, pedagogy\, and music production. Winning the first prize in electroacoustic composition “Bangor Dylan Thomas Prize” in the UK\, his compositions are performed in festivals in Italy\, France\, Belgium\, Japan\, United Kingdom\, Germany\, Argentina\, Cyprus and in the USA. \n  \nChen Mu Hsi: The Lament of Prince Hamlet\n“The Tragic Lament of Prince Hamlet” is a mixed work for flute\, pre-recorded sound\, and live electronics\, with a duration of approximately nine minutes. The piece was composed during a period of emotional depression\, in which a pervasive sense of melancholy and pain rendered creative activity particularly difficult. During this time\, the figure of Prince Hamlet from Shakespeare’s Hamlet emerged as a central source of inspiration. Hamlet’s psychological condition—shaped by betrayal\, the pursuit of truth\, and the confrontation with existential dilemmas—resonated deeply with the composer’s own inner conflicts. Structured in four sections\, the work integrates flute performance\, fixed electronic sound\, and real-time audio processing to articulate a sonic narrative of emotional tension and transformation. Through the exploration of timbre\, texture\, and gesture\, the piece seeks not only to depict the psychological depth of the tragic character\, but also to reflect and project the composer’s lived experience. \nAbout the artist\nMu-Hsi Chen was born in 1998 in Taichung\, Taiwan. She began studying piano in 2003 and started composing through self-study in 2016. She is currently pursuing a degree in Electronic Music at the Institute of Music\, National Yang Ming Chiao Tung University\, under the supervision of Professor Yu-Chung Tseng. Chen is deeply interested in exploring the relationship between sound and its underlying narratives and philosophies. Her work often reflects a sensitivity to emotional states and inner experiences\, seeking to connect musical expression with personal and psychological dimensions\, and to offer a space where listeners may find resonance\, reflection\, or emotional solace. Her works have been performed at ICMC 2023 (International Computer Music Conference) and WOCMAT 2022 (International Workshop on Computer Music and Audio Technology). \n  \nYe Peng: The Throat of the Earth\nThis work recreates a complete Mongolian shamanic ritual through electronic music. Following the “slow-medium-fast” progression of the ceremony\, the music begins with throat singing and sounds of nature\, builds a trance-like dance atmosphere with ritual drum rhythms and animal calls\, and culminates in an intense rhythmic climax?forming an auditory entreaty for divine blessing. By fusing traditional elements with modern electronic soundscapes\, it creates an immersive ritual experience. \nAbout the artist\nPeng Ye. Master’s candidate in Composition (Class of 2025)\, Wuhan Conservatory of Music Student Member of the Electronic Music Society\, Chinese Musicians Association Primary research areas: electronic music composition\, integration of electronic music with visual media creation. \n  \nHe Jing: Time Crystal Structure II\nTime Crystal Structure II is a computer music Fixed media by the core concept of time crystals. It aims to translate the abstract physical notion of “breaking time-translation symmetry and exhibiting a periodically repeating structure” into perceptible auditory illusions through digital sound construction.Drawing on algorithmic composition technology\, the work deconstructs and reconstructs the periodic features of natural soundscapes such as tides and pendulums\, generating sound units with slightly variable parameters to simulate the ground-state motion of time crystals. Furthermore\, this piece is the second installment in the Time Crystal Structure series. \nAbout the artist\nHe Jing\, June 1989- He has been residing in Wuhan City\, Hubei Province\, China now. He serves as a faculty member of the Art and Technology major\, Department of Composition\, Wuhan Conservatory of Music\, and also works as a Master’s Supervisor. Graduated from the Graduate School of Showa University of Music\, Japan\, he has long been deeply engaged in the interdisciplinary field of art and technology\, and is committed to advancing the teaching and creative practice of computer music. His main research areas include AI music\, interactive music\, algorithmic composition\, film scoring\, etc. He has presented his works at the International Computer Music Conference (ICMC) on numerous occasions. \n  \nRay Fields: Triangle\nTriangle is an electronic composition in one movement. It is a musical exploration of the frequency profile of a triangle. A sound file of a struck triangle was deconstructed digitally\, manipulated\, and then assembled and composed. \nAbout the artist\nRay Fields has composed music for orchestra\, chamber ensembles\, choir\, dance\, the stage\, and film. His works have premiered on-line and at international music festivals\, Imani Winds Chamber Music Festivals\, DC New Music Conferences\, the Clarice Smith Performing Arts Center\, MilkBoy ArtHouse\, the University of Illinois\, Prince George’s Community College\, Stevenson University\, and the Children’s Discovery Museum in Acton\, Massachusetts. His liturgical works have been included in worship services in Kensington\, Maryland and Pittsburgh\, Pennsylvania. In addition to composing\, Ray Fields writes about music for academic publications. His book-length analysis of Morton Feldman’s Piano and String Quartet was published in August 2022 by Rowman and Littlefield. He has also written a chapter for a collection of essays honoring Feldman’s centenary to be published in 2026. \n  \nAntonio Scarcia: Undercurrents\nThis fixed-media work is based on a compositional framework that foregrounds the interaction between sound materials and musical gestures. Materials are conceived as sound entities carrying latent structural relationships\, which may remain compositional implicit while becoming perceptually manifest through their audible effects. Gestures function as temporal processes that articulate these relationships and shape the listener’s perception. The work integrates concrete and synthetic\, tonic and non-pitched sound materials\, organized through strategies of contrast and balance. Gestural processes are formalized as parametric sequences generated via a computer algebra system\, with sound synthesis realized in Csound. Although produced using digital technologies\, the compositional approach aligns with the tape studio tradition\, emphasizing detailed post-processing in both the time and frequency domains as an integral part of the compositional process. \nAbout the artist\nAntonio Scarcia received formal training in Electronic Engineering at the University of Padua\, Signal Processing at the University of Bari\, and Electronic Music at the Conservatory of Bari\, where he studied under Francesco Scagliola. He held various teaching positions the Conservatory of Genoa from 2011 to 2021 and served as Lecturer in Electroacoustic Composition at the Conservatory of Salerno during the 2022–2023 academic year. His artistic production focuses primarily on acousmatic music and has been presented within the programs of major events\, including various editions of the NYCEMF in 2022\, 2021\, and 2019; ICMC in 2014\, 2013\, 2012\, 2010\, and 2007; the North Carolina Computer Music Festival in 2008; SMC in 2012\, 2010\, and 2009; the Mantis Festival in 2010; CIM in 2018\, 2016\, 2014\, 2012\, and 2010; EMuFest in 2013\, 2012\, 2011\, and 2010; SICMF in 2013; ICSC in 2013\, 2022 and 2024; and the Musica Nova Competition\, where he received honorary mentions in 2016 and 2013\, and first prize in 2011. \n  \nLia Su: 蜜蜂之后\nThis work uses bees as a conceptual model to explore the contemporary technological ecosystem.The sound materials are taken from recordings of flutes\, dizi(Chinese flute)\, and ocarinas\, preserving the acoustic characteristics of these instruments and placing them in an electronic environment inspired by swarm behavior\, cybernetic systems\, and speculative soundscapes. The innovation lies in the recontextualization of sound\, placing acoustic instruments within an artificial sound ecosystem. \nAbout the artist\nLia Su’s work frequently deals with the relationship between listening\, music and space. Working across sound\, music and installation to explore ideas surrounding cross-cultural and post-digital identity. Lia has exhibited\, performed\, and presented work across a range of artistic contexts\, including 798 Art Zone\, Beijing; National Centre for the Performing Arts\, Beijing; Tree Museum\, Beijing; West Kowloon Cultural District\, Hongkong; New Taipei City Art Center\, Taiwan; IKLECTIK\, London; 5th Base Gallery\, London; Huddersfield Contemporary Music Festival\, Huddersfield; Cafe OTO\, London\, Bristol New Music\, among others. Lia is currently a PhD Candidate in Musical Composition at the University of Bristol\, having previously studied at the University of the Arts London. \n  \nSeongah Shin: Suwol \nI became drawn to the beauty of Jeju\, South Korea\, a volcanic island known for its strong winds and constantly shifting natural soundscape. As I spent more time there\, I became increasingly aware that the sounds of nature often echo artificial\, human-made sounds. I immersed myself in the sky\, the air\, and the movements—and sounds—of wind\, birds\, and insects. Rather than separating nature and humanity\, I developed my work toward an integrated auditory world\, focusing on new sonic environments created through the blending of field-recorded natural sounds and computer-generated sounds. \nAbout the artist\nComposer Seongah Shin works in the fields of contemporary music\, music for the performing arts\, and electronic music. She earned a Bachelor of Music in composition from Chugye University for the Arts\, a Master of Music in electronic music composition from the Peabody Institute of the Johns Hopkins University\, an MFA in sound design from the University of Missouri–Kansas City\, and a DMA in composition. She has held a sound designer residency with the Missouri Repertory Theatre and an artist residency at EMPAC at RPI. She created the MixMediaImprov. series and presented ten solo creative music concerts. In addition to collaborative projects such as the Thin Line Project\, she co-founded the Asia Computer Music Project(AMCP) and served as director for Asia/Oceania of the International Computer Music Association(ICMA). She is currently a professor of composition at Keimyung University\, Daegu\, South Korea. \n  \nGuanjun Qin: FMVP!\nFMVP! is an electroacoustic composition built entirely from the sampled sounds of basketball — the bounce\, the squeak of shoes\, the swish of the net\, and the roar of the crowd. Through sound transformation and spatial movement\, the piece narrates the emotional journey of an athlete: from doubt and criticism to determination\, and finally to victory. Dedicated to basketball legend Stephen Curry\, FMVP captures the rhythm\, intensity\, and inner monologue of a player striving to redefine limits. Each percussive impact becomes a heartbeat; each layered resonance a moment of resilience. The composition explores how athletic struggle and artistic creation share the same pulse — persistence\, precision\, and belief. \nAbout the artist\nChampion (Guanjun) Qin is an award-winning composer\, producer\, and topliner\, currently pursuing a PhD in Music Composition at the University of Bristol\, fully funded by the China Scholarship Council (CSC). His works have been performed\, awarded\, or officially selected at major international music and sound art festivals\, including the Denny Awards (USA & China)\, YoungLione*ss Festival (Italy)\, Futura Festival (France)\, and the International Computer Music Conference (ICMC). Champion’s creative practice bridges electroacoustic composition and popular music production\, exploring the intersection of sound design\, cross-cultural aesthetics\, and narrative expression. He has collaborated with and composed music for renowned artists such as Jackson Wang\, a member of GOT7\, one of Asia’s most influential K-pop groups. His production work also extends to film and television\, including the acclaimed animated series GG BOND\, which drew over 50 million viewers in its first week of broadcast. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-2-4/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T110000
DTEND;TZID=Europe/Amsterdam:20260513T173000
DTSTAMP:20260531T164501
CREATED:20260421T182305Z
LAST-MODIFIED:20260428T114812Z
UID:10000186-1778670000-1778693400@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Fixed Media | Program Overview\nCrown Shyness\nJeonghun Hyun \nEntomology#2\nThanos Polymeneas-Liontiris \nJetlag – Time Difference\nRay Tsai \nLazy whirls of glow\nJuan J.G. Escudero \nPumma\nEmilio Casaburi \nQuivering Silk\nYi-Hsien Chen \nSonic Echoes of Ink\nPingting Xiao \nThe Luminosity of the Yugen Mist\nXiaoyu Su \nVocalise\nPak Hei Leung \n  \nAbout the pieces & artists\nJeonghun Hyun: Crown Shyness\nThis work is inspired by crown shyness\, a natural phenomenon in which the canopies (branches and leaves) of trees grow while maintaining a consistent distance without touching one another. Although individual trees exist separately\, they are perceived as a single forest when viewed from a distance. In this sense\, the piece musically explores the idea that individuals and others may feel divided due to conflict and discord\, yet from a broader perspective\, they form a harmonious whole. The diverse sounds used in the work reflect the characteristic behavior of tree canopies that avoid encroaching upon one another’s space. Each sound is therefore designed to occupy a distinct position within the stereo field\, maintaining its own spatial identity. Additionally\, just as a tree extends from thicker branches to progressively finer ones\, the sonic material evolves from dense\, large-scale textures into increasingly subdivided and delicate sounds. This spatial and morphological development metaphorically reveals both the independence of individual entities and their coexistence within a larger structural framework. Through these compositional strategies\, the work seeks to musically reflect on human relationships formed within a social context\, and to contemplate the sense of distance\, respect\, and attitudes of coexistence required within those relationships. \nAbout the artist\nJeonghun Hyun is a composer specializing in electronic music\, with a keen interest in the convergence of acoustic tradition and technological innovation. Having studied under Jinwoong Kim and Shinae Kang\, he explores the intersection of instrumental performance and digital sound processing. His works often employ custom programming and real-time sound manipulation techniques. Recently\, his creative research was recognized at ICMC 2025 in Boston\, where his work was presented. Committed to expanding the boundaries of contemporary music\, Hyun continues to refine his expertise in the evolving landscape of electroacoustic composition. \n  \nThanos Polymeneas-Liontiris: Entomology#2\nEntomology#2 (2025) is an acousmatic work dedicated to the secret life of insects. It follows on Tettix-A’ (2022 – inspired by the song of cicadas) and Entomology#1 (2024 – an acousmatic miniature based on the voice of a single imaginary insect). Entomology#2 invites the ear to a bustling landscape: an imaginary pond\, a hyper-realistic dense forest\, a place where countless microscopic flying voices weave their own world. The material of Entomology#2 derives from recordings of a prepared grand piano (in German Flügel\, in Dutch Vleugelpiano: i.e. piano with wings). The piece is based on the navigation of a corpus made of these recordings\, processed to such extent as to be stripped from any obvious piano connotation: metaphysically the notion of “wings” is the only association kept from those original prepared piano recordings. The corpus of these processed sounds unfolded into a layered and multi-dimensional field\, inspiring an exploration similar that of spatial-sonic explorations of a filed-recording. The result of such explorations is a soundscape filled with densities\, like countless flying beings swarming and coexisting. Entomology#2 draws the listener to immerse into a synthetic\, living-like system of microscopic organisms\, where communication\, competition\, and adaptation unfold collectively in an endless dance. \nAbout the artist\nThanos Polymeneas-Liontiris is a composer\, sound artist and Assistant Professor (Music & Interactive Media)\, at National & Kapodistrian University of Athens\, Greece. His practice comprises computer-aided compositions\, interactive audiovisual installations\, immersive audiowalks\, generative art\, interactive music for dance\, theatre and intermedia performances. He has obtained a BA in Double Bass\, and a BA in Electronic Music Composition from Rotterdam Conservatoire\, while following courses at the Institute of Sonology (Royal Conservatoire of The Hague) and at IRCAM. He completed two MA degrees\, both with distinction: in Art and Technology (Polytechnic University of Valencia) and in Creative Education (Falmouth University). In 2019 he concluded his PhD research aided by a fully funded CHASE-AHRC scholarship at University of Sussex. He has taught in Higher Education since 2011 (Falmouth University\, University of Sussex\, University of Brighton\, Ionian University and National & Kapodistrian University of Athens). His works have been presented\, among others\, at Tectonics Festival\, Modern Body Festival\, Athens and Epidaurus Festival\, Holland Festival\, Todays Arts\, Attenborough Centre\, Kalamata International Dance Festival\, The Athens Concert Hall\, Onassis Foundation\, Biennale of Young Artists from Europe and the Mediterranean. His publications encompass subjects related to Pedagogy\, Technology and Aesthetics. \n  \nRay Tsai: Jetlag – Time Difference\nJetlag – Time Difference is a fixed-media electroacoustic work that explores the relativity of time perception and relational temporality through sound. The piece juxtaposes three overlapping yet unsynchronized temporal systems: biological time represented by heartbeats and bodily rhythms\, social time shaped by daily routines and notifications\, and mechanical time articulated through clock mechanisms and pulses. Through processes of temporal displacement\, fragmentation\, reversal\, and spectral transformation\, these functional temporal references gradually lose their stability and dissolve into textural sonic states. Beyond individual perception\, the work also reflects intersubjective temporality—how differing rhythms and internal clocks remain subtly connected through traces of memory\, anticipation\, and interaction\, even under temporal dislocation. Rather than resolving into synchronization\, Jetlag – Time Difference presents time as a fragile\, shifting network of relations that persists in misalignment. \nAbout the artist\nRay Tsai (Tsai Yi-Jui)\, born in Hsinchu and currently studying at National Yang Ming Chiao Tung University\, is a DJ\, music producer\, and new media artist. His work spans sound art\, electroacoustic music\, and video installation\, using experimental sonic structures to explore the relationship between technology and perception. Under the alias †Egothy†\, he is active in the underground electronic music scene\, performing noise\, deconstructed electronics\, and other avant-garde styles that shape sensory experiences oscillating between chaos and order. \n  \nJuan J.G. Escudero: Lazy whirls of glow\nThe combinatorial structure of a triangulated dodecahedral three-manifold is used in the formal design of this work. This type of spaces is considered for modelling the spatial structure of multi-connected universes. The basic sound materials were recorded in an acoustic piano which\, due to certain circumstances\, remained in silence for a long time. \nAbout the artist\nJuan J.G. Escudero is a composer and researcher based in Madrid (Spain). He received his musical education at several centres and conservatoires and studied composition with Francisco Guerrero Marín in Madrid. He has carried out research and teaching activities in mathematics\, physics and music technology at various universities. The results of his research in the fields of algebra\, geometry and astronomy -published in scholarly journals and books- have been some of the main guides to formalization procedures. Harmonizations of aperiodic ordered temporal sequences\, which are on the basis of the formal and rhythmic structures play a major role in several of his instrumental and acousmatic works. More recent formal approaches are related with the analysis of the topological invariants of aperiodic tiling spaces and the construction of singular hypersurfaces in algebraic geometry. Extramusical influences are connected mainly with philosophy\, poetry and visual arts. \n  \nEmilio Casaburi: Pumma\nThe past is no longer forbidden: through technology\, lost relationships and forgotten spaces can be revisited. ‘Pumma’ seeks to narrativize this experience\, drawing on old VHS recordings of my family as its sonic foundation. The piece unfolds a journey across space and time\, in search of renewed connections with lost ones. It blends acousmatic syntax\, sonic imagery and textual fragment. An attempt to harness the full potential of the acousmatic condition to project a narrative of memory\, distance\, and re-discovery. \nAbout the artist\nEmilio Casaburi (b. 1999) is a sound artist and composer from Italy. His artistic output includes acousmatic compositions\, field recordings\, audiovisual works\, and installations. He graduated in Electronic Music under the guideship of Alessandro Cipriani in Frosinone and is now studying at the Institute of Sonology in Den Haag. \n  \nYi-Hsien Chen: Quivering Silk\nQuivering Silk is a fixed-media electronic work\, currently realized in stereo\, with the possibility of diffusion in an eight-channel format. All sound materials in the piece are captured from the Chinese 21-string zither (guzheng). The guzheng is capable of producing a rich spectrum of timbres through a wide variety of plucking\, sliding\, and glissando and sweeping techniques. In this work\, these instrumental sounds are used to electronic transformation\, layering\, and distortion\, gradually unfolding into large-scale waves of sound that intends to immerse the listeners. Within these sonic waves\, traces of identifiable guzheng techniques occasionally emerge; at other moments\, however\, the causal relationship between hand gesture and sound becomes ambiguous. This shifting perceptual boundary invites the listeners to reimagine the instrument beyond its physical constraints and to imagine new possibilities for its vibrational behavior. In this work\, the title Quivering Silk refers to the vibration of the guzheng strings\, which is not limited to the physical vibration produced by finger gestures\, but also refers to an electronic vibration shaped through digital sound processing and transformation. \nAbout the artist\nYi-Hsien Chen is a Taiwanese composer. He has received degrees from Taipei National University of the Arts and National Taiwan Normal University. In 2016\, he began to pursue Ph.D. with major in music theory and composition at UC San Diego where he studied with Katharina Rosenberger\, Chinary Ung\, and Lei Liang who is his advisor and committee. He was awarded with full scholarship from UC San Diego for five years. He is currently teaching at the Department of Music in National Sun-Yat Sen University. Chen engages in composing for a wide variety of musical styles and involving multi-disciplinary collaboration. He has created music spanning across various instrumentations including orchestra\, ensemble\, electroacoustics\, theater music\, and soundtrack. His works has been selected and performed by renowned ensembles at festivals\, such as Mivos Quartet in “June in Buffalo\,” National Taiwan Symphony Orchestra in the competition of “Voice of the New and Brilliant – The Sound of Formosa\,” and “Weiwuying International Music Festival.” \n  \nPingting Xiao: Sonic Echoes of Ink\nThis composition\, Sonic Echoes of Ink\, explore in the theory of embodied music cognition. It focuses on the relationship between body movement\, piano performance\, and sound manipulation. All sound materials are recorded from the piano\, including traditional keyboard playing and string plucking\, constructing sound traces reminiscent of ink painting through variations in single notes\, chords\, and resonant timbres. Additionally\, the work incorporates EMG (electromyography) sensor data\, collecting changes in muscle tension in the performer’s forearm and mapping the data to sound parameters. This allows the tension\, release\, and movement continuity to directly participate in the generation of musical structure. In this way\, music is no longer merely the result of being “played”\, but a process of co-writing by the body\, movement\, and sound. \nAbout the artist\nPingting Xiao\, a PhD student at the University of Manchester. I’m interested in embodied music cognition interacts with cultural heritage and creative technology to create motion-responsive performance and visual works. She is dedicated to integrating Chinese traditional culture with music interaction\, exploring how ancient cultural elements can be harmonized with modern interactive technologies. She also seeks to inspire and lead a community of like-minded composers in China\, encouraging collaboration and participation in creative endeavours. \n  \nXiaoyu Su: The Luminosity of the Yugen Mist\n“The Luminosity of the Yugen Mist” is a fixed media (acousmatic) work that constructs a surreal sonic architecture from the organic timbres of flute\, bamboo flute\, and piano with extended techniques. Divorced from live performance\, the piece focuses entirely on the spectral transformation and spatial reshaping of these acoustic sources. Rather than depicting a clear narrative\, the music remains suspended in an unstable perceptual state—sound is continuously perceived but never fully resolved. Informed by the Japanese aesthetic of Yugen (subtle grace and mysterious depth)\, the work approaches sound as something partially concealed rather than fully revealed. The recorded materials function as indistinct traces of the physical world\, heard through a sonic haze rather than presented as fixed representations. Through granular processing and spectral resynthesis\, these concrete sounds are gradually destabilized\, dissolving into a luminous\, synthetic texture. The piece does not seek a final resolution; instead\, it oscillates between obscurity and clarity\, leaving the boundary between the acoustic and the electronic deliberately ambiguous. \nAbout the artist\nXiaoyu Su is a composer and researcher currently based in Japan. He is a first-year Master’s student in the Composition Course at the Graduate School of Showa University of Music\, where he also works as a Teaching Assistant for Harmony. In March 2025\, he graduated with honors from the Digital Music Department of Showa University of Music (Junior College Division). His musical training began with electronic organ studies at the age of five\, followed by pop vocal training during adolescence. He holds a bachelor’s degree from the School of Media and Design at Zhejiang University Ningbo Institute of Technology. Prior to relocating to Japan in 2022\, he worked as a music teacher at Ninghai County Experimental Primary School while engaging in sound design and music production activities in China. His recent works focus primarily on electronic and acousmatic music and have been presented at events including the Showa Digital Music Live (2023\, 2024)\, the 28th Composition Concert (2024)\, and the Inter-College Sonic Arts Festival (ICSAF) 2024. In 2024\, he was selected as one of two presenters for the Graduation Concert at Showa University of Music. He has studied composition under Daisuke Okamoto and Masatsune Yoshio. Currently\, his practice centers on the creation and academic research of electronic music. \n  \nPak Hei Leung: Vocalise\nVocalise (2026) serves as an exploration on the meaning of the voice in the digital age. The piece utilizes SoundID VoiceAI\, an AI voice changer\, to generate audio from the software’s vocal and instrumental packages\, based on my recorded vocal input. What is heard in the work is a compilation of human vocal recordings\, as well as various snippets of audio clips generated from the tool as a response to the recordings. The vocal clips recorded\, varied between around 10-40 seconds\, include free improvisation that explores extended vocal techniques (e.g.\, vocal fry and mouth sounds)\, as well as some gestures or phrases. After generating them\, I selected specific snippets and clips to compile a musical work. In addition to the quality of the sounds\, I am interested in moments that sounds particularly digital: either that there are artifacts or glitch in the sounds\, or that what is being “sung” or “played” is almost impossible for a human performer. Various Digital Signal Processing tools\, such as reverb and tremolos\, are added as suited. As snippets of human voice are integrated as part of the piece alongside AI-generated audio\, it is expected that audience might not be able to distinguish between the two. This resonates with the artistic goal of the piece being to explore the voice – something I perceive as highly connected to one’s identity – in the further digitalized world. This piece also explores possibilities of using the voice (or audio signals in general) to form musical gestures and shapes in different timbres with the aid of AI tools like this. Remarks: according to Sonarworks’ website\, voices that are used in SoundID VoiceAI are from artists who voluntarily worked with them and were compensated. \nAbout the artist\nThe compositions of Pak Hei (Alvin) Leung have been presented in various places in North America\, South America\, Europe and Asia. His music has been performed by music groups including Mivos Quartet\, Transient Canvas\, Rosetta Contemporary Ensemble\, Trio Mythos\, Duo Antwerp and Hong Kong Chinese Orchestra. His works have been featured in occasions including the ICMC\, International Symposium of New Music\, International Review of Composers\, Seoul International Computer Music Festival\, MUSLAB\, SEAMUS National Conference\, CMS National Conference\, SCI National Conference\, NSEME\, Electric LaTex Festival\, VIPA Festival\, June in Buffalo\, CMS Great Lakes Conference\, EMM and Hong Kong Contemporary Music Festival. Alvin is currently a PhD candidate in Music Composition at the University of North Texas. He received a Master of Music degree at Bowling Green State University\, and a Bachelor of Arts in Music from the Chinese University of Hong Kong (CUHK). His principal teachers include Joseph Klein\, Panayiotis Kokoras\, Marilyn Shrude and Wendy Wan-ki Lee. www.alvinleung.com/ \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-2-3/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T173000
DTSTAMP:20260531T164501
CREATED:20260421T181755Z
LAST-MODIFIED:20260428T112006Z
UID:10000185-1778583600-1778607000@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Fixed Media | Program Overview\nInner Line\nHyewon Kim \nA Portrait of Kwesi Brookins\nRodney Waschka \nBiomimicry\nChun-Han Huang \nDear Beginner\nVadim D. Genin \nEncircled\nAdam Stanovic \nmight have seen\nTakumi Harada \nSilence\nZiyu Pang \nTemporal Shards\nRay Tsai \nWhen An Android Becomes Obsolete\nGiancarlo Alfonso \n\n  \nAbout the pieces & artists\nHyewon Kim: Inner Line\nThe self is not something fixed\, but rather a moving line that is constructed through continuous interaction and emotional attunement with others. However\, in personality disorders\, this system of connection is damaged. Mirror neurons function dimly\, and the ability to share emotions by following another’s gaze or to attune feelings toward the same object becomes dulled. These individuals either fail to perceive the distance between ‘me’ and ‘you’ or become extremely conscious of it\, unable to live together in a shared world. ‘Inner Line’ explores these internal fractures and fragments the audience’s gaze and emotions. The piece is structured around an unstable relationship between live performers\, where accumulated interactions gradually alter the percussionist’s playing rather than producing immediate disruption. Spatially\, performers and sound sources are distributed across the stage and loudspeaker field\, preventing the audience from occupying a single\, optimal listening position. It does not control or design the audience’s emotional responses\, but rather leaves them to interpret and explain for themselves what emotions they experienced. And it reveals that this imperfect sensation itself is the essence of how we connect with others. Through this work\, rather than sharpening the boundaries of the inner self\, I aim to identify where our gaze has been fixed and to unravel that rigid thinking. \nAbout the artist\nHyewon Kim (b. June 1989) is a composer based in Seoul\, South Korea. She treats all vibrating objects as equal musical material\, working primarily with percussion and electroacoustic media. She also conceives and produces sound-based exhibitions in which audiences directly experience the inherent vibrations of materials. She earned her B.A. and M.A. in composition from Chugye University for the Arts\, studying with Sungjun Moon\, and is an active member of the Korean Electro-Acoustic Music Society (KEAMS). Her works have been presented at international and domestic festivals\, including ICMC. \n  \nRodney Waschka: A Portrait of Kwesi Brookins\nA Portrait of Kwesi Brookins is one of a series of computer music acousmatic portraits of artists\, composers\, and friends. Dr. Brookins\, a former professor of psychology and Africana Studies at North Carolina State University\, now serves as a Vice Provost at his alma mater\, Michigan State University. This sound portrait makes use of a recording of his rich\, sonorous voice saying his name and (then) position and naming his main area of work – child welfare. The piece also uses a public domain melody from Ghana\, a country Dr. Brookins has visited often as a scholar and pedagogue. \nAbout the artist\nRodney Waschka II is probably best known for his algorithmic compositions and his unusual operas. His music has been called “astonishing” and “strikingly charismatic” by Paris Transatlantic Magazine\, “a milestone in the repertoire” by Computer Music Journal\, “fluent and entertaining” by Musical Opinion of London\, and “oddly moving” by Journal Seamus. His mentors include Larry Austin\, Robert Ashley\, Paul Berg\, Clarence Barlow\, Konrad Boehmer\, Thomas Clark\, Charles Dodge\, and George Lewis. Waschka is Director and Professor of Arts Studies at North Carolina State University. \n  \nChun-Han Huang: Biomimicry\nBiomimicry is an electroacoustic composition constructed entirely from synthetic sound sources. Originating as a technical exploration within the Max programming environment\, the work emulates natural sonic phenomena—including weather patterns and animal vocalizations—without the use of field recordings or sampling. By reconstructing organic textures through digital synthesis\, the piece navigates the boundary between the artificial and the natural\, creating immersive soundscapes that range from ambient subtlety to chaotic intensity. \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  \nVadim D. Genin: Dear Beginner\nThe idea behind the piece is to create a relationship between the live performer and the fixed electronics\, as if the performer were relying on the signals the electronics were sending. All together\, it could resemble the process of getting to know the interface of some new\, unfamiliar equipment\, with the task becoming increasingly complex. The electronics are composed of sounds extracted from videos that have been accumulating in the smartphone’s memory for years. Moreover\, the selected samples are moments during which nothing happens in the video\, that is\, the most unnecessary garbage sounds. Finding sounds that are not interesting in their usual form and using them for musical purposes is an interesting challenge for the composer. \nAbout the artist\nVadim D. Genin. Born November 14\, 1993. Composer\, sound-artist\, PhD degree in Physics and Mathematics. Graduate of the Saratov State Conservatory and Saratov State University. Major projects are the video game opera “The World of Wondrous Rooms” and the documentary cantata “The Restorer”. Participant of festivals such as impuls (Austria)\, IDEA IWYC (Bulgaria)\, ARCo (France)\, CEME (Israel)\, ilSuono (Italy)\, Meridian (Romania)\, Teden Sodobne Glasbe Bled (Slovenia)\, Encontres de Compositors (Spain)\, reMusik.org (Russia)\, ICMC (USA). \n  \nAdam Stanovic: Encircled\nIn early 2025\, staff and students from the Sound and Music Programme\, LCC\, travelled to the London Wetlands Centre (part of the Wildfowl and Wetlands Trust (WWT)) to make recordings of the site and its surrounding areas. The project was inspired the long-running SoundLapse project at the Universidad Austral de Chile\, where recordings of the wetlands around Valdivia have inspired ecological\, educational\, and creative research. During the course our project\, we met with our counterparts in Chile and learned about their interests\, methods\, and research goals. We also met with staff and the London Wetlands Centre\, and heard about the rapid decline in global wetland environments and their plans to create 100\,000 hectares of sustainable wetlands in the UK. Arriving at the London Wetland Centre\, on the morning of the 11th Feb 2025\, I was immediately struck by the relative silence. For over an hour I had battled my way through the bustle of central London\, travelling by bus\, tube\, and train. And suddenly\, I was surrounded by stark winter trees. I could hear my feet crunching on the stony paths\, and a distant crow cawing. For a moment\, it felt like an oasis of calm. But as my ears acclimatised\, I realised that London\, the great metropolis\, was ever-present. I could hear it rumbling in the distance\, interrupted only by the roar of overhead planes bound for Heathrow. The more I tried to focus on the sounds of the centre itself\, the more aware I became of the monstrous city beyond… We were\, I felt\, encircled… Initially\, this piece set out to traverse city and Centre\, transitioning from the chaos of one to the calm of the other. As the piece developed\, however\, I started to realise that it is not simply the London wetlands that are encircled; although their geographies are vastly different\, most of the world’s wetlands are\, in one way or another\, equally encircled… \nAbout the artist\nAdam Stanović composes music with recorded sound. In recent years\, his music has drawn from both studio and location recordings\, using both digital and analogue technologies. To date\, he has won prizes\, residencies\, and mentions in over 40 international composition competitions\, had his music performed in over 700 international concerts\, and published works on 16 different albums\, including three solo albums (on the Sargasso and Empreintes DIGITALes record labels). Adam is Dean of Screen\, University of the Arts\, London. For more information\, visit: www.adamstanovic.com \n  \nTakumi Harada: might have seen\nThis piece is composed primarily of sounds obtained through field recording. Originally\, these sounds were recorded in a variety of locations and may appear to lack a clear contextual relationship. However\, through processes of transformation and manipulation\, their conventional sonic characteristics are dismantled. As a result\, latent commonalities inherent in the sound materials emerge\, generating connections among them and forming a unified continuity within the work as a whole. \nAbout the artist\nTakumi Harada. Born in 2000. From Tokyo\, Japan. Currently enrolled at Kunitachi College of Music. Began producing works in 2025. \n  \nZiyu Pang: Silence\nIn this age of information overload\, countless voices swirl around us. Yet rather than merely adding our own\, there are times when we simply wish to remain silent. Within that silence\, everything is expressed. This work employs minimal sound material\, dissecting the passage of time into numerous fragments of silence. It aims to strip away all superfluity\, reaching the most fundamental tranquillity of sound and spirit\, expressing the Eastern philosophical notion that ‘silence is golden’. \nAbout the artist\nZiyu Pang\, March 29\, 2005\, Third-year undergraduate student majoring in Music Sound Direction at the Wuhan Conservatory of Music \n  \nRay Tsai: Temporal Shards\nTemporal Shards is a short electroacoustic work that explores fragmented experiences of time within everyday perception. Through brief\, distorted frequencies shaped by compression\, reversal\, and abrupt interruption\, the piece unfolds fleeting moments emerging from a narrow temporal fissure. Temporal flow becomes unpredictable as acceleration\, suspension\, and sudden collapse coexist\, leaving behind transient perceptual traces that resist linear progression and stable structure. \nAbout the artist\nRay Tsai (Tsai Yi-Jui)\, born in Hsinchu and currently studying at National Yang Ming Chiao Tung University\, is a DJ\, music producer\, and new media artist. His work spans sound art\, electroacoustic music\, and video installation\, using experimental sonic structures to explore the relationship between technology and perception. Under the alias †Egothy†\, he is active in the underground electronic music scene\, performing noise\, deconstructed electronics\, and other avant-garde styles that shape sensory experiences oscillating between chaos and order. \n  \nGiancarlo Alfonso: When An Android Becomes Obsolete\nThis musical composition explores the concept of technological and computational obsolescence\, comparing it to a reflection on human obsolescence and human labor\, whether mechanical\, artistic\, or intellectual. In a social context increasingly oriented towards efficiency and automation\, human beings find themselves in a state of constant competitive rivalry with artificial systems designed to be faster\, tireless\, and free from the weaknesses that characterize human labor. The composer makes use of the figure of an android that has reached the end of its life cycle\, as a metaphor for this condition. Throughout the composition\, the machine’s final moments of activity are evoked\, during which states of confusion\, anger\, despair\, and acceptance emerge. These states do not represent real emotions\, but rather the result of calculations and assessments of its own operational status\, which contributes to humanizing the android by placing it on the same level as the human beings. From a compositional perspective\, the piece is mainly based on granulation techniques\, accompanied to a lesser extent by subtractive and additive synthesis. The sound material consists mainly of concrete mechanical and metallic sounds\, which are then granulated and processed\, along with cold\, more abstract\, unstable\, and unnatural synthetic sounds. The composition develops as a continuous friction between mechanical and rhythmic rigidity and sonic and timbral neuroticism\, suggesting the progressive deterioration of the physical and mental functions of the android protagonist. \nAbout the artist\nGiancarlo Alfonso\, (born on 14 June 2000) is a composer and electroacoustic music student at the Conservatorio \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-2-2/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T173000
DTSTAMP:20260531T164501
CREATED:20260421T181209Z
LAST-MODIFIED:20260511T142523Z
UID:10000184-1778497200-1778520600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Fixed Media: Program Overview\n430-+\nAyako Sato \nLunar Current\nChufan Zhang\, Jun Wang and Qi Liu \nsawa\nAkiko Hatakeyama \nTake Me Back to Indonesia\nBoyi Bai \nVentward\nEd Osborn \nWoody\nAdrian Kleinlosen \nZen to Hearth\nYu Linke \n  \nAbout the pieces & artists\nAyako Sato: 430-+\nThe fundamental pitch of the 15th bamboo tube of the Shō\, “kotsu\,” corresponds to the current standard pitch of 430Hz in Gagaku. This acousmatic piece involves listening to 430Hz\, its harmonics\, the sounds that deviate from it\, and unreliable text about the Shō generated by AI. Perhaps. \nSho performance: DEGUCHI Miki \nAbout the artist\nAyako Sato is a composer\, musician\, artist\, and researcher working mainly in the field of electroacoustic music. Her works have been presented at international conferences and festivals (ICMC\, SMC\, NYCEMF\, ISMIR\, WOCMAT\, etc.) and won awards in international competitions (Prix Presque Rien\, Destellos Competition\, International UPISketch Competition\, etc.). She received her Ph.D. from Tokyo University of the Arts in 2019 for her research on Luc Ferrari’s works. After working as a part-time lecturer at Tamagawa University\, Osaka University of Arts\, Tokyo Denki University\, and Shobi Music College\, she is a lecturer at Shizuoka University of Art and Culture starting April 2025. \n  \nChufan Zhang\, Jun Wang and Qi Liu: Lunar Current\n“The ripples of moonlight surge and finally settle into stillness in the current. The trembling of electronic waves all find their peaceful end in the moonlit night.” – The pulses of electronic sound eventually merge into the gentle waves of moonlight\, just as the surges of electric current fade into the breath of the night. This work takes electronic waveforms simulating electric current as its core sound material. Through modulation and filtering processing in a digital audio workstation\, it employs techniques such as synthesizer wave shaping\, ambient reverb stacking\, and low-frequency oscillation to create auditory characteristics that blend the texture of electric current with the haziness of a moonlit night. Lunar Current is an immersive auditory experience. It attempts to capture not the moonlight itself\, but the sensory critical state where the quiet night and electronic current intertwine. At this moment\, the technological rhythms of electronic sound and the ethereal silence of the moonlit night together construct a gentle echo of a whispered conversation with the starry night. \nAbout the artists\nChufan Zhang (born in July 2006) is a sophomore at the Communication University of Zhejiang\, and also a young creator who delves into the fields of creative design and blockchain applications. Her representative works include Xuan and Mo Zang. Among them\, Xuan won the second prize in the East China Division of the National University Students Blockchain Competition\, and Mo Zang was awarded the third prize in the Future Designer Competition. During her studies at the university\, she not only won the first-class scholarship of the university but also was awarded the titles of “Merit Student” and “Outstanding Social Worker”\, demonstrating solid professional skills and cutting-edge innovative thinking in both academic research and competition practice. \nJun Wang  \nQi Liu \n  \nAkiko Hatakeyama: sawa\nIt’s neither close nor far\, neither happened nor never happened. This is a short piano-and-electronics piece that captures a moment in an unfamiliar place. \nAbout the artist\nAkiko Hatakeyama is a composer\, performer\, and artist of electroacoustic music and intermedia. Akiko’s research focuses on realizing her ideas of relations between the body and mind into intermedia works\, often in conjunction with building customized instruments/interfaces. It is a form of nonverbal communication with her inner self and with the environment\, including the audience. Expression through sounds and performance brings her therapeutic effects\, helping her process memories and trauma. Her work has been presented internationally at various venues and festivals in the U.S.A.\, Canada\, Chile\, England\, Ireland\, Portugal\, New Zealand\, China\, South Korea\, and Japan. Selected awards include the Best Performance Award at the NIME International Conference\, the winner of the Audio-Visual Composition at the ICMA Showcase: Asia\, the George A. and Eliza Gardner Howard Foundation Fellowship\, and the MacDowell Fellowship. Akiko obtained her B.A. in music from Mills College and M.A. in Experimental Music/Composition at Wesleyan University and completed her Ph.D. in the MEME program at Brown University. Her mentors include Alvin Lucier\, Anthony Braxton\, Ronald Kuivila\, Maggi Payne\, Chris Brown\, John Bischoff\, James Fei\, and Butch Rovan. She is currently an associate professor of Music Technology at the University of Oregon. \n  \nBoyi Bai: Take Me Back to Indonesia\nThis work is rooted in a field recording made in Madobag Village\, Mentawai Islands\, Indonesia\, capturing children playing near an old well. As a sonic memory\, it inspired the composer to reflect on the contrast between fleeting moments of travel serenity and the pressures of everyday life. The work explores the tension between two acoustic worlds. It opens with the calm of the island\, employing gentle drones and textures to construct a dreamlike space between the external environment and internal memory\, reimagining how memories emerge in times of longing. Sharp phone alarms and daily noises then shatter this tranquil soundscape\, marking the collapse of the imagined realm. In the end\, the work maintains an open\, unresolved narrative tension\, oscillating between memory and the present. \nAbout the artist\nBoyi Bai is a composer and sound artist specialising in field recording\, soundscape composition and interactive VR spatial audio\, whose practice-led works transform environmental sound into immersive auditory spaces while exploring the intrinsic relationships between place\, memory and media. His works have been widely presented at internationally acclaimed festivals\, art exhibitions\, and radio programmes\, including BBC Radio 6\, TagTEAMS 2026\, MA/IN Festival\, SOUND/IMAGE Festival\, MANTRA\, PAYSAGES | COMPOSÉS Festival\, and the San Francisco Tape Music Festival\, building an extensive exhibition profile in the global fields of sound art and electroacoustic music. His distinctive artistic approach has been recognised with the Gold Award in the Electronic Acousmatic Music category at the 6th Denny Awards Electronic Music Competition\, a shortlist for the Sound of the Year Awards 2024\, and other internationally recognised professional honours. \n  \nEd Osborn: Ventward\nVentward is built from recordings of several performances using tabletop guitar and electronics which were edited into a single work. It explores a series of sound states to produce a shifting and evolving cluster of sound\, one that gradually expands its tonality and frequency range. As it does so it focuses on distilling the acoustic field down to its core textures of processed and re-processed sounds. The piece also explores a structural space that exists between live improvisation and studio composition. \nAbout the artist\nEd Osborn (1964) works with many forms of electronic media including installation\, video\, sound\, and performance. He has presented his work at the San Francisco Museum of Modern Art\, the singuhr-hörgalerie (Berlin)\, the Berkeley Art Museum\, Artspace (Sydney)\, the Institute of Modern Art (Brisbane)\, the ZKM Center for Art and Media (Karlsruhe)\, Kiasma (Helsinki)\, MassMOCA (North Adams)\, the Yale University Art Gallery\, and the Sonic Arts Research Centre (Belfast). Osborn has received grants from the Guggenheim Foundation\, the Creative Work Fund\, and Arts International and been awarded residencies from the DAAD Artists-in-Berlin Program\, the Banff Centre for the Arts\, Elektronmusikstudion (Stockholm)\, STEIM (Amsterdam)\, and EMPAC (Troy\, NY). He is Professor of Visual Art and Music at Brown University. \n  \nAdrian Kleinlosen: Woody\nSound synthesis and spatialization generated with Csound\, voices with espeak-ng\, mixed in Pro Tools. Text based on a dialogue from a famous movie. \nAbout the artist\nAdrian Kleinlosen is a composer working with instrumental\, vocal\, and electronic music. His work focuses on structure\, rhythm\, and form\, often based on the superposition of independent musical layers and processes rather than linear development. Questions of temporal organization and formal articulation play a central role in both his acoustic and electronic works. In his electronic music\, Kleinlosen composes algorithmically\, using a range of software environments and programming languages. Computational tools are integral to his compositional thinking and are used to design musical structure\, temporal processes\, and formal relationships across different media. Kleinlosen holds degrees in composition and musicology and received a doctorate (Dr. phil.) for research on musical structure and form in contemporary music. In addition to his compositional work\, he has been active as an educator and lecturer in composition\, music theory\, and artistic research. \n  \nYu Linke: Zen to Hearth\nThis piece uses temple bells as the core sampling material\, with the theme of creating an auditory journey from spiritual seclusion to facing reality. “Zen” represents spiritual seclusion\, while “Hearth” represents the mundane hustle and bustle of the world. The original intention is to escape from reality and construct an ideal world. At the beginning\, the clear bell ringing\, accompanied by minimalist electronic tones\, unfolds\, depicting a secluded ideal world of Zen\, where the creator briefly withdraws from the chaos of the mundane world and escapes. As the melody progresses\, the echoes of the bells gradually weaken\, and concrete electronic rhythms and low-frequency textures gradually enter\, symbolizing that the ideal Zen space is gradually penetrated by the reality of the world. The two sound elements interweave in the music to express the mutual integration and non-contradiction of ideals and reality. As the piece approaches its end\, the bells serve as the background\, blending with the rhythmic movement of the realistic clock\, expressing that the chaotic time elements in reality struggle within the atmosphere of the ideal world\, disorder eventually returns to calmness in the temple bells\, highlighting the transformation from “Zen” (spiritual seclusion) to “Hearth” (mundane hustle and bustle) – escape is not the ultimate answer; the reconciliation of ideals and reality is the focus of this auditory narrative. \nAbout the artist\nYu Linke\, born in August 2004\, is currently a third-year undergraduate student majoring in Music Sound Direction in the Composition Department of Wuhan Conservatory of Music. In 2023\, she was admitted to the university with the top score in her major\, focusing on academic practice in composition creation and sound engineering. During her time at school\, her research and practical achievements have covered professional composition competitions and interdisciplinary technology contests. She has successively won the school-level composition award\, the first-class scholarship\, and two second prizes in provincial competitions\, demonstrating solid academic accumulation and outstanding innovative practical ability in the intersection of composition art and sound technology. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-2-1/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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