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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:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260531T091000
CREATED:20260421T185520Z
LAST-MODIFIED:20260511T143240Z
UID:10000182-1778756400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Fixed Media | Program Overview\nMotes of Time\nYuming Sun \nEaves Verse\nShunhang Huang \nFulgore \nTakeyoshi Mori \nFusion of Horizons\nChi Wang \nIntertwine\nJohn Thompson \nNeon Reverie (ver. 2)\nWoon Seung Yeo and Ji Won Yoon \nStellar Vibrato\nXingle Zhang \nVibe Higher (ver. 3)\nJi Won Yoon and Woon Seung Yeo \nWaves\nBike Öner \nOf Clouds and Clocks\nTom Williams \nA little history of mobile music Vol. 1\nGenoël von Lilienstern \nMotif for Ono\nJingyu Luo \nSpectrestate \nJustyna Tobera \nStringDance: Ripples\nOuyang Mingshan \n  \nAbout the pieces & artists\nYuming Sun: Motes of Time\nAn experimental electronic work created for data visualization. Motes of Time translates the abstract flow of time into a textured world of digital decay and sonic particles. A synchronized study of sight and sound. \nAbout the artist\nDr. Sun Yuming is a composer\, music producer\, associate professor and master’s supervisor at the Central Conservatory of Music (CCOM). He studied under Professor Li Xiaobing\, Director of the Department of AI Music and Music Information Technology. Sun began his studies at CCOM in 2008\, where he was admitted to the graduate program with distinction and later pursued his Ph.D. in 2020. Upon graduating in 2023\, he joined the faculty. Sun has received numerous honors\, including the National Graduate Scholarship\, the China Telecom Scholarship\, and the Soong Ching Ling Foundation-Gucci Music Fund. He was also recognized as an Outstanding Graduate of Beijing and honored as an Outstanding Contributor to the 2022 Beijing Winter Olympics and Paralympics. His compositions have won first prizes in the 7th and 11th Musicacoustica-Beijing Composition Competitions and the Oskar Kolberg Electronic Music Composition Special Competition. Active in large-scale productions\, Sun has served as music director for various CCTV programs\, including Charity Night\, the Shining Names award ceremonies\, the Safe Travels special for National Traffic Safety Day\, and Landmarks of Chinese Civilization. His works are widely broadcast across major media platforms; notably\, his piece “The Ship” was featured on the hit show I Am a Singer in 2019. \n  \nShunhang Huang: Eaves Verse\nEaves Verse is an interactive audio-visual performance created with Media Pipe and AI-powered real-time image generation. It is centered around the cultural symbol of the eaves in traditional Chinese architecture. The performance begins with the creator’s intent and uses hand gestures as the interactive medium. Using AI technology for real-time image generation\, the performance presents a three-tiered progression: abstract concepts\, AI-constructed concrete visuals\, and an aesthetic realm where reality and illusion intertwine. Lingering melodies of Eastern resonance intertwine naturally with the cadence of spoken phrases\, and the texture of electronic rhythms resonates synchronously with interactive movements. This allows traditional sonic rhythms to flow within a contemporary interactive context\, evoking an Eastern auditory essence where reality and illusion merge. In this work\, AI transcends its role as a technical tool to become a “symbiotic partner” attuned to the creator’s intent. AI generates visuals in real time in response to gestures\, transforming thoughts into tangible forms. Through this novel interactive format\, it reconstructs contemporary expressions of traditional aesthetics\, ultimately crafting an audiovisual experience that embodies Eastern philosophy’s interdependence of the tangible and intangible. \nAbout the artist\nShunhang Huang\, a 2023 undergraduate student in the Department of Music Engineering at Zhejiang Conservatory of Music\, specializes in Art and Technology with a focus on interactive music\, data-driven instruments\, and real-time audiovisual creation. His works have received awards at the China College Students Computer Design Competition\, Huichuang Youth Competition\, and Danny Awards International Electronic Music Competition. Multiple interactive audiovisual installations created by him have been exhibited at the Global Digital Trade Expo\, World Internet Conference\, National Conference on Sound and Music Technology\, and Hangzhou International Music Performance Industry Expo. \n  \nTakeyoshi Mori: Fulgore \nThe initial inspiration for this work came from a brief\, ten-second video fragment capturing the ripples formed by raindrops falling onto a glass ceiling\, shimmering and flickering like a luminous mosaic. The subtle yet complex expressions of light observed in this phenomenon became the point of departure from which the overall concept of the work gradually emerged. In this piece\, video materials drawn from everyday scenes and natural landscapes are used. By enhancing their chromatic contrasts\, the work seeks to reveal the rich diversity of “modes of light” that exist within our daily lives but often go unnoticed\, and to encourage a heightened awareness of the perceptual and emotional dimensions of light. The title\, Fulgore\, is derived from the Latin word meaning “radiant brilliance” or “that which shines brightly.” The sonic component of the work is constructed through the multilayered deployment of diverse pulse-based temporal structures and sustained\, drone-like spectral layers. Although the musical materials themselves are relatively simple\, the intention is to create an acoustic space that complements the visual concept and resonates with the shifting expressions of light. The original version of the piece was produced in a 7.1.4-channel immersive audio format\, further expanding the spatial dimension of the work and integrating spatial motion as an integral compositional parameter. \nAbout the artist\nTakeyoshi Mori. Composer\, sound designer\, and researcher in electroacoustic music. His works include multichannel sound compositions\, live electronics\, and visual music\, and have been presented at numerous international music festivals and research-oriented events. In recent years\, he has been actively engaged in international educational activities\, including inter-college exchange concerts in East Asia\, serving as a jury member for international competitions\, and organizing workshops and lectures. He is currently Director of the Laboratory of Advanced Music Production and Professor and Co-director in the Music Design Course at Senzoku Gakuen College of Music. \n  \nChi Wang: Fusion of Horizons\nFusion of Horizons in Hans-Georg Gadamer’s philosophical framework involves merging different frames of understanding to achieve a deeper comprehension. Frames of understanding are conceptual perspectives that shape how we interpret and make sense of information\, providing context for our experiences\, observations\, and data. In this composition\, the performer utilizes the Nintendo Ring-Con with a Joy-Con as a symbolic frame\, guiding us through various segments of visual and sonic narratives. This instrument not only serves as a literal tool but also represents a metaphorical frame through which different perspectives and interpretations are explored. Through its use\, the performance embodies the process of merging diverse frames of reference\, reflecting the idea of achieving a richer\, more integrated understanding. \nAbout the artist\nChi Wang is a composer and performer of electroacoustic music whose work explores sound design\, data-driven instrument creation\, composition\, and performance. Her music has been presented internationally at venues and conferences including the International Computer Music Conference\, New Interfaces for Musical Expression\, Musicacoustica-Beijing\, SEAMUS\, NYCEMF\, Kyma International Sound Symposia\, and Electronic Music Midwest. Her works have received numerous honors\, including selections for SEAMUS CDs\, Best Composition from the Americas (ICMC)\, the Pauline Oliveros New Genre Prize (IAWM)\, Prix CIME\, an Award of Distinction from MA/IN Festival\, and finalist recognition at the Guthman Musical Instrument Competition. Chi has served as a judge for major international electronic music competitions and is an active translator of electronic music texts. She holds a D.M.A. from the University of Oregon and is currently Associate Professor of Music (Electronic and Computer Music) at the Indiana University Jacobs School of Music. \n  \nJohn Thompson: Intertwine\nIntertwine is an audiovisual work that features tight coupling of the audio and visual elements. It draws inspiration from Lance Putnam’s “Sphase” from 2007\, which examines relationships of timbre to visual design. With a strong focus on pulse and rhythm\, the work gives sonic nods to Norman McLaren’s visual music works of the 1940’s. Intertwine draws inspiration from Lance Putnam’s “S Phase” from 2007. In this work\, Putnam is directly driving the visual material from the sonic material using 3D Lissajous curves\, where the amplitudes of audio signals are used to inform the positions of (x\,y\,z) vertices in a virtual space. In the documentation of “S Phase”\, Putnam supplies a diagram of the process. In the experimentation stage of the work “Intertwine”\, the process was reconstructed\, minus a few elements that treat the sound (detoning\, chorusing). As the work progressed\, the sound sources expanded to include concrete elements and drum machine. The Strudel live coding environment was used to pattern the drum machine. Numerous performance parameters of the drum machine were exposed for real time control along with parameters of the live coding environment and the audiovisual system itself. The controls were consolidated to a single controller allowing for interactive real time performance. The system can be performed live and can yield many different results. What is presented here is an edited recording of a performance. The form of the work looks to balance free-flowing and repetitious elements\, as well as sections of varying tempos and densities. \nAbout the artist\nJohn Thompson‘s music uses sound and image as a vehicle for expressing the beauty and complexity of the world. His compositions over the last decade have focused on audiovisual works and works for instrument and electronics. John is Professor of Music and Head of the Music Technology Program at the Gretsch School of Music at Georgia Southern University. He is an enthusiastic educator who has had the pleasure of sharing his passion for music and technology with students for almost two decades. He is dedicated to helping students develop their own creative voices and encouraging them to deeply consider the intersection of technology and music. \n  \nWoon Seung Yeo and Ji Won Yoon: Neon Reverie (ver. 2)\nNeon Reverie (ver. 2) is an audiovisual exploration of the composer’s old memories. More specifically\, it was conceived based on the story of “walking through the streets of the past bathed in neon light\,” aiming to musically present a short journey that captures reflections on the passage of time\, the contrast between past and present\, the fragility of existence\, the vague boundaries between reality and delusion\, and raw emotions to evoke introspection and wonder. The piece starts with human footsteps\, representing the imaginary stroll through the memory under neon lights. This intro is followed by a variety of sonic elements that symbolize fragments of memories related to nostalgic moments gone forever. In addition\, the rhythmic patterns weave an underlying emotional thread throughout the piece. Visuals of the piece act as a counterpart to the music\, carefully composed to create a dialogue between auditory and visual domains. Regarding the cinematography\, one of the most noticeable aspects is the revolving movement of numerous concentric\, dotted rings that correspond to the rhythmic progression. In addition\, the overall color scheme is neon-inspired to match the composer’s original idea of neon lights. Meticulously chosen visual effects are also applied to evoke the hazy\, unclear feelings aroused by the sonic texture of the music. \nAbout the artists\nMusic: Ji Won Yoon (composer) is active as a composer of both acoustic and electric music. She is interested in artistic applications and realizations of various computer music technologies\, emphasizing multi-modality with sound at the center. She earned her B.A. and M.A. degrees in Music (Composition) from Yonsei University\, completed doctoral courses in Computer Music Composition at Dongguk University\, and studied at the Center for Computer Research in Music and Acoustics (CCRMA)\, Stanford University as a visiting researcher. Currently she is an assistant professor at the Department of Applied Music and Sound\, Keimyung University. \nVisuals: Woon Seung Yeo (visual artist) is a bassist\, media artist\, and computer music researcher. He is a professor at Ewha Womans University\, Seoul\, Korea\, and leads the Audio and Interactive Media (AIM) Lab. Dr. Yeo has received B.S. and M.S. degrees in Electrical Engineering from Seoul National University\, M.S. in Media Arts and Technology from University of California at Santa Barbara\, and M.A. and Ph.D. in Music from Stanford University. His research interests include audiovisual art\, cross-modal display\, musical interfaces\, mobile media\, and audio DSP. Results of his research are commonly shared by exhibitions and performances in the public interest. \n  \nXingle Zhang: Stellar Vibrato\nThis fixed-media work is inspired by the Hun Tian (“Celestial Sphere”) cosmology of Eastern Han astronomer Zhang Heng. In his vision\, the universe forms a resonant whole in which celestial motion and earthly life subtly correspond. Combining algorithmic sound synthesis with a particle-based visual system in Max/MSP\, the piece evokes a meditative encounter with ancient reflections on cosmic order. It positions audiovisual media as a bridge between eras\, allowing contemporary listeners to resonate with a millennia-old desire to understand the universe—a pursuit whose echoes transcend time. \nAbout the artist\nXingle Zhang (b. November 27\, 2000) is a graduate student in computer music composition at the Wuhan Conservatory of Music. \n  \nJi Won Yoon and Woon Seung Yeo: Vibe Higher (ver. 3)\nMagnetic resonance imaging (MRI) devices produce unique sounds during examinations. Usually considered as unwanted noise\, almost every MRI subject wears ear protection gear to minimize discomfort. However\, despite the effort\, it is virtually impossible not to hear it\, as it is too loud for most people to endure. “Vibe Higher (ver. 3)” began with the composer’s interest in the timbre and specific rhythmic patterns of typical MRI sounds\, which later led to an understanding of MRI equipment’s working mechanism. Then\, by imagining what happens inside the device through recognizable\, step-by-step changes in the sonic (primarily rhythmic) elements\, the composer gives musical meaning to the device’s internal process. In addition\, MRI conceptually involves a sensory transfer process that obtains images from transcribing reflected magnetic waves; this itself provides an ideal metaphor for an audiovisual piece. For the music of this piece\, sounds generated during the operation of various MRI machines were collected\, processed using digital audio effects such as pitch shifting\, time stretching\, and reverb\, and then utilized as its sonic material. While MRI sounds generally have a similar tone and pattern at a certain level\, we can hardly say that every device’s sound is entirely the same; this provides subtle but significant variety to the song’s sonic texture. To create the visuals\, we first used Processing to generate multiple versions of raw clips\, then combined selected segments to match their sonic counterparts. Combinations of simple figures\, such as triangles or squares\, are repeatedly arranged in a tile pattern to visually express the mechanical\, standardized feeling of sound\, presenting a kaleidoscopic layout. As the music progresses\, the shape of each tile continuously morphs\, and the overall visual composition and color scheme transform to convey the corresponding sonic mood into the optical domain. In addition\, it features a variety of visual filters that not only evoke the piece’s sonic impression in the visual domain but also create an atmosphere reminiscent of early-20th-century abstract films. \nAbout the artists\nMusic: Ji Won Yoon (composer) is active as a composer of both acoustic and electric music. She is interested in artistic applications and realizations of various computer music technologies\, emphasizing multi-modality with sound at the center. She earned her B.A. and M.A. degrees in Music (Composition) from Yonsei University\, completed doctoral courses in Computer Music Composition at Dongguk University\, and studied at the Center for Computer Research in Music and Acoustics (CCRMA)\, Stanford University as a visiting researcher. Currently she is an assistant professor at the Department of Applied Music and Sound\, Keimyung University. \nVisuals: Woon Seung Yeo (visual artist) is a bassist\, media artist\, and computer music researcher. He is a professor at Ewha Womans University\, Seoul\, Korea\, and leads the Audio and Interactive Media (AIM) Lab. Dr. Yeo has received B.S. and M.S. degrees in Electrical Engineering from Seoul National University\, M.S. in Media Arts and Technology from University of California at Santa Barbara\, and M.A. and Ph.D. in Music from Stanford University. His research interests include audiovisual art\, cross-modal display\, musical interfaces\, mobile media\, and audio DSP. Results of his research are commonly shared by exhibitions and performances in the public interest. \n  \nBike Öner: Waves\nWaves is built on the dialectic of compression and release across electronic processing\, spatialization\, and form. Inspired by the physical behavior of waves\, the piece reflects cycles of compression and rarefaction that accumulate into the ocean itself. Granular processing\, time-stretching\, and spectral diffusion of the cello create dense zones of tension that abruptly dissolve into spatial release. The form mirrors this cycle\, as acoustic and electronic layers interact to shape a dynamic\, living sonic space. \nAbout the artist\nBike Öner is a Turkish composer and cellist from Istanbul\, working in acoustic and electroacoustic music. Her work creates mixed-reality soundscapes that combine Eastern and Western tuning systems\, diverse timbres\, and cross-cultural textures\, exploring proximity\, memory\, transformation\, and emotional co-presence in space. She studied cello at UdK Berlin and Istanbul University State Conservatory\, earned an MM in Composition from ITU MIAM in 2022\, and is pursuing a DMA at UT Austin\, where she teaches in EEMS. \n  \nTom Williams: Of Clouds and Clocks\nThis acousmatic composition explores the conceptual tension between orderly determinism and the irregular\, indeterminate realm of ‘clouds\,’ drawing on the philosopher Karl Popper’s metaphor of ‘clouds and clocks’ and its musical reimagining in Ligeti’s ‘Clocks and Clouds’ (1973). Translation operates as a guiding principle—moving between philosophical constructs and sonic experience\, and transforming the mechanical precision of a clock into diffuse\, spatially articulated sound structures. The work unfolds in a single movement articulated in two contrasting parts: an opening section dominated by cloud-like textures—formed through processes of granulation and spectral diffusion—followed by a second part where clock-derived materials assert greater clarity and rhythmic presence. The town clock in New Bern\, North Carolina\, provides a recognisable point of reference within a sound world otherwise shaped by obscured metallic and environmental resonances\, their identities dissolved into atmospheric ambiguity. Through this interplay\, the piece proposes an experiential continuum where temporal precision and sonic indeterminacy coexist\, foregrounding the creative potential of imperfect translation. \nAbout the artist\nTom Williams is a composer whose work spans both acoustic and electroacoustic music. His compositions have been performed internationally\, most recently at ICMC2025 Boston\, and NYCEMF2025. He has received awards including the Italian music medal “Città di Udine”\, British Composers’ nomination in Sound Art\, and his acousmatic piece “Piano Trace” received a special prize at the 4th Ise-Shima International Composition Competition. He has collaborated with renowned musicians such as New York cellist Madeleine Shapiro\, soprano Juliana Janes Yaffé\, bass clarinettist Sarah Watts\, percussionist Thierry Miroglio\, and Orchestra of the Swan. He has a doctorate in music composition from Boston University. Currently\, he is course director for the MA programme in music production at Coventry University. \n  \nGenoël von Lilienstern: A little history of mobile music Vol. 1\nThe piece engages with the complex relationship between humans\, art\, and artificial intelligence. Conceived as a transhumanist comedy\, it is created using generative video techniques and reflects on how human imagination and technological\, standardized ways of narrating intersect in contemporary artistic production. The work experiments with the interplay between image and sound\, questioning how meaning emerges from their shifting relations. Sound is not treated as a secondary element\, but as an equal partner to the visual\, unfolding within the cinematic 7.1 surround space. This spatial setup is understood as an electroacoustic laboratory\, where perception\, technology\, and narration are continuously reconfigured. Through humor and speculation\, the piece invites audiences to question AI-based and -related storytelling. \nAbout the artist\nGenoël von Lilienstern (b. 1979) is a composer of instrumental and electronic music. Former head of the Studio for Electroacoustic Music at the AdK Berlin and a doctoral candidate in multimedia composition at the HfMT. Performances by renowned ensembles such as Ensemble Intercontemporain and SWR Orchestra. Fellow of Villa Aurora and the Cité des Arts (Paris). Co-founder of the ktonal group for AI-related audio generation\, and co-curator of the Untwelving Festival for xenharmonic music\, Munich. \n  \nJingyu Luo: Motif for Ono\nThis is an analysis of a creative project using bellplay~. I utilized its transcribe()\, pitchmelodia()\, query()\, larm()\, buildcorpus()\, samplebpf()\, pitchmelodia() functions\, and soon\, processed the audio using mathematical logic to use it as the original material for music creation. The philosophical methodology of Motif for Ono is based on YokoOno’s  “Discourse” form\, combining power and knowledge. Jingyu Luo’s video music piece “Motif for Ono” performs at three music festivals\, namely EMM 2026\, MOXsonic2026\, and NYCEMF 2026\, as well as at three international or national electronic music conferences\, including ICMC 2026\, SEAMUS 2026\, and CCF 2025. \nAbout the artist\nJingyu Luo is currently pursuing a Doctor of Musical Arts (DMA) in composition at the College-Conservatory of Music (CCM) of the University of Cincinnati. He has studied with Mara Helmuth and Michael Fiday. Previously\, he obtained a Master of Music (MM) in composition from the Hartt School of Music. He graduated from the Department of Music at Shandong Normal University with a bachelor’s degree in musicology. He composes for concert performances\, theatrical soundtracks\, film and television commercials\, and large-scale public events. Additionally\, he has been involved in the music planning and execution of large-scale cultural events in China\, such as the “Beyond” music festival and the National Day celebration for ten thousand people. His artistic achievements have been recognized. In 2024\, he won an award in the remix category of the Guangdong-Hong Kong-Macao Modern Music Performance. The same year\, his arrangement work was shortlisted for the final of the 38th “Jiangnanhua” Singing Competition in Ma’anshan City. In 2018\, he won the bronze medal in the “Banjo Band” Competition.  \n  \nJustyna Tobera: Spectrestate \nThe piece Spectrestate was created as a reflection on my personal experience of double vision\, a consequence of years of inadequate treatment of my eyesight. My eyes simultaneously register two images\, but my brain cannot merge them into a coherent perception. Every second\, I must decide which image to trust\, reconstructing reality in a way that is invisible to most people. This experience makes my body and brain constantly negotiate their relationship — movement\, gestures\, and reactions must be consciously synchronized with the image my brain cannot automatically integrate. In Spectrestate\, I translate this subjective perception into the language of sound and image. Every gesture\, sonic texture\, and visual layer reflects the instability and multilayered nature of my perception. The audiovisual composition becomes a space where sound and image coexist and transform each other\, allowing the audience to experience a f ractured reality in a direct and sensory way. The work is both a personal study of perception and a philosophical reflection on the nature of seeing and sensing. The questions I pose are: Can the eye be a reliable witness? How does the body interact with the brain when sensory signals conflict? How can we experience a reality that is layered\, unstable\, and yet generative? Spectrestate invites the audience into a space where audiovisual reality is fluid\, shattered and dynamic. Sound and image become tools for reflection\, enabling an exploration of subjective and multidimensional perception.  \nAbout the artist\nJustyna Tobera is a composer and performer working at the intersection of sound\, movement\, and immersive media. Her practice explores the relationships between the body\, space\, and technology\, treating sound as a tactile and embodied experience. She works with live electronics\, interactive systems\, and creative coding\, focusing on how gesture and movement shape sound.\nShe is currently an intern at the Electroacoustic Studio at IEM Graz. Her works have been presented at contemporary music festivals in Poland and internationally\, including in the United States\, Slovenia\, Austria\, Denmark\, Italy\, Lithuania\, and Hungary. Her current research focuses on speculative approaches to sound and technology. \n  \nOuyang Mingshan: StringDance: Ripples\nStringDance: Ripples is an interactive audiovisual work for pipa and live electronics that explores the resonance between instrumental gesture\, sound processing\, and real-time visual transformation. Inspired by the tactile imagery and sonic metaphors of Bai Juyi’s poem The Song of the Pipa Player\, the work translates poetic descriptions of motion\, density\, and contrast into a contemporary audiovisual language. The pipa performance serves as the primary sonic material. Its vibrations\, resonances\, and transient articulations are analyzed in real time and mapped onto a projected visual architecture structured around the metaphor of the string. A four-string visual system corresponds to distinct frequency bands of the instrument\, each exhibiting its own frequency-dependent motion behavior. All strings share a unified monochromatic luminance palette\, while brightness remains fixed according to their spectral roles\, allowing motion—rather than color—to articulate differences between low-frequency resonance and high-frequency detail. Audio features shape the visual behavior through a tightly coupled mapping system: amplitude controls oscillation range\, frequency determines cycle density and forward motion\, and spectral distribution defines the relative spatial presence of each visual string. This approach renders sound as visible energy\, emphasizing waveform motion and temporal flow rather than representational imagery. The electronic layer extends the acoustic material through real-time processing techniques including granulation\, transient enhancement\, spectral diffusion\, and temporal extension. These processes evoke poetic imagery—rushing rain\, falling pearls\, gliding birdsong\, constrained springs\, and moments of rupture—while a stretched and diffused poetic recitation forms a non-semantic textual ambience. The work unfolds in five sections\, each corresponding to a poetic line and articulated through distinct sonic and visual behaviors. Through the integration of audio-analysis–driven visuals\, live electronic processing\, and poetic reference\, StringDance: Ripples invites the audience to experience the pipa’s internal energy as both audible and visible motion. \nAbout the artist\nOuyang Mingshan is a composer and electronic music artist working with electroacoustic music and interactive audiovisual performance. She received a B.A. in Music Design and Production from the Shanghai Conservatory of Music and an M.A. in Electronic Music Composition from Hanyang University\, and is currently pursuing a Ph.D. in Electronic Music Composition at Hanyang University. Alongside her artistic practice\, she has worked as a composer and producer in the game industry. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-1-4/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, 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:20260531T091000
CREATED:20260421T185112Z
LAST-MODIFIED:20260511T142721Z
UID:10000181-1778670000-1778693400@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Fixed Media | Program Overview\nPerseverance: An Artist Rendering\nMikel Kuehn \nThe Archival of Memory in Skin\nJoan Tan \n#paris\nTaito Fushimi \nAsymmetric Stamina\nAndreas Weixler \nCHAOTIC ITINERANCY\nWonseok Choi \nCorrosion Chamber\nHector Bravo Benard \nDew\nTom Bañados Russell \nFully Automated Luxury Music (selected tracks)\nFelipe Tovar-Henao \nLein\nKim Hedås \nOn the transparency of seeing through\nSean Peuquet \nThe Eternalist Paradox\nJuan Carlos Vasquez \nUnwritten Glow\nWen-Chia Lien \nVox Dei\nTomás Koljatic S. \nWhale Song Stranding\nDavid Nguyen \nWhere am I in the Universe?\nHanae Azuma \nDroplet\nJong Gyun Kim \n  \nAbout the pieces & artists\nMikel Kuehn: Perseverance: An Artist Rendering\nIn late February of 2021\, I was astonished to discover that NASA made several raw recordings of the recently landed Mars 2020 Perseverance Rover available to the public. Inspired by the first ever recorded (atmospheric) sound from another planet\, I began fantasizing about what the sonic environment of Mars might be like. This piece was constructed solely from four recordings capturing the sounds of the Martian wind\, the rover driving\, the rover’s mechanical parts (dust blower and various moving components)\, and the laser shots used to examine the properties of rocks. One additional recording was used: the inflight noise of the heat rejection fluid pump (recorded through the mechanical parts since there is no actual sound that propagates thought the vacuum of space). These minimal source sounds were then processed\, spatialized\, and combined/expanded into various suggestive textures. The result is my “artist rendering” of a fantastical narrative of the Rover’s journey though the sonic landscape of Mars. Its title is also a nod to the perseverance within each of us as we learn to navigate through the global pandemic. Perseverance: An Artist Rendering opens with an imaginary camera zooming from deep space onto the lonely flight of the spacecraft as it sets up for entry into the Martian atmosphere\, then lands. In the short sequence immediately following\, most of the source sounds that are used to build the piece are exposed in context with the work’s formal narrative. From this moment on\, the journey moves from fairly literal to fictional\, even absurd\, as the rover drives though multiple sonic terrains such as a “machine” sequence\, a “thunderstorm\,” then encounters various “creatures” as it continues on its strange journey and eventual death. \nAbout the artist\nThe music of American composer Mikel Kuehn has been described as having “sensuous phrases… producing an effect of high abstraction turning into decadence\,” by New York Times critic Paul Griffiths. He has received awards from the Barlow Endowment\, the Chicago Symphony\, Composers\, Inc.\, the Copland House\, the Destellos Competition on Electroacoustic Music\, the Alice M. Ditson Fund\, the Flute New Music Consortium\, the Fromm Music Foundation\, the Guggenheim Foundation\, the League of Composers/ISCM\, and the Ohio Arts Council. Kuehn is professor of composition at the Eastman School of Music where he directs the Electroacoustic Music Studios @ Eastman (EMuSE). mikelkuehn.com \n  \nJoan Tan: The Archival of Memory in Skin\nI am a conflux of cultures — shaped by environments and circumstances I do not fully understand. A living juxtaposition of beliefs\, a contradiction of behaviours. An oxymoron. I’m learning to hold all of these parts together. The piece is built from sound fragments that remind me of childhood: Hokkien soap operas and theatre shows my grandma watched\, the voices of children at the playground where I once used to play\, the creaking of old treadle sewing machines\, the static of ageing radios\, the ticking of analogue clocks\, the English news on TV at 8pm usw. These unlikely combinations of sounds flitter between one another\, at times dissonant\, jarring even\, but always coexisting. When the physical world inevitably fades\, I hope their voices will still remain. \nAbout the artist\nJoan Tan Jing Wen (born 21 April 2000) is a Singaporean composer currently based in Cologne\, Germany. Her recent works places attention\, perception and the fallibility of memories at the forefront of her compositions. She is fascinated by how attention constructs and distorts one’s perceptions\, and shapes one’s entire experience\, both in music and in everyday lives. She believes that every sound triggers a sensory response\, engages ones imagination and evokes emotions through associations. Recognisable sound sources are distorted in her works\, leaving behind crafted gestures and faint memories of what they once were. \n  \nTaito Fushimi: #paris\n#paris is a piece developed during a one-month stay in Paris. It uses audio data circulated on social media and associated with specific locations\, treating these recordings as the environmental sounds of those places. The collected audio is processed through AI learning and generation\, and subsequently recomposed to form the final sound composition. On social media platforms\, cities are primarily consumed as visual objects. On platforms such as Instagram\, on-site sound environments are often replaced by trending music or narration\, and are intentionally muted or edited. As a result\, these audio elements begin to function as urban soundscapes formed within media\, distinct from those of the physical city. This work applies this approach to representations of Paris on social media. By presenting Paris as an auditory experience composed of multiple\, overlapping layers mediated through digital platforms\, the work explores the relationship between sound circulating in digital space and the city\, and offers a reconsideration of how contemporary urban environments are perceived. \nAbout the artist\nTaito Fushimi. Born in Aichi Prefecture in 2003. He is currently a fourth-year student in the Faculty of Policy Management at Keio University\, where he belongs to Akira Wakita Lab. \nHis practice focuses on sounds\, traces\, data\, and bodily sensations that are not treated as primary information within urban environments\, but are instead pushed into the background. Working across diverse media including installation\, sound\, materials\, and participatory works\, he recontextualizes elements that exist within the city yet are processed as noise. Through his works\, he seeks to reconsider how the city is perceived. \n  \nAndreas Weixler: Asymmetric Stamina\nThe electroacoustic multichannel composition was created during a Composer-in-Residence at the VICC – Visby International Composers Centre in Sweden in 2025 in Studio Alpha. All sounds were recorded on the island of Gotland. Studio recordings of electric guitar and voice processed in real time form a fundamental musical framework of the composition. A special source of inspiration were the weekly gatherings of automobile enthusiasts every Wednesday at the harbor of Visby. Carefully restored vintage cars\, American cruisers\, and newly modified vehicles – all equipped with powerful V8 engines\, even a motorcycle. These deep resonant sounds became a central element of the sonic world\, contrasted by the presence of young car posers noisily circling through the night. This urban soundscape stood in striking opposition to the dramatic cries of the seagulls and the creaking of the floating piers in the Baltic Sea harbor. Production tools have included Pro Tools with plugins such as GRM SpaceGrain\, Sound Particles Brightness Panner\, R360 surround reverb\, Seventh Heaven 5.1\, Acon Multiband Dynamics\, and Stratus Reverb 7.0\, as well as Max programming for multichannel live processing\, including granular synthesis\, spectral delay\, FFT filtering\, ring modulation\, and FFT freeze reverb. Credits: Field Recordings: Author2\, Author1 Voice: Author2 Composition\, electric guitar & real-time Processing (Max): Author1 The creation of this work was supported by The Swedish Arts Grants. \nAbout the artist\nAndreas Weixler\, born 1963 in Graz\, Austria\, is a composer for computer music with an emphasis in intermedia realtime processing. He is teaching at the mdw Vienna\, InterfaceCulture in Linz and serves associate university professor at the CMS – computer music studio of Anton Bruckner University in Linz where he initiated the intermedia concert hall the Sonic Lab. Studies of contemporary composition at KUG in Graz\, Austria with diploma by Beat Furrer\, completed by international projects and residencies. \n  \nWonseok Choi: CHAOTIC ITINERANCY\n‘CHAOTIC ITINERANCY’ is a power electronics piece realizing harsh noise and glitch textures. Simple signals pass through an effects chain aimed at heavy distortion to gain saturated textures. Here\, they lose their original forms and are rebuilt into new ones. The listener perceives the deconstructed sound and its remaining essence simultaneously. As the processing shifts\, the listener is placed right in the middle of the distorted sounds’ itinerancy. Three sections themed ‘Accumulation’\, ‘Mutation’\, and ‘Derivation’ form chaotic textures using different methods. They share a goal of presenting fragmented sensations. Yet\, because the methods differ\, the area where itinerancy is felt and the character of the textures become distinct. Through this process\, I sought to find possibilities in excessively damaged materials. I also intended to sonically map this itinerancy by controlling methodologies and detailed elements. \nAbout the artist\nWonseok Choi (b. 1999) is a composer who pursues music situated at the boundaries of genres and media. In the realm of electronic music\, he constructs sounds using signal distortion and degradation as primary materials\, while in the acoustic realm\, he focuses on works that embody post-minimalism and alt-classical styles. His works have been presented by the Korea Electro-Acoustic Music Society (KEAMS)\, and he is currently pursuing a Master’s degree in Electroacoustic Music Composition at Hanyang University. \n  \nHector Bravo Benard: Corrosion Chamber\nThis composition integrates computer-generated sounds with recordings of struck and bowed metal plates. Over time\, these materials are transformed\, recursively processed\, and spatially projected within an immersive environment surrounding the listener. As the piece unfolds\, the sonic textures grow progressively denser and more chaotic\, gradually distorting and ultimately destroying their original source. The title Corrosion Chamber evokes devices used to test the resilience of metals exposed to harsh conditions over time. It also alludes to metaphorical “chambers\,” such as those of government institutions\, where the original intent of laws and policies can be eroded and twisted to serve power at the expense of the public good. It also suggests the decay of rational thought within social-media echo chambers and through the careless use of AI tools. The piece was originally produced in 7th order Ambisonics. \nAbout the artist\nHector Bravo Benard. Originally from Mexico City\, he studied philosophy and music at the University of Victoria (Canada)\, and later at the Xenakis Centre (France)\, the Institute of Sonology and the Royal and Rotterdam Conservatories (Netherlands)\, the National Autonomous University of Mexico\, the University of Washington’s DXARTS Center (USA)\, and the University of Birmingham (UK)\, where he received his Ph.D. He composes sound-based music for acoustic instruments\, live electronics\, and fixed media\, with a focus on timbral and spatial elements\, and natural phenomena such as non-linear dynamical systems. Some of his main teachers over the years include Agostino Di Scipio\, Julio Estrada\, Scott Wilson\, Clarence Barlow\, Paul Berg\, Gilius van Bergeijk\, René Uijlenhoet\, Gerard Pape\, Carla Scaletti\, Michael Longton\, Christopher Butterfield\, Andrew Schloss\, and Alex Dunn. His works have been presented internationally at events such as ICMC\, BEAST FEaST\, MA/IN\, SEAMUS\, Gaudeamus\, NYCEMF\, Sonorities Belfast\, Espacios Sonoros\, ACMA\, FIMNME\, Sound/Image London\, and the Kyma International Sound Symposium. He currently lives in the Netherlands and Germany\, working as an independent artist\, researcher\, and music software developer. \n  \nTom Bañados Russell: Dew\nDew is a concept piece built around a simple but flexible process that allows for great musical expression and freedom depending on the situation. It can be set up for a large variety of speaker setups and durations. The concept is based on a Haiku by Kobayashi Issa: This world of dew is a world of dew\, and yet\, and yet It focuses on change through repetition\, impermanence and the complex being built around the simple. While the piece could theoretically last for ever\, it must eventually end. \nAbout the artist\nTom Bañados Russell is a Chilean composer and electronic music performer. They completed a bachelor in composition at the PUC Chile\, with a following Master’s degree in the HMTM-Hannover in 2026. Their most recent work has focused on duos between an instrumental musician and live electronics. Their music has been performed by a variety of groups at festivals such as Klangbrücken and Impuls Academy\, by performers such as the Elision Ensemble. Among other accolades\, they received the Scholarship for Musical Excellence of the PUC and the Lower Saxony Scholarship for Innovative Composition. \n  \nFelipe Tovar-Henao: Fully Automated Luxury Music (selected tracks)\nTrack selection from the upcoming album\, “Fully Automated Luxury Music”: 3. caprice 6. waltz 8. nocturne Fully Automated Luxury Music (F.A.L.M) is an open-source\, generative music album. The music is written as\, and generated through\, stochastic algorithms—probabilistic\, rule-based processes designed to produce finely structured yet potentially infinite variants of a musical output\, in the form of audio files. The code is end-to-end (E2E)\, meaning it generates and assembles the entire album from scratch—in other words\, it’s a fully reproducible and parameterized work. This album serves primarily as a proof of concept for open-source music—a still recent and under-explored compositional practice (see\, for instance\, Pierre Cusa AKA Pure Code’s Ambient Garden Album)—and as a reflection on recent developments in AI automation\, what they mean for the future of artistic practice\, and how human expression can remain central to algorithmic design. The title is a wink and nod to Aaron Bastani’s popular book\, “Fully Automated Luxury Communism: A Manifesto”\, which offers a cautiously optimistic\, though increasingly unlikely\, utopian vision of technology’s impacts on society. \nAbout the artist\nFelipe Tovar-Henao is a US-based multimedia artist\, developer\, and researcher whose work explores computer algorithms as expressive tools for human creativity\, cognition\, and pedagogy. His music is often motivated by and rooted in transformative experiences with technology\, philosophy\, and cinema\, and it frequently focuses on exploring human perception\, memory\, and recognition. As a composer\, he has been featured at a variety of international festivals and conferences\, including TIME:SPANS\, the International Computer Music Conference\, the Mizzou International Composers Festival\, the Ravinia Festival\, the New York City Electroacoustic Music Festival\, WOCMAT (Taiwan)\, CAMPGround\, the Electroacoustic Barn Dance\, CLICK Fest\, the SCI National Conference\, the SEAMUS National Conference\, the Seoul International Computer Music Festival\, CEMICircles\, IRCAM’s CIEE Summer Contemporary Music Creation + Critique Program and ManiFeste Academy\, Electronic Music Midwest\, and the Midwest Composer Symposium. He has also been the recipient of artistic awards and distinctions\, including the SCI/ASCAP Student Commission Award and the ASCAP Foundation Morton Gould Young Composer Award. He is currently Assistant Professor of AI and Composition at the University of Florida. \n  \nKim Hedås: Lein\nLein is music that stems from the history of both organ music and electroacoustic music. Although these two fields have followed different paths through history\, they share some similarities\, not least through experiments that explore and expand both space and time. By listening backwards\, certain lines of origin can be transferred from the past to the present\, sometimes clear and recognisable\, sometimes distorted and fragmented. Microscopic units of rhythm form polyphonic lines as well as alloys of sound\, dynamically connecting what was previously unconnected. Lein is a multichannel fixed-media piece that has been performed at concerts and festivals in Sweden\, Germany and at New York City Electroacoustic Music Festival 2025. In June 2025\, Lein won two prizes at the international acousmatic composition competition at the Weimarer Frühjahrstage Festival in Germany: Second Prize and the Audience Award. \nAbout the artist\nKim Hedås\, born 1965\, Swedish composer and researcher\, PhD\, Professor of composition at the Royal College of Music in Stockholm (Kungliga Musikhögskolan) and a member of the Royal Swedish Academy of Music (Kungl. Musikaliska Akademien). \n  \nSean Peuquet: On the transparency of seeing through\nR. Murray Schafer pointed out in 1977 that our soundscape is increasingly lo-fi\, often the sound of traffic or\, especially at the Atlantic Center for the Arts where this piece was composed\, planes. While quiet is harder to come by\, there are wonderful new sounds too\, like the spray-paint can clicking of a hard-disk failure or powering on a belt sander. And yet\, we increasingly fetishize a return to not just natural soundscapes\, but the natural. Once we frame nature as being different (as a thing to return to)\, reality becomes an appearance of itself— obfuscating the naturalism of architecture\, pharmaceutics\, and software engineering under a guise of transparency. Are we ourselves not the nature to which we desire to return? In the “broken” appearance of this composition’s soundscape\, perhaps we can hear ourselves in relation to the natural world as\, echoing William Carlos Williams\, “touched but not held\, more often broken by the contact.” \nAbout the artist\nSean Peuquet is a composer and educator. He presents his work regularly at national and international venues for contemporary art and music such as ICMC (Limerick\, Daegu\, Shanghai\, Utrecht\, Ljubljana\, Belfast)\, SMC (Cyprus)\, NYCEMF\, TIES (Toronto)\, KEAMS (Seoul)\, Sines and Squares (Manchester\, UK)\, SEAMUS\, SCI\, EMM\, VU Symposium\, and more. In 2022\, Sean’s piece “Plane of Slight Elevation” (2021) was awarded Best Music: Americas by the ICMA. He has received numerous commissions for concert music\, installations\, and artist workshops at venues including Communikey (CMKY)\, The Ellie Caulkins Opera House\, and Museum of Contemporary Art (MCA) Denver. In 2020\, Meow Wolf commissioned Sean to compose an immersive and generative music and sound installation as part of their permanent Denver exhibition space\, Convergence Station\, opening to the public in 2021. Sean has been artist-in-residence at the Atlantic Center for the Arts in New Smyrna\, FL and ART 352 in Fort Collins\, CO. Sean is Dean of Art + Design and an Associate Professor at Rocky Mountain College of Art + Design in Denver\, CO. Prior to becoming Dean\, he served as Chair of the Music Production department at RMCAD for 5 years. Between 2015 to 2020\, Sean was the Program Director and Lead Music Instructor for the Madelife Creative Accelerator program in Boulder\, CO. \n  \nJuan Carlos Vasquez: The Eternalist Paradox\n“The Eternalist Paradox” is an 8-channel acousmatic piece recorded with a chromatic button accordion and live electronics. It explores the paradoxical realm of eternalism\, where past\, present\, and future coexist. Through an intricate interplay\, a Max application implemented processes from recordings sourced from diverse eras of creation\, intricately woven into a singular texture. This repurposed musical journey challenges conventional notions of time and invites the audience to contemplate the profound interconnections within the ever-flowing river of existence. \nAbout the artist\nDr. Juan Carlos Vasquez (www.jcvasquez.com) boasts a remarkable trajectory as an award-winning composer\, video game researcher\, and academic. His creations\, ranging from spatial audio works to immersive interactive experiences and game art\, have resonated across continents\, being featured in over 30 countries spanning the Americas\, Europe\, Asia\, and Australia. Dr. Vasquez is currently an Assistant Professor in Computation and Design at Duke Kunshan University \n  \nWen-Chia Lien: Unwritten Glow\nUnwritten Glow is an Acousmatic piece that illustrates how memories return in elusive and shifting ways. The “glow” evokes the lingering fragments that surface within us when we are remembering\, an inner brightness that is gentle\, persistent\, and never fully graspable. Memory changes each time it resurfaces\, it may become blurred\, clearer\, softened\, or quietly altered. Sounds return in new shapes\, much like moments that reappear unexpectedly and never quite as they once were. This piece is not about a story\, but a space where subtle memories drift in and out\, inviting listeners to follow their own past and find their own version of the “glow” in the unfolding sonic world. This piece views memory as a living\, shifting presence rather than a fixed archive of experience. \nAbout the artist\nWen-Chia Lien is a Taiwanese composer and sound artist whose creative practice spans instrumental\, electroacoustic composition\, film scoring\, and experimental theatre. Her works often engage with social issues\, historical events\, and cultural inquiry\, seeking to integrate music and technology as a medium for dialogue and reflection between sound\, space\, and audience. Wen-Chia is currently pursuing a Master of Music at the University of Toronto. She earned her Bachelor of Music in Music Theory and Composition from the University of Taipei in 2024. In recent years\, she has delved into multimedia creation and electronic music. In 2025\, she participated in ilSUONO Contemporary Music Week. Her orchestral work\, Scars\, received Third Prize in the 2024 Composition Competition of the National Taiwan Symphony Orchestra (NTSO) and was premiered by NTSO. Her electroacoustic piece In Our Stomach was selected to perform at the 2023 C-LAB Sound Festival: Diversonics\, and she was a selected visiting artist for the C-LAB × IRCAM Communication Program in the summer of 2024. In 2023\, she was the music designer for Skin Box\, a theatre and dance production that was presented at the Taipei Fringe Festival. Her artistic work has been recognised with several awards\, including the 2024 Taiwan Ministry of Education Study Abroad Scholarship and the 2025 University of Toronto France–Canada Experience Award. \n  \nTomás Koljatic S.: Vox Dei\nVox Dei is a multichannel acousmatic musical composition inspired by the sounds of the popular Feast of the Virgin of Guadalupe of Ayquina. This traditional Catholic celebration takes place annually on the eve of September 8th\, bringing together thousands of pilgrims in the heart of the Atacama Desert (Antofagasta Region)\, Chile. Based on field recordings I made in 2023 and 2024\, the piece explores the fervor\, devotion\, and unique soundscape of this festival\, where music\, dance\, and faith intertwine in a collective experience of celebration and sacrifice. The sound material for the work was captured at different moments of the feast: songs and prayers of the pilgrims\, the brass and percussion bands that accompany the religious dances (playing disparate\, overlapping music at full volume in close proximity)\, the voices of those arriving after long desert pilgrimages\, and the climactic moment of the celebration when thousands of devotees sing “Happy Birthday” to the Virgin Mary. This exceptionally rich sonic material is not subjected to extensive electroacoustic processing. Instead\, it is deployed to create an immersive experience that transports the listener to the heart of this festival and invites us to reflect on the power of sound as a vehicle for spirituality. \nAbout the artist\nTomás Koljatic S. is a Chilean composer. After studying music and mathematics in his country\, he continued his higher education in composition at the Paris Conservatory (CNSMDP)\, where he studied with professors Frédéric Durieux (composition)\, Claude Ledoux (analysis)\, Denis Cohen (orchestration)\, Luis Naón\, Tom Mays\, and Karim Haddad (new technologies). Simultaneously\, he completed advanced training in music technology at IRCAM (Cursus 1). Currently\, he works as a professor at UC | Chile Faculty of Arts\, teaching courses in music analysis and history. \n  \nDavid Nguyen: Whale Song Stranding\nInflections as sound process to sound quality\nEmanating otherness of the\nSound quality to sound process from the reflective \nResulting in an immersive rhizome-like sound world of the\nomnipresent of the dream like and the very literal \nAs different zones are successive\, simultaneous\, above\,\nbelow\, before\, and after\, to neither rise nor sink but only\nfloat \nA longing as the friction\, disputes of the literal and\ndream-like \nAnd \nA persistence of a pulse\, heavy\, through the literal as a\nconstant movement and the abstract ingenuous stillness\, a\nsound world of the discursive and the narrative \nChiastic process and quality is undermined as the\nreflections and inflections recur in rounded proportions.\nThe immersive and form is only tangible through this\ninsistence that is perceived as a dream occurring in\nreal-time \nFiguratively\nWhale Song suggests\, quite literally\, uncertainty that is \nStuck between the discursive and the narrative\,\nThe moving streams/waves and the pure tones surrounding\nwithin\,\nStranding \nAbout the artist\nDavid Quang-Minh Nguyen is an audio engineer\, sound designer/re-recording mixer\, and composer of concert music. His current interests lie in composing acousmatic works that explore multi-channel loudspeaker expansion\, various types of sound spatialization\, and immersive audio. \n  \nHanae Azuma: Where am I in the Universe?\nAn acousmatic piece\, “Where Am I in the Universe?” for 8 channels\, is remixed from the 16-channel version (original\, 2017). It was inspired by the poem “Two Billion Light-Years of Solitude” by the Japanese poet Shuntaro Tanikawa (1931 – 2024). Most of the harmonies in this piece are adapted from standard chords on the sho\, a Japanese free-reed musical instrument. \nHere is the abstract/my interpretation of the poetry:\nTwo billion light-years must show how enormous the universe is. The Earth is just part of the universe. Human beings on this small planet are tiny things in the universe. We might feel so lonely if we think about ourselves in the huge universe. But the very last sentence “I suddenly sneezed” makes me think about our real life and the comparison between the reality we face and the universe we could think/imagine. (Reference: TANIKAWA\, Shuntaro\, translated by William I. Elliot and Kazuo Kawamura\, (2008)\, “Two-Billion Light-Years of Solitude” SHUEISHA Inc.) \nThis poem also reminds me that I sometimes feel overwhelmed that I am just one of the people on Earth. I sometimes feel fear that I might be the only person in the world/the universe because nobody can see in my mind. On the other hand\, I know I am living surrounded by people. I’m trying to show this comparison and the solitude that people might have in this piece. \nAbout the artist\nHanae Azuma is a composer from Tokyo\, Japan\, completed both her BM and MM at Tokyo University of the Arts\, Department of Musical Creativity and the Environment. During her studies in Japan\, she mainly concentrated on the relationship between music and other visual/performing arts such as dance and films and has been collaborating with contemporary dancers on various projects as a composer. She also completed her MM of music technology at New York University in 2014. Her works have been presented at music festivals and concerts in the United States\, Japan\, Korea\,Taiwan and so on. She is currently an academic fellow at Acoustic Lab\, Tokyo University of the Arts. \n  \nJong Gyun Kim: Droplet\nThis work is an artificial ambient soundscape centered on the sonic textures of water droplets. By integrating actual recordings of falling water with textures reconstructed through heterogeneous materials such as PET bottles\, the piece juxtaposes natural and synthetic audio elements. It aims to capture the organically evolving rhythms and textures of liquids\, while establishing a three-dimensional sense of perspective within the soundscape through the manipulation of auditory distance and variations in textural density. \nAbout the artist\nJong Gyun Kim is a South Korean composer specializing in electronic music. He earned his undergraduate degree from Senzoku Gakuen College of Music under Takeyoshi Mori\, transitioning from a classical music background. His artistic portfolio includes presentations at CCMC in Japan\, ICMC and NYCEMF. Currently\, he is continuing his research and composition as a Master’s student under Richard Daniel Dudas at the Graduate School of Music\, Hanyang University. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-1-3/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, 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:20260531T091000
CREATED:20260421T184536Z
LAST-MODIFIED:20260428T110819Z
UID:10000180-1778583600-1778607000@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Fixed Media | Program Overview\nSeething Field: Imprint\nSam Wells \nContours of Anxiety\nZihan Wang and Wenxin Zhou \nDreams of the Jailed Refugee\nRobert Sazdov \nflusso_sonoro_1\nSebastiano Naturali \nGalactic Railroad\nYunze Mu \nIdeale Landschaft Nr. 6\nClemens von Reusner \nIncarnations\nYoungjae Cho \nInformation Body Horror\nPrimrose Ohling \nJardín de Luz\nIván Ferrer-Orozco \nNon è un atlante di traiettorie algo-siderali\nAndrea Laudante\, Paolo Montella and Giuseppe Pisano \nNor’wester\nTeerath Majumder \nOcean Reflection\nYu Qin \nrain contained\, rain contains…\nWei Yang \nSAW\nGabriel Araújo \nWild Fruits: Epilogue\nJames Harley \nInside the metal plate\nRaul Masu and Francesco Ardan Dal Ri \n\nAbout the pieces & artists\nSam Wells: Seething Field: Imprint\nSeething Field: Imprint is a turbulent interplay of memory and resonance\, written for seventh-order ambisonics fixed media. The work unfolds through the filtering\, modulation\, distortion\, and reverberation of a time-stretched recording of Jack Kerouac. Using ambisonic impulse responses for the Chapel of the Four Chaplains\, located in the basement of Temple Performing Arts Center\, Seething Field: Imprint harnesses the Chapel’s reverberant and sonic characteristics\, a space dedicated to four chaplains who sacrificed their lives on the USS Dorchester—a ship Kerouac once served on but was recalled from before its tragic sinking. The source material for Seething Field is a brief recording of Kerouac speaking “The Ocean\,” time-stretched 512 times from about 1.5 seconds to over 10 minutes. This slow unfolding of speech provides the formal and harmonic structure of the work. The stretched recording was then recursively recorded through the Chapel’s reverb\, a process akin to Alvin Lucier’s I Am Sitting in a Room\, revealing and reinforcing the shared resonant frequencies of Kerouac’s voice and the Chapel dedicated to the Four Chaplains. The title draws from the closing lines of Kerouac’s The Sea is My Brother\, where ‘the sea stretched a seething field which grew darker as it merged with the lowering sky.’ Seething Field mirrors this seascape\, embodying the darkness\, expansiveness\, and tension of turbulent times\, past and present. \nAbout the artist\nSam Wells (Philadelphia) is a musician and artist whose work explores breath\, space\, and embodiment across acoustic\, electronic\, and multimedia forms. As trumpeter and improviser\, he has performed internationally with ensembles including Aeroidio\, Miller/Vidiksis/Wells Trio\, and SPLICE Ensemble. His compositions have been performed widely in the U.S. and abroad. Wells is a Cycling ’74 Max Certified Trainer and an Assistant Professor of Music Technology and Composition at Temple University. \n  \nZihan Wang and Wenxin Zhou: Contours of Anxiety\nThis work draws inspiration from my own experience and understanding of anxiety\, attempting to express it through immersive sonic work. I perceive this emotional state as an ever-shifting form: evoked\, diffused\, released\, and finally calmed. It should be clarified that this is not designed according to rigorous psychological science but rather leans towards an expression of my personal emotional experience. Throughout the piece\, characteristics of this psychological journey: suppression\, constraint\, and release are mapped onto frequency density\, timbre\, texture\, and the spatial tension between acoustic elements. From a compositional perspective\, timbre spatialisation functions as the primary technical and expressive strategy. This involves decomposing sound according to its spectral characteristics and distributing these components across distinct spatial locations (Normandeau\, 2009). Within this framework\, ambisonics operates as the spatialisation method\, whereby its manipulable parameters generate distinctive timbral and spatial effects. These elements collectively construct the work’s internal emotional narrative\, integrating spatial parameters as essential compositional materials rather than superimposed effects. \nAbout the artists\nZihan Wang (07/12/2000) 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). Wenxin Zhou is a composer specializing in electroacoustic and interactive media music. She holds a Bachelor of Composition and Music Production from the Australian Institute of Music and graduated with a Distinction in the Master of Composition for Electroacoustic and Interactive Music from the University of Manchester. Her creative practice focuses on exploring the transformation and fusion between real-world sounds and electronic soundscapes. \nWenxin Zhou \n  \nRobert Sazdov: Dreams of the Jailed Refugee\n‘Dreams of the Jailed Refugee’ (2023-25) is the final work of the ‘Dreams of the Jailed’ trilogy. This final instalment extends the trilogy’s engagement with statelessness and incarceration\, attending to the psycho-emotional toll borne by refugees subjected to carceral regimes — both literal and systemic — under global structures of war\, famine\, and economic precarity. Composed for fixed media\, the work utilises the acousmatic form to foreground disembodied sonic presences\, suggesting the persistence of memory and agency even under conditions of profound erasure. The absence of visual referents invites the listener into a mediated interiority — a sound world shaped by fragmented dreams\, longing\, and dislocation. Dreams of the Jailed Refugee proposes a mode of listening that is politically charged and ethically attuned. It seeks to destabilise hegemonic narratives of migration by offering a counter-sonic space in which refugee subjectivities are not merely represented\, but sonically enacted. In doing so\, the work aligns with broader decolonial and posthumanist currents in contemporary sonic arts practice\, where listening becomes an act of recognition and resistance. \nAbout the artist\nRobert Sazdov is a composer\, music producer\, and academic. He is currently Associate Professor at the University of Technology of Sydney (UTS) in Music and Sound Design\, where he also served as Head of Music and Sound Design (2018-2024). Sazdov’s compositions and productions have received notable prizes and awards from various organizations and institutions\, including: Daegu International Computer Music Festival\, International Composition Competition Città di Udine\, ‘Pierre Schaeffer’ Competition\, Musica Nova Competition\, Sonic Arts Awards\, Bourges International Competition\, Just Plain Folks Music Awards\, and the Audio Engineering Society. Sazdov’s music has been released by Capstone Records\, Vox Novus\, Accademia Musicale Pescarese\, Society for Electroacoustic Music\, Australasian Computer Music Association\, Sonic Arts Awards and SoundLab Channel. He has undertaken residencies at the Erich-Thienhaus-Institue\, Detmold University (2012)\, The Sonic Lab\, Sonic Arts Research Centre\, Queen Mary University (2007)\, and at SPIRAL – University of Huddersfield (2023). He was also a Visiting Research Fellow at Applied Psychoacoustics Laboratory – University of Huddersfield (2023)\, Institute of Electronic Music and Acoustics – Graz (2023)\, and The Sonic Lab\, Sonic Arts Research Centre\, Queen Mary University (2023). \n  \nSebastiano Naturali: flusso_sonoro_1\nflusso_sonoro_1 is a fixed-media electroacoustic composition that explores sound as a fluid\, continuously transforming entity\, oscillating between density and transparency. The work invites the listener to perceive sound both as an uninterrupted flow and as a succession of interruptions\, turbulences\, and suspensions that shape its trajectory. The piece reflects on temporal perception and memory through the interaction between microsonic detail and large-scale form. Recorded and synthetic sound materials are intertwined and progressively transformed\, emphasizing the tension between natural sound qualities and electronic abstraction. Rhythmic structures derived from iterative transformations and masking processes generate evolving layers that gradually increase in complexity and density. A central section focuses on sustained textures in the mid–low frequency range\, combining stretched vocal layers and processed high-frequency elements to create a suspended sonic environment. In the final section\, earlier rhythmic materials re-emerge and are subjected to global processing techniques\, including digital silence and spectral degradation. The work was composed using Ableton Live and Max for Live tools. It is presented as a stereo fixed-media piece\, with a quadraphonic version also available. \nAbout the artists\nSebastiano Naturali (born 15 February 2006) is an Italian composer and guitarist working in the field of electroacoustic and electronic music. He is currently pursuing undergraduate studies in Electronic Music and Classical Guitar at the Conservatory of Potenza. His work focuses on sound transformation\, spatial audio\, and practice-based artistic research using digital music systems. \n  \nYunze Mu: Galactic Railroad\n“Merry meet\, merry part.” At the end of a 4-year relationship\, I started to think about why people meet if we’ll eventually separate and what the true happiness or the final destination of everyone is. I found no answer. However\, this piece is somehow the record of my thinking during that period. This piece was inspired by the book “Night on the Galactic Railroad” by Japanese author Kenji Miyazawa. In my imagination\, the Milky Way is full of steam trains. They meet\, run together\, and separate eventually. None of them knows where the destination is\, they just keep running toward somewhere\, restlessly. Does it matter if you know where the destination is? Maybe not. Are all the experiences more valuable than the end? Maybe so. The only thing I know is\, I’ll always keep running just like those steam trains\, no matter what. \nAbout the artist\nYunze Mu is a composer\, sound artist and music programmer based in Louisville\, Kentucky. He currently teaching at University of Louisville\, School of Music as Assistant Professor. He received a DMA (Doctor of Musical Arts) in Composition at the College-Conservatory of Music\, University of Cincinnati\, where he studies computer music with Mara Helmuth\, teaches introductory courses in electronic music\, and works on his web-based music application\, Web RTcmix. Mu holds a bachelor’s degree in music composition from Central Conservatory of Music\, Beijing\, China. His music\, papers\, and VR installations have been shown and performed at numerous events and conferences\, such as NIME\, ICMC\, SEAMUS\, NYC Electronic Music Festival\, and venues in China\, Poland\, France\, United States\, and Korea. \n  \nClemens von Reusner: Ideale Landschaft Nr. 6\nThe manifold real (sound)-landscapes have been themes in the arts again and again over the course of time. Special approaches can be found in so-called “ideal landscapes”\, namely in European landscape painting of the 17th and 18th centuries. The 8-channel electroacoustic composition “Ideal Landscape No. 6” is inspired by these constructed\, calm but non-real landscapes of European landscape painting as well as by an etching by the German artist N.N. It is the 6th sheet of his cycle “Variations in G”\, which has no title of its own. Although the composition is not about the “setting to music” of a graphic model\, there are structural similarities between the two works. The sound material is abstract sounds produced with synthesisers and as well calculated with Csound\, a programming language for sound synthesis\, which were created through additive and subtractive sound synthesis. \nAbout the artist\nClemens von Reusner is a composer based in Germany. His works of electroacoustic music and radiophonic audio pieces focus equally on purely electronically generated sounds as well as sounds found in special places and processed in the studio. He is a member of the “Academy of German Music Authors” and he has received national and international awards for his compositions. They are performed worldwide at renowned international festivals of contemporary music. \n  \nYoungjae Cho: Incarnations\nThis work is the first piece in a series that employs higher-order Ambisonics\, focusing on the creation of an immersive environment through 3D audio. The composition is based on field recordings captured using Ambisonic microphones of various orders\, which serve as the primary material for spatial composition. The work explores the relationship between recorded soundscapes and temporal contexts by constructing a narrative structure that connects imagined past events\, present bodily experiences\, and speculative future occurrences. Through this approach\, spatial sound is treated not only as an acoustic phenomenon but also as a medium for linking time\, memory\, and place within an immersive listening environment. \nAbout the artist\nYoungjae Cho (1990) is a composer based in Bremen\, Germany\, and Korea. His work includes solo and chamber music\, electroacoustic music\, and live electronics\, focusing on immersive spatial sound through multichannel audio systems. Presented at international festivals such as DEGEM\, ZKM\, ICMC\, and ORF Musikprotokoll\, his music received the Gold Award at the IEM & VDT Student 3D Audio Production Competition\, and he was an Artist in Residence at ICST Zurich. \n  \nPrimrose Ohling: Information Body Horror\nPrivileging patterns of information over its instantiation is a promise first conceived of within the field of cybernetics and popularized through science fiction. Is disembodiment truly liberatory? Information Body Horror (IBH) was written to leverage the experience of having a body that is abstracted\, debated\, and legislated. Lived experience is twisted to force rhetoric and justify legislation\, displacing and endangering individuals and communities. IBH started with a claim of self-expression and agency through an improvised recording on modular resulting in ‘lived material’. The artist finds that improvisation with any instrument is an embodying experience where their expression is in its purest form. How much can you alter recordings before they lose their original meaning? Should you alter them to begin with? The artist not only manipulates recordings but forces a layer of digital alterations. The use of sampling obscures source material in the meso timescale and a form of algorithmic micro-sampling through pitch shifting results in violent granular fractalizations. The act of sound design and composition becomes a reenactment of how external discourse overwrites lived reality. The stems are then mixed to 8 channels in Max/MSP reflecting the propagation of external discourse through institutional channels. The creative decisions in mixing are to ensure the abstracted material is engineered to outperform and silence the lived material. This stage is where IBH is codified and written to memory. Finally\, abstractions are instantiated through 8 speakers\, a setup largely reserved for professional environments\, hindering public engagement. However\, those who can listen will have differing experiences depending on where they are in the listening environment. The setup surrounds listeners\, it sonically reaches out and presses on them\, observing them. To call disembodiment in this case liberatory dismisses the lived and emboldens the abstracted material. I have found through this process that a separate disembodiment\, of self by self\, is impossible. It has only spoken to the complexity of selfhood. In the first section let the dense textures sink in as they swirl and oscillate in space. Secondly\, synthesized voices will call out to you from their digital void. In the final section\, sounds reflect ocean waves and wind\, natural patterns reclaiming space through digital noise. The textures eventually ease and lighten but this is not peace. It is endurance. The tides cycle. The winds change. They continue regardless. \nAbout the artist\nPrimrose Ohling b. 2002 is a musician\, multimedia artist\, and coder. She is drawn to rhythms\, textures\, and the dichotomy between improvisation and the precision of digital electronics. Her foundation is in jazz saxophone and improvisation. She continues to explore that side of her artistry\, letting it influence her work. She finds inspiration in reconstituting familiar sounds\, creating immersive and evolving soundscapes. Her music explores transformation\, inviting listeners into a fluid auditory experience. Recently\, her focus has been on modular synthesis\, where she utilizes digital modules and custom DSP algorithms\, adding further depth to her distinctive style. As a trans artist\, her work often engages with themes of embodiment\, bodily autonomy\, and the violence of abstraction. \n  \nIván Ferrer-Orozco: Jardín de Luz\nJardín de Luz (2021) is based exclusively on the Debris Project sound database\, comprising over 2\,000 samples. An algorithm using musical descriptors selects materials that are further developed through sampling and synthesis\, generating a new category of sounds termed hybrids. Conceived as a form of sonic gardening\, the work organises these materials within the acoustic space. Light operates as a metaphor for the listener’s disposition to listen\, and the garden as a heterotopic sonic space. \nAbout the artist\nIván Ferrer-Orozco (Mexico City\, 1976) is a composer\, electronic media performer and computer music designer. His music has been performed extensively in festivals and by ensembles from Mexico\, Spain\, Canada\, Argentina\, Ecuador\, Chile\, South Korea\, France\, Hong Kong\, Vietnam\, Japan\, USA\, Germany\, Ireland\, Portugal\, Italy\, and Cyprus. He has been artist in residence at: Akademie der Künste Berlin\, Schleswig-Holsteinisches Künstlerhaus\, Residencia de Estudiantes\, Camargo Foundation\, MacDowell Colony\, Djerassi\, CMMAS\, Hooyong Performing Arts Centre\, ARTos Foundation\, Ibermusicas\, I-Portonus\, Conseil des Arts et Lettres du Québec\, among others. As electronic media performer he performs as soloist and as sideman with artists and ensembles from Spain and abroad. In 2019 and 2024\, the Mexican government appointed him to the Sistema Nacional de Creadores de Arte\, a national programme that awards outstanding artists from all disciplines. He was a member of Neopercusion\, Madrid based contemporary ensemble\, currently he is a member of Vertixe Sonora Ensemble and Synergein Project. He has been part of the Forms of Culture Research Group at the Study Programme in Critical Museology\, Artistic Research Practices and Cultural Studies of the National Museum and Arts Centre Reina Sofia. He has been awarded with the 2021 Best Music Award of the International Computer Music Association. \n  \nAndrea Laudante\, Paolo Montella and Giuseppe Pisano: Non è un atlante di traiettorie algo-siderali\nThis piece is neither an exploration of movement nor a calculated map. Instead\, it invites the listener to experience a sonic drift\, propelled by precise mathematical rules. Large sound masses govern the flow\, turning slowly with heavy inertia\, while sharper\, faster sounds cut through the space\, leaving vivid acoustic traces. The resulting soundscape is a complex web of intersecting paths. Musical fragments pulse rhythmically\, creating a changing geometry of sound that expands and contracts around the audience. Originally composed in High Order Ambisonics\, this work was forged collectively—through shared practices\, exchanged sounds\, and the unpredictable alchemy of collaboration\, allowing the music to evolve in ways no single mind could anticipate. \nAbout the artists\ntotaleee is a trio of composers of acousmatic music and laptop performers consisting of Giuseppe Pisano-Riise (1990)\, Andrea Laudante (1993)\, and Paolo Montella (1986). In their composition work they use immersive audio technologies to create fictional environments of plausible and impossible nature. This is done through the use of multichannel synthesis techniques\, physical modeling of room acoustics\, field recordings\, and feedback loops. The trio debuted with their first piece ‘Non è un compendio di Etologia numerico-digitale’ in 2023 and since then their works have been played in many different contexts including ICMC (2023 Shenzhen\, 2024 Seoul)\, Ircam (Paris)\, Sonosfera (Pesaro)\, ACMC (Sydney)\, Prix CIME\, WOCMAT (Taipei) and many more. They have also received awards such as the first prize at ISAC 2024 (International Sonosfera Ambisonics Competition)\, the Teresa Rampazzi Award at CIM XXIV and a Distinction per Category at CIME 2023. totaleee is the first stable project to emerge from Napoli Totale Elettronica [NTE]: an open and fluid composers’ society that embraces the collective electroacoustic works produced by affiliated artists from and/or based in Naples. Connected to the NTE collective are the DIY portable loudspeaker array VOLTA and the festival for multimedia arts Marginale. \n  \nTeerath Majumder: Nor’wester\nThe Bengali new year (mid-April on the Gregorian calendar) invariably brings with it violent storms near the Bay of Bengal. We call them Kal Baishakhi. They can wreak havoc on people’s daily lives\, damage crops\, cause floods\, and displace people. The suffering is considerable. Yet\, somehow\, knowing that these cataclysmic events are inevitable helps generate acceptance. We know what nature has in store for us\, the destruction it will cause; we also know it will pass. It is all part of the cycle. During a particularly difficult time of my life when I was reconciling with several grave losses\, the Kal Baishakhi and our acceptance of it was inspiring. It helped me see the bigger picture beyond the carnage\, the impermanence of everything\, and the strength in us to grieve and overcome loss. Nor’wester is a depiction of not just the dynamics of a storm but also our tumultuous experience of it. It is gradual and sudden\, momentary and eternal\, stationary and chaotic. These are some of the qualities that have been expressed in this piece through electronic timbres and spatialization. The piece was written using a range of generative processes that gave rise to complex timbres. The sounds were modeled using wavetable and granular synthesizers along with careful parameter randomization. No audio samples were used. The piece also explores different combinations of polyrhythmic patterns that fit within a fixed cycle length. Moving frequently between these combinations often creates a disorienting effect while maintaining a grid-like rhythmic quality. The sounds then went through first-order ambisonic encoding (mono\, stereo and granular). Ambisonic effects such as delay\, reverb and compression were applied during mixing. The ambisonic master was then decoded for octaphonic playback. \nAbout the artist\nTeerath Majumder is a Bangladeshi composer and technologist who works in interactive and immersive media\, computer music\, and sound design. He questions socio-sonic dynamics that are often taken for granted and reimagines relationships between participants through technological mediation. In 2025\, he created Do Not Feed the Robots\, a participatory concert involving a range of “interactive objects” and automatons. In the same vein\, his 2022 work Space Within fostered collaboration between audience members and featured musicians using his “interactive objects.” His collaboration with Nicole Mitchell resulted in the immersive sound installation Mothership Calling (2021) that was exhibited at the Oakland Museum of California. He composed and designed sound for Qianru Li’s immersive multimedia piece A Shot in the Dark (2023) that explored Asian-American identity in the face of anti-Black police violence with reference to the shooting of Akai Gurley in 2014. His compositions have been performed by Hub New Music\, Transient Canvas\, and London Firebird Orchestra among other ensembles. He often collaborates with dancers and filmmakers in various capacities and produces genre-bending electronic music for his studio projects. \n  \nYu Qin: Ocean Reflection\nOcean Reflection is a 22-minute sonic journey exploring the ocean as a vast system of hidden energy operating on temporal scales far beyond human perception. Drawing on field recordings from the North Sea—including both oceanic soundscapes and offshore drilling infrastructure—the electronics function as a structural\, time-based layer that is organically coordinated with the music through the piece. Sustained harmonic fields and slow-form processes in music evoke the ocean’s apparent calm and depth\, while industrial sounds gradually surface\, revealing human intervention not as an immediate rupture but as a long-term disturbance embedded within marine systems. Ocean Reflection invites listeners to reflect on scale\, time\, and the asymmetry between human activity and ecological response. \nAbout the artist\nYu (Hayley) Qin is a composer and improviser\, currently a PhD candidate at UC Irvine\, whose work weaves music\, dance\, and digital technologies into immersive\, interdisciplinary experiences. Drawing inspiration from marine environments\, human psychology\, and neuroscience\, her creations explore hidden energies\, human-nature interplay\, and collective imagination. Her works have been performed across North America and East Asia. \n  \nWei Yang: rain contained\, rain contains…\n“rain contained\, rain contains…” is a fixed-media piece exploring the close relationship between everyday objects and nature. Made from sounds of bottles\, tubes\, and rain\, it invites listeners to discover sonic connections and containment between the profound and the ordinary. Bottles and resonant tubes act as vessels of containment\, symbolically setting boundaries. Yet\, by performing them\, their distinctive sounds—clinks\, taps\, and resonances—uncover hidden textures and melodic fragments that break through the physical. Rain\, a fundamental element\, unifies the soundscape. While shaping the acoustic environment\, the rain also consists of drops\, each of which can be contained and has its own unique sonic profile. Through careful transformation and juxtaposition\, the piece highlights the shared granular qualities that allow bottle and tube sounds to seamlessly transform into rain\, and vice versa\, blending the domestic and the natural. This sonic alchemy explores how these elements “find and contain each other\,” fostering an “ecological listening” that reveals the deep interconnectedness of our everyday objects and the natural world. Various signal-processing techniques were employed to achieve a wide range of sonic materials and spatial transformations\, including granular synthesis\, filtering\, spherical-angular decomposition/recomposition\, a custom spherical-cap order upmixer\, a custom reverb with feedback delay networks\, and more. \nAbout the artist\nWei Yang is a composer/sound artist from China. He works with different media\, through which he often contemplates the body’s role in sound production\, sound in space\, as well as the integration of various data from the performance environment (reverberation\, light\, etc.). Wei composes both instrumental and electronic music\, and often incorporates various sensors and physical computing to build performative systems that allow dynamic interaction among different actors within the system. His works have been performed internationally at various events\, including the Darmstadt Summer Festival\, Salzburg Music Festival\, BEAST Festival\, NUNC!\, ICMC\, ISAC Sonosfera\, Tomeistertagung\, ORF Musikprotokoll\, the San Francisco Tape Music Festival\, SEAMUS\, Espacious Sonores\, Festival Atemporánea\, Nucleo Música Nova SiMN\, Sound Image Festival\, and Ars Electronica. \n  \nGabriel Araújo: SAW\nA hyperrealistic space of bees\, motors\, and sawtooth waves. The piece focuses on the commonalities of these sounds and explores the constant transformation of materials\, between the natural and the artificial\, the real and the impossible\, the biological\, the mechanical\, and the fantastical. \nAbout the artist\nGabriel Araújo. Composer\, multimedia artist\, and educator whose work bridges ecological\, technological\, and cultural models through sound\, video\, and transmedia pieces. He is Assistant Professor of Music Technology at Texas A&M University – Central Texas. Gabriel studied composition with Paulo Guicheney at the Universidade Federal de Goiás (Brasil)\, and obtained his master’s degree from the CNSMD de Lyon (France)\, where he studied with Michele Tadini and attended the classes of Martin Matalon and François Roux. He completed his DMA at the University of Texas at Austin under Januibe Tejera\, where he served as Assistant Intructor for the Experimental and Electronic Music Studio. ​ He received the Funarte composition prize from the Brazilian Ministry of Culture at the Biennial of Contemporary Brazilian Music\, the Rainwater Innovation Grant\, and was a finalist at Prix CIME/ICEM and MA/IN Awards. He has collaborated with performers such as PHACE Ensemble\, Vertixe Sonora\, HANATSUmiroir\, Line Upon Line Percussion\, the Orchestra of the National Opera of Lyon\, Soundmap Ensemble\, Atelier xx-21\, Olivier Stankiewicz\, Alice Belugou\, and have been featured at festivals such as MA/IN Festival (IT)\, Ars Electronica Forum Wallis (SWI)\, MUSLAB (ECU)\, SEAMUS (US)\, Lontano (BR)\, Plurisons (BR)\, CNMAT (US)\, Empreintes (FR)\, Electric LaTex (US)\, Festival No Conventional (Colombia).​ \n  \nJames Harley: Wild Fruits: Epilogue\nWild Fruits 5: Epilogue is an electroacoustic soundscape work from the Wild Fruits cycle\, begun in 2003. The piece includes spoken text taken from Wild Fruits by Henry David Thoreau\, recorded by Jim Bartruff\, and Pilgrim at Tinker Creek by Annie Dillard\, recorded by Anne-Marie Donovan. The sounds are all based on field recordings from various locations\, processed in the studio. Originally conceived as an 8-channel surround-sound work\, Epilogue uses material from the other works in the cycle\, treated in new ways. \nAbout the artist\nJames Harley is a Canadian composer teaching at the University of Guelph. He obtained his doctorate at McGill University in 1994\, after spending six years (1982-88) composing and studying in Europe (London\, Paris\, Warsaw). His music has been awarded prizes in Canada\, USA\, UK\, France\, Austria\, Poland\, Japan\, and has been performed and broadcast around the world. Recordings include: Neue Bilder (Centrediscs\, 2010)\, ~spin~: Like a ragged flock (ADAPPS DVD\, 2015)\, Experimental Music for Ensembles\, Drums\, and Electronics\, with Philippe Hode-Keyser (ADAPP CD\, 2022)\, Lithophonica\, with Gayle Young (Farpoint 2025) . As a researcher\, Harley has written extensively on contemporary music. His books include: Xenakis: His Life in Music (Routledge\, 2004)\, and Iannis Xenakis: Kraanerg (Ashgate\, 2015). As a performer\, Harley has a background in jazz\, and has most recently worked as an interactive computer musician. \n  \nRaul Masu and Francesco Ardan Dal Ri: Inside the metal plate\nThis 5.1 acousmatic work is entirely constructed from the resonant behaviour of a single metal plate\, activated through a set of physical and acoustic excitations. All sound material is generated via controlled feedback processes\, bowing\, mallets\, and additional excitation techniques that probe the material responses and instabilities of the plate. Feedback is not employed as an effect\, but as a generative mechanism\, where the plate\, transducers\, amplification\, and acoustic space form a dynamic system capable of producing emergent sonic behaviours. The resulting sounds do not represent the plate\, but rather make audible its internal activity\, thresholds of stability\, and variations in resonant response. The 5.1 spatial distribution places these sounds around the audience with the intention of situating the listener inside the resonant body itself. Through an immersive aural experience\, the work proposes a form of embodied self-perception\, in which listening is no longer external to the sound object but coincides with it: the audience does not listen to the plate\, but listens as the plate\, temporarily adopting its vibrational perspective. \nAbout the artists\nRaul Masu (1992) is Professor of Electroacoustic and Multimedia Composition at the Conservatories of Trento (Italy). He holds a PhD in Digital Media from Universidade Nova de Lisboa and adjunct faculty in Computational Media and Arts\, Hong Kong University of Science and Technology Guangzhou (China). His compositional practice includes works\, presented in festivals\, conferences\, concerts\, and performances in 10 counties. He has published approximately 70 papers in international venues in the fields of electronic music (NIME\, TISMIR\, Organised Sound\, Audio Mostly\, Sound and Music Computing) and interactive technologies (CHI\, DIS\, TEI). \nFrancesco Ardan dal Ri began his musical career as an electric guitarist and thereminist and continues to collaborate with artists on both regional and international scenes\, working in live performance contexts as well as in recording studios. Over time\, his interests have progressively shifted toward contemporary and experimental music\, with a particular focus on the creative possibilities offered by software-based systems and electronic instruments\, both commercial and self-designed. He earned degrees Electronic Music from the Conservatory of Trento with top marks. This trajectory led him to pursue a PhD at the Department of Information Engineering and Computer Science (DISI)\, University of Trento under the supervision of Prof. Nicola Conci\, focusing on artificial intelligence and deep learning applied to audio signals. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-1-2/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, 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:20260531T091000
CREATED:20260421T183941Z
LAST-MODIFIED:20260506T140231Z
UID:10000183-1778497200-1778520600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Fixed Media | Program Overview\nAxis of Frost\nLiuyang Tan \nVeil-Audiovisual performance with real-time motion detection by Media Pipe\nYiting Shao \nEbow Supernova\nCristiano Riccardi \nOkinawa Blue Note\, Recalled\nYerim Han \nQuantum Sphere & Sound Sympathy — Composed for Guzheng and Quantum Computing\nWeijia Yang \nThe Orphic Shimmer onto the 192 Steps\nWanjun Yang \nTranscendence: Performance without Presence\nJinwoong Kim \nTriangulation\nTalia Amar \nWhispers That Are Heard\nJingfan Guo \nLabyrinthe Souriant (Smiling Labyrinth)\nShih-Lin Hung and Ju An Hsieh \nEchoes of the dial\nYunpeng Li \nWithin the light cone lies fate ordained \nHaozhe Tan \nPyrography II \nLi Pengyun and Guo Jingfan \nInterwoven Realms: The Threefold Domain of Consciousness\nQing Ye and Yuxue Zhou \nTombeau de Barleau\nRaphael Radna \n  \nAbout the pieces & artists\nLiuyang Tan: Axis of Frost\nAxis of Frost is the fourth movement of the electronic music suite Four Seasons Soundscapes. Drawing inspiration from the microscopic dynamics of ice and snow\, the composer employs wind chimes\, gears\, and metallic collisions as primary sound materials. Through the interweaving of pulsating rhythms and howling cadences\, the work evokes a frigid soundscape of crystallizing snowflakes\, swirling ice particles\, and surging glacial undercurrents.\nThis piece is supported by the Music and Digital Intelligence Key Laboratory of Sichuan Province. \nAbout the artist\nLiuyang Tan is a graduate student in the Music Engineering Department of Sichuan Conservatory of Music\, where he studies electronic music composition with Professor Lu Minjie.He will begin his PhD studies at UC Santa Barbara in fall 2026. He is a member of EMAC (Electroacoustic Music Association of China). His research focuses on inter-media composition of electroacoustic music. His works have won prizes and been selected for presentation in international musical activities\, including MUSICACOUSTICA-HANGZHOU\, ICMC (Ireland\, China\, South Korea\, America\, Germany)\, China Computational Art Conference\, SOMI Electronic Music Marathon\, Earth Day Art Model\, the ArteSicenza Festival in Rome\, International Electronic Music Competition (IEMC\, Shanghai)\, SEAMUS\, New York City Electroacoustic Music Festival\, and Macao International Digital Intelligence Music Competition. \n  \nYiting Shao: Veil-Audiovisual performance with real-time motion detection by Media Pipe\nThis work employs real-time motion capture of the dancer to generate audiovisual elements in parallel. It is inspired by The Painted Veil by W. Somerset Maugham.\nI. Time and again\, a veil is woven around oneself\, until the original self is forgotten.\nII. The moment the veil is lifted comes only after a long and painful struggle.\nIII. Through repeated loss and searching\, one is left to wonder—beneath the veil\, is this the true self? \nAbout the artist\nYiTing Shao\, born in Hebei\, China\, in 2000\, Received a Bachelor’s degree in Violin Performance from Communications University of Zhejiang in China\, and completed a Master’s degree in Composition at Dankook University in Korea. Currently pursuing a Doctorate in Electro-acoustic and Instrumental Composition at Hanyang University.Work was presented at the 2025 International Computer Music Conference (ICMC) in Boston2025. Performer:XINRAN XU\,Liaoyang\, Liaoning Province\, China Xinran Xu is a dancer and choreographer trained in both street and contemporary dance. She graduated from Beijing Modern Music Academy and Dankook University. She won 1st Place at Hip Hop International (Beijing Regional) and received the Gold Prize in Contemporary Dance at the 6th C-DAK International Dance Competition (2025). She also competed in World of Dance\, Disco Connection\, and Danceholic.She has worked as a choreographer and performer in multiple showcase performances and appeared in the dance program “Ttechum (떼춤)”.Currently\, she is active in Korea as a member of Blue Dance Theater 2\, ISSUE Dance Crew\, and Sparky. Her work focuses on the fusion of street and contemporary dance. \n  \nCristiano Riccardi: Ebow Supernova\nThis audiovisual work proposes a phenomenological investigation of interior space through the sensible representation of a cosmic event: the unfolding of a supernova as both metaphor and device for the alteration of corporeal consciousness. This work proposes an experience of corporeal subtraction\, the progressive dissolution of the body’s boundaries\, the indifferentiation between subject and object. Through sonic rarefaction and luminous beams\, the work induces a meditative state that reconfigures the relationship between spectator and cosmic matter. This is not mere contemplation\, but rather an interpenetration with the intensities that constitute reality itself. The interior journey becomes indistinguishable from the journey through cosmic spaces: both experience the same phenomenon of rarefaction\, illumination\, and the attenuation of boundaries. On a phenomenological plane\, the supernova represents the unveiling of what is hidden—not as a remote event\, but as an intimate revelation of the luminosity that constitutes our own materiality. The listener experiences a form of dilated consciousness\, where the awareness of being part of a force greater than oneself becomes the corporeal experience of one’s own dissolution. The musical and visual rarefaction operates an ascesis from the domain of the speakable and the representable\, leaving pure intensity and openness toward the unsaid—a liminal space where the microcosm of interiority and the macrocosm of stars interpenetrate without boundaries. The composition is structured around twelve independent chromatic lines derived exclusively from samples of an ebowed guitar\, mapped into a custom-built synthesizer that preserves the instrument’s characteristic infinite sustain. Organized into four registral groups (three sopranos\, three altos\, three tenors\, three basses)\, the voices operate as parallel streams converging and diverging through close semitonal proximity\, generating dense harmonic clusters. Staggered entrances and overlapping durations create gradual transformations of harmonic density\, privileging timbral evolution over melodic narrative. The visual component translates each musical line into concentric circles responding in real time to amplitude variations\, creating a dynamic field of overlapping geometric forms that reflect sound-wave propagation and harmonic density. By foregrounding chromatic density\, sustained sonority\, and visual abstraction\, Ebow Supernova proposes an immersive experience in which individual elements dissolve into a unified perceptual field—interrogating the contemporary paradigm of corporeality and suggesting that the deepest contact with reality might paradoxically consist in the negation of the biological body: a journey toward the luminosity that traverses and transcends it. \nAbout the artist\nCristiano Riccardi is a multi-instrumentalist and sound designer with over 30 years of experience in live and studio practice. His recent work spans recording Fausto Razzi’s Memoria (2020) and Lontano (2021)\, performing Razzi’s scenic piece Protocolli (2023)\, arranging Stockhausen’s Tierkreis (2025\, awarded for interpretation)\, and contributing to an intermedial reworking of Stravinsky’s L’Histoire du Soldat. He is currently pursuing a Master’s in Electronic Music at the Conservatorio di Santa Cecilia in Rome\, focusing on electroacoustic composition and real-time performance. \n  \nYerim Han: Okinawa Blue Note\, Recalled\nThis audiovisual fixed media work is based on recollected memories following a trip to Okinawa and a subsequent viewing of the film Okinawa Blue Note. Using sound materials extracted from travel videos\, the piece explores how memory—already shaped and idealized through recollection—is further manipulated and restructured over time. Conceived as a dive into memory\, water functions as a medium that distorts and contains remembrance\, while layered and transformed sounds construct an emotional landscape of mediated recall. \nAbout the artist\nYerim Han (b. 1997\, South Korea) is a composer currently pursuing a Master’s degree in Composition at Hanyang University. Trained in contemporary acoustic music\, she is also actively engaged in MIDI-based composition\, electronic music\, and commercial music practices. Her work explores diverse musical languages across acoustic and digital media. \n  \nWeijia Yang: Quantum Sphere & Sound Sympathy — Composed for Guzheng and Quantum Computing\nThis work takes classic guzheng music as the creative foundation and relies on an independently developed quantum synthesizer interactive system to construct a cross-temporal dialogue between “classical artistic conception” and “quantum timbre”. Its submitted version is an audio-visual hybrid version developed based on the Touch Designer visual effects port\, while the live performance version can be connected to real-time live instrumental performance\, realizing a complete closed-loop performance of “gesture — quantum sound — instrument”. The guzheng melody is processed through quantum gate algorithms to be transformed into electronic sounds with the characteristics of quantum superposition state. Meanwhile\, it relies on a real-time visualization engine to generate dynamic images of quantum Bloch spheres and particle flows\, ultimately constructing an immersive audio-visual integrated experience. Inspired by High Mountains and Flowing Water of the Shandong Guzheng School\, this work inherits its skeletal structure and core backbone notes\, and innovatively reshapes the musical form through quantum timbre\, presenting a transformation path from traditional art to future media art. \nAbout the artist\nWeijia Yang. Ph.D\, Full-time Postdoctor at Shanghai Conservatory of Music. Currently\, he holds multiple academic appointments\, including Excellent Innovation and Entrepreneurship Tutor for Shandong Province’s “Internet Plus” Program\, Member of the Institute of Electrical and Electronics Engineers (IEEE)\, Member of the Chinese Association for Artificial Intelligence (CAAI)\, Member of the Electronic Music Society of the Chinese Musicians Association\, and Reviewer for 8 A-class core journals indexed by SCI/SSCI (such as PLOS ONE and Frontiers in Psychology). He has published 8 core papers indexed by SCI\, SSCI\, EI\, Scopus\, and Peking University Core (PKU Core) of China\, as well as numerous non-core journal papers\, obtained 3 Software Copyrights\, and served as Principal Investigator or Key Participant in 12 research projects at national\, provincial\, and municipal levels. He has mentored 6 national and provincial A-class innovation and entrepreneurship projects that received funding and awards. Additionally\, he has composed over 10 representative electronic music works (e.g.\, Nine-Colored Deer)\, which have been released on major music platforms; his works have won multiple awards and been performed in numerous exhibitions at international competitions both\ndomestically and internationally\, such as ICMC (International Computer Music Conference) and WOCMAT (World Conference for Chinese Composers). \n  \nWanjun Yang: The Orphic Shimmer onto the 192 Steps\n“The Orphic Shimmer onto the 192 Steps” is an interactive live-coding audio-visual performance that explores the role of art as a “harmonizing force” within the turbulent landscape of contemporary civilization. The work takes its title from the 192 steps of the Odessa Staircase\, abstracting this historically and cinematically significant site into a topological space of tension and dispersion. By invoking the myth of Orpheus – the figure who restored order through music – the piece builds a philosophical bridge between classical humanitarian ideals and modern algorithmic logic. \nTechnical Framework \nThe work is built on a sophisticated integration of live coding\, modular synthesis\, and generative visuals:\n* Audio Synthesis: Primary sound design is executed in VCV Rack\, employing a hybrid of subtractive\, wavetable\, and granular synthesis. A foundational layer of algorithmically generated Shepard Tones creates an auditory illusion of “infinite ascent\,” symbolizing the cyclical pain and progress of history.\n* Live Interaction: Sonic Pi serves as the central engine for real-time algorithmic restructuring. The performer uses MIDI controllers to manipulate the density and spatialization of the sound field\, facilitating a dialogue between rigorous code and human intuition.\n* Visual Generative Design: Developed in Processing\, the visual layer utilizes the OSC protocol for sample-level synchronization. Spectral energy and transient parameters from the audio drive fluid\, geometric “shimmers” that map onto the metaphorical 192 steps. \nAbout the artist\nWanjun YANG is an engineer\, programmer\, sound designer\, researcher and electronic music musician. Now he is an associate professor of Music Engineering Department\, Sichuan Conservatory of Music. In the past 26 years\, he lives at Chengdu City\, Sichuan Province\, Southern of China\, and taught at Sichuan Conservatory of Music. His research and creative interests lie in Acoustics and Psychoacoustics\, Sound Design\, Software Developing\, New Media Art\, Multimedia Design. Since 2011\, he attended the EMS Annual in New York\, followed by participation in an electronic music exchange at the University of Oregon in 2012; in 2017\, his work was selected for ICSC 2017 in Nagoya and his paper selected for ICMC 2017 in Shanghai; he served as Concert Reviewer for ICMC 2018 in 2018; in 2019\, his pieces were selected and performed at ICMC 2019 and NYCEMF 2019 in New York\, alongside participation in another electronic music exchange at the University of Oregon and visits to CCRMA at Stanford University and UCLA; in 2020\, his works were selected and performed at the NYCEMF 2020 Virtual Online Festival; from 2021 to 2025\, his compositions were continuously selected and performed at ICMC\, NYCEMF\, and ICSC international conferences; additionally\, he has been a long-term reviewer for ICMC\, IEMC\, and NCDA. \n  \nJinwoong Kim: Transcendence: Performance without Presence\nTranscendence is an audio-visual performance interface that reimagines the relationship between performer interaction and algorithmic autonomy. The system utilizes a gamified “turret-defense” mechanic as a metaphor for stochastic sound generation. The user places “turrets” on a grid\, which autonomously track and engage moving targets based on proximity algorithms. This interaction serves as a direct translation of spatial logic into sound: distance defines intensity\, angle determines stereo panning\, and target properties dictate pitch and timbre\, creating a real-time sonification of digital conflict. \nA core innovation of Transcendence lies in its distinct “Performance Mode.” In traditional Human-Computer Interaction (HCI) for music\, the mouse cursor serves as a constant visual anchor\, reminding the user of the computer’s presence as a tool. In this work\, the cursor is deliberately rendered invisible during performance. While the performer retains control over the grid\, the visual representation of their “hand” is removed. \nThis design choice—”Performance without Presence”—dissolves the barrier between the creator and the creation. It shifts the cognitive load from operating a UI to immersing oneself in the audio-visual feedback loop\, allowing the performer to become a “ghost in the machine.” The result is a self-generating\, yet controllable\, polyphonic soundscape where the interface disappears\, leaving only the pure translation of logic into art. \nAbout the artist\nJinwoong Kim is a South Korean composer\, musician\, and media artist. He received his Ph.D. in Intermedia Arts from Tokyo University of the Arts\, where he studied under Professor Kiyoshi Furukawa. His creative practice spans a wide range of fields\, from contemporary computer music to\ninteractive media installations\, with a focus on integrating compositional methodologies with emerging technologies and cross-disciplinary thought. Drawing upon a diverse background in music\, visual art\, engineering\, and the natural sciences\, he has developed custom software systems–including BODIC and KCAC—to explore new forms of audiovisual expression.\nHe is currently a full-time faculty member in the Digital Media Design major within the Global Elite Division at Yonsei University\, where he teaches courses on creative coding\, computational design\, and media-based artistic practices. \n  \nTalia Amar: Triangulation\n“Triangulation” uses three different electronic music techniques that serve the same goal: to expand the possibilities of the acoustic piano. Each of these three techniques explore a different aspect of human-computer interaction. The pianist controls the electronics from an iPad\, choosing when to switch between the three patches\, and the pianist’s relationship with the computer changes in each patch. In the first patch the computer “listens” to the piano and reacts to it by performing the same notes with modifications such as quarter tone modulations\, reversing\, and stretching. The electronics in the second patch is pre-recorded and multiplies the piano\, with the effect that it sounds as if there were many pianos performing the same time. In the third patch the electronics records the piano performance and plays it back with different effects\, building up an aleatoric wall of pianos that is not possible to perform acoustically. \nAbout the artist\nDr. Talia Amar is the recipient of many international  awards including the Prime Minister prestigious award 2018\, The Acum prize for “best piece of the year” 2022\, The Acum award 2019\, the Rosenblum Prize for Promising Young Artist 2016 by the Tel Aviv Municipality\, the Klon Award for young composers granted by the Israeli Composers League. Recently she was the winner of The Next Voice – a call for scores from Israeli composers. Her piece\, For Orchestra I was unanimously selected from an incredible 152 submissions and will be performed by the Israel Philharmonic under the baton of Lahav Shani in March 2026 in Tel Aviv\, Haifa\, and Jerusalem. She was selected by the famous violinist Renaud Capucon to participate in the Festival New Horizons d’Aix en Provence 2022 where her piece\, commissioned especially for the festival\, will be performed. In 2022 her piece “Labyrinth” was commissioned and performed at Festival Présences by Radio France in Paris. She was selected to represent Israel in different festivals such as ISCM World New Music in Vancouver\, ECCO Festival in Brussels\, Asian Composers League Festival in Taiwan\, ICMC in Seoul\, and SMC in Austria.\nSince 2017\, Talia joined the composition faculty at the Jerusalem Academy of Music and Dance in Israel where she is also the Head of Technology and Innovation. She is also a council member of the Israeli Composers League and the performer of electronics music of Meitar Ensemble. \n  \nJingfan Guo: Whispers That Are Heard\nComposed for Arduino and Max/MSP\, this work employs a multi-sensor interface as its primary vehicle. It centers on two core sonic materials: whispering voices and African percussion. The former signifies the individual and the secret\, while the latter points to the collective and driving force. The work aims to superimpose these elements within a single sound field\, erasing the boundary between the individual and the collective. Amidst sonic entanglement and compression\, intimate whispers are deprived of their original space of existence\, alienated into mere components of the rhythm. This is\, at once\, an act of listening to secrets and a scrutiny of the clamor. \nAbout the artist\nJingfan Guo\, a native of Tai’an\, Shandong Province\, China\, is a member of the Electronic Music Society of the Chinese Musicians Association(EMAC) and a postgraduate student in Computer Composition at Wuhan Conservatory of Music\, class of 2024\, under the guidance of Professor Li Pengyun. His main research interests include electroacoustic music\, sensor interaction\, and kyma sound design. His major works include “Mute Water” (Electroacoustic Music)\, “Liminal Space” (Mixed Music)\, “Dissoving Voice” (for kyma and Computer)\,“Whispers That Are Heard”(for Arduino and Sensors). \n  \nShih-Lin Hung and Ju An Hsieh: Labyrinthe Souriant (Smiling Labyrinth)\n“Labyrinthe Souriant” (Smiling Labyrinth) is an interdisciplinary electroacoustic work exploring the fluid boundary between visual art and sonic translation. The piece is based on a hand-drawn graphic score created by a visual artist\, who utilizes traditional staff paper as a canvas for organic\, labyrinthine line-work and anthropomorphic silhouettes. The composition utilizes a performance-led approach to sound design. Using the graphic score as a primary visual stimulus\, the composer engaged in a one-take improvisation session via MIDI controllers mapped to a customized Ableton Live environment. This method ensures that the temporal flow of the music maintains a direct\, visceral connection to the visual trajectories of the score. The vocal samples were processed through real-time DSP chains\, where the nuances of the performance (velocity\, pressure\, and timing) were\ntranslated into dynamic spectral shifts and spatial movement\, reflecting the ‘Smiling Labyrinth’s’ intricate and unpredictable nature. \nAbout the artists\nShih-Lin Hung holds a B.A. from the National University of Tainan and an M.A. from National Yang Ming Chiao Tung University. Initially trained in Western classical composition\, his recent work explores electroacoustic aesthetics within the lineage of French musique concrète. His creative practice focuses on uncovering alternative sonic possibilities in daily sounds that are often ignored or taken for granted. \nJu-An Hsieh graduated from the Gerrit Rietveld Academie in Amsterdam\, the Netherlands\, and works primarily with images. In 2024\, their exhibition The Theatre explored the impact of colonial regimes on Taiwan’s ecology and the power relations between humans and nature. As their practice evolves\, embodied memories\, sensory experiences\, and dreams connected to nature have gradually become central themes in their work. \n  \nYunpeng Li: Echoes of the dial\nThis work uses the “outdated” communication technology signal—the telephone dial tone—as its core material. Through sampling and sound processing of the DTMF during telephone dialing\, it explores the dialectical relationship between auditory memory and the disappearance of matter within the context of technological accelerationism. In today’s world where information transmission approaches zero latency\, how can those echoes that once carried the desire for communication construct a new aesthetic dimension amidst the abandoned ruins? \nAbout the artist\nYunpeng Li\, Ph.D. Associate Professor\, Master’s Supervisor & Director\, Art & Science Teaching and Research Section\, Wuhan Conservatory of Music Main research and teaching focus: Electronic music composition. His works have been selected for the International Computer Music Conference (ICMC) multiple times. \n  \nHaozhe Tan: Within the light cone lies fate ordained\nLight\, the creator of time and space\, records the fate of this world in countless moments it passes through. Arrogance destroys a world\, fades it\, and makes it slowlydisappear. To God\, destroying you is merely humming a song and watching a star go out like a candle. If beyond the cone of light lies a void that even existence cannotreach\, then within the cone of light lies destiny itself.  \nAbout the artist\nHaozhe Tan\, born in November 2003\, is a sound artist\, visual artist\, and member of the Chinese Musicians Association. His works often use vocals and abstract visualelements to express his reflections on life and his contemplation of the soul. His works have been selected for numerous prestigious music festivals and competitionsworldwide\, including the 2025 ICMC Boston\, 2025 MA/IN fest (Italy)\, 2024 ICMC Seoul\, 2024/2025 NYCEMF (USA)\, 2024 Hangzhou International Electronic Music Festival (China)\, First Prize at the 2024 Sibelius International Composition Competition (Finland)\, 2024 Shanghai International Digital Art Exhibition (China)\, 2023/2022 NCDA (China)\, and Second Prize at the 2022 China Computer Music Competition (China). In July 2025\, he was selected for the Synthetis 2025 Composition Masterclass\, where he studied composition and electronic music under Stefan Prins\, Oscar Bianchi\, Dai Fujikura\, and Pawel Hendrich\, and performed his work at Radziejowice.  \n  \nLi Pengyun and Guo Jingfan: Pyrography II\nPyrography\, known as ‘fire needle embroidery’ in ancient times and also referred to as ‘fire brush painting’ or ‘burn painting\,’ is an extremely precious and rare form of art in ancient China. It involves using a heated branding iron to create burn marks on objects to form the artwork. Pyrography not only employs techniques found in traditional Chinese painting\, such as outlining\, shading\, dotting\, coloring\, smudging\, and white sketching\, but it also achieves rich layers and tonal variations through burning\, resulting in a strong sense of three-dimensionality resembling sepia sketches and lithographs. As a result\, pyrography not only maintains the national style of traditional painting but also achieves the meticulous realism seen in Western art\, giving it a unique artistic charm and providing viewers with a rustic and elegant\, yet endlessly nostalgic artistic experience.   \nThe composition samples the special playing techniques of Chinese plucked instruments such as the guzheng and pipa\, transforming them into different forms of sound through techniques such as transposition and time stretching. By contrasting different stages\, it portrays the process of pyrography while showcasing the unique allure of Chinese traditional culture.”   \nThe video segment employs abstract graphics of sparks flying during pyrography\, complemented by abstract Chinese pyrography elements as the background\, to depict the process and details of pyrography.   \nAbout the artists\nLi Pengyun\, Professor at the Composition Department of Wuhan Conservatory of Music\, Supervisor for Master’s Degree Candidates\, and Vice Dean of the Popular Music College. Member of the Electronic Music Society of the Chinese Musicians Association( EMAC. Main workes include “lotus in wire”\, “Breathe like lily” (composed for bass bamboo flute and max/MSP)\, “Sprouting “(composed for two pickups and realtime effects)\, “Under the cover “(composed for one percussionist and max/MSP)\, “Shennongjia in ink paintings” (composed for bass bamboo flute and live electronic music). His major theoretical works include “From studio to stage — form of performance of electronic music and its features” and so on.  \nGuo Jingfan \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  \nRaphael Radna: Tombeau de Barleau\nClarence composed many pieces for friends and collaborators\, each incorporating some personal attribute of the dedicatee (a name rendered in katakana\, an age encoded in Roman numerals\, etc.) and topped off with a punning title. In my attempt to return the gesture\, the classic video game Pong controls a real-time\, generative music process rendered on a MIDI-equipped piano. The music\, unique in each performance\, is derived from the gameplay and a portrait of Clarence that gradually emerges as the performance unfolds. This playful homage aims to honor Clarence’s legacy through quantification of harmony and meter\, sonification of image and ludic process\, and absurdist humor. I hope it will bring a smile to those who knew Clarence and a glimmer of his spirit to those who did not. \nAbout the artist\nRaphael Radna is a composer and computer-music researcher working in acousmatic music\, mixed music\, computer-assisted composition\, spatial audio\, and creative music software development. He presents music and research worldwide in prominent venues such as the ICMC\, DAFx\, the SEAMUS National Conference\, the San Francisco Tape Music Festival\, the New York City Electroacoustic Music Festival\, and the Visiones Sonoras Festival of Music and New Technologies. He has collaborated with acclaimed artists including brightwork Newmusic\, the Callithumpian Consort\, the Onix Ensemble\, HOCKET\, Antonina Styczeń\, and Shanna Pranaitis. His music technology work includes the Space Control spatialization application\, Xenos synthesizer plugin\, and various projects for prominent developers Arturia and Cycling ’74. He is a Max Certified Trainer. Radna holds degrees from Vassar College\, Mills College\, and the University of California\, Santa Barbara\, where he attained the PhD in Composition. He had the privilege of studying with João Pedro Oliveira\, Curtis Roads\, and Clarence Barlow. “In music\, a tombeau is “a small piece written to the memory of a great personage” (Britannica). Tombeau de Barleau commemorates Clarence Barlow (1945–2023)\, the Corwin Chair of Composition when I arrived at UCSB. Although he retired at the end of my first year\, I was fortunate to receive a crash course in Clarence’s highly idiosyncratic and rigorous methods of algorithmic composition. A one-of-a-kind thinker\, Clarence could turn anything into music—text\, speech\, photos\, videos\, even other music—with a singular incisiveness and virtuosity. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-1-1/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
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