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DTSTART;TZID=Europe/Amsterdam:20260514T193000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260504T112634
CREATED:20260421T194433Z
LAST-MODIFIED:20260427T191951Z
UID:10000199-1778787000-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:Fixed-Media Cinema Screening
DESCRIPTION:Program Overview\nThe Man in the Mangroves counts to Sleep (15:07 min) \nJames A. Moorer et al. \nMotif for Ono (4:28 min) \nJingyu Luo \nUsher (10:31 min) \nJeffrey T.V. \nMachinarium (9:15)\nJoão Pedro Oliveira\n \nItera (7:33 min)\nDeniz Caglarcan\n \nWithin the light cone lies fate ordained (9:24 min)\nHaozhe Tan\n \nPyrography II (6:16 min) \nLi Pengyun and Guo Jingfan\n \nSpectrestate (8:21 min) \nJustyna Tobera\n \n  \nAbout the pieces & artists\nJames A. Moorer et al.: The Man in the Mangroves Counts to Sleep \nThe Man in the Mangroves Counts to Sleep is the first of its kind: a speech-synthesized opera novella\, based on an original poem. It is an innovative work that merges poetry\, music and animation\, embracing the vocal and musical elements of an opera with the narrative thrust of a short novel. The narrator’s digitized voice has been transformed through computer techniques into a variety of musical forms. The film is unique for its totally synthetic score\, generated mathematically using computer speech synthesis technology. The poem and music are brought to life through animation that reveals layers of meaning in both poem and score.  \nThe movie recounts the inner monologue of a homeless mathematician living in a Key West mangrove swamp. As he surveys his current circumstances\, “The Man” reflects on his past\, his struggles\, and his yearning. The movie originated from the poem of the same name by Tallahassee\, Florida poet Donna Decker. The poem dramatizes her experience meeting “The Man” in a Key West\, Florida homeless encampment.  \nAbout the artist\nJames A. (Andy) Moorer – Producer/Director/Original Score – An internationally known figure in digital audio and computer music\, Moorer is the winner of an Emmy® Award and an Academy Award® “for his pioneering work in the design of digital signal processin and its application to audio editing for film.” He is also the creator of the THX1 Deep Note sound—THX’s sonic logo\, heard in thousands of movie theaters around the world.  \nThe Man in the Mangrove Counts to Sleep builds on Moorer’s pioneering work in computer music and more specifically in the use of computer speech synthesis for music. As an MIT and Stanfordtrained engineer\, Moorer’s innovations include advances in the technology used for these compositional purposes. Many of these advances have become routine today in the world of electronic music.  \n  \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  \nJeffrey T.V.: Usher\nUsher is a new soundtrack for the 1928 silent film The Fall of the House of Usher\, co-directed by J.S. Watson and Melville Webber and based on the 1839 short story by Edgar Allen Poe. The primary goal of this electronic score was to enhance both the dramatic content of the film and emphasize the surrealist imagery laden throughout. Through the use of modular synthesizers\, this resulted in a piece existing between filmscore and audio-visual composition. \nAbout the artist\nJeffrey T.V. is a New England-based electroacoustic composer and classically trained vocalist. His compositional output primarily deals in combining generative sound withimprovised response through combinations of electronic and acoustical instruments\, with a special interest in modular synthesizers. His music has been featured at Electronic Music Midwest\, SEAMUS\, NYCEMF\, ICMC\, Salisbury University\, Bucknell University\, the University of Kentucky Art Museums\, and other venues across the United States.  \n  \nJoão Pedro Oliveira: Machinarium\nMachinarium unfolds as a journey through an imaginary city of machines\, where mechanisms seem to think and structures begin to breathe. Layers of image and sound interlock like gears\, evoking a world in which the boundary between living organism and industrial artifact becomes uncertain.  \nAbout the artist\nComposer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance\, composition\, and architecture in Lisbon. He completed a Ph.D. in Music at the University of New York at Stony Brook. His music includes opera\, orchestral compositions\, chamber music\, electroacoustic music\, and experimental video. He has received over 70 international prizes and awards for his works\, including the prestigious Guggenheim Fellowship in 2023\, the Bourges Magisterium Prize\, and the Giga-Hertz Special Award\, among others. His music is played all over the world. He taught at Aveiro University (Portugal) and Federal University of Minas Gerais (Brazil). His publications include several articles in journals and a book on 20th century music theory.  \n  \nDeniz Caglarcan: Itera\nItera is an audiovisual work that explores the evolving relationship between gesture and texture through iterative transformation. Built upon AI-generated visuals and parametric fractal structures\, the piece constructs a dynamic world where sound and image continuously reshape one another. Drawing its name from iteration\, Iterareveals a process in which each repetition diverges—transforming and unfolding into new visual and sonic forms. A formal dichotomy underlies the visual composition\, where parametricism and AI-driven aesthetics contrast continuity with abrupt disruption. The result is a constantly shifting mechanism that invites the viewer into the liminal spaces between each transformation.   \nAbout the artist\nDeniz Çağlarcan is an Istanbul-born\, Santa Barbara–based composer\, violist\, and conductor working across sound\, image\, and technology. He combines acousticinstruments\, electronics\, and interactive visuals to build immersive spatial-audio environments with interdisciplinary teams. His work spans concert music\, electroacoustic/audiovisual pieces\, installations\, and film/game scores. He holds the following degrees\, MM in Viola (CMU)\, MA in Composition (Bilkent)\, MS in Media Arts and Technology and\, PhD in Composition at UC Santa Barbara.  \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  \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. In her artistic practice\, she explores the body’s relationship with space\, material\, and resonance\, treating sound not only as an audible phenomenon but also as a tactile\, spatial\, and ecological experience expanded through technology.\nHer work investigates the physicality of instruments and the sonic potential of the body\, focusing on how gesture\, touch\, and embodied movement shape and transform sound. Instruments and digital tools become porous environments— extensions of the body and vessels of vibration—where silence\, friction\, and speculative gestures are as integral as pitch and rhythm.   \nJustyna Tobera often integrates VR\, ambisonics\, sensors\, and custom-built interfaces\, merging acoustic materiality with immersive architectures. She works with live electronics (Max/MSP) and interactive systems in which the body functions as both source and modulator of sound. Her interest in speculative and interactive contexts is further supported by creative coding\, including work with environments such as Godot.\nCurrently\, she is continuing her research during an internship at the Electroacoustic Studio at IEM Graz. Tobera’s works have been presented at contemporary music festivals in Poland and abroad\, including the USA\, Slovenia\, Austria\, Denmark\, Italy\, Lithuania\, and Hungary. Her current research focuses on speculative approaches to sound and technology.  \n 
URL:http://icmc2026.ligeti-zentrum.de/event/cinema/
LOCATION:Metropolis @ Planet Harburg\, Herbert-und-Greta-Wehner-Platz\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Special Event
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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