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X-WR-CALDESC:Events for ICMC HAMBURG 2026
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DTSTART;TZID=Europe/Amsterdam:20260516T233000
DTEND;TZID=Europe/Amsterdam:20260517T020000
DTSTAMP:20260615T200849
CREATED:20260422T110907Z
LAST-MODIFIED:20260516T111037Z
UID:10000225-1778974200-1778983200@icmc2026.ligeti-zentrum.de
SUMMARY:After Party
DESCRIPTION:We’re bringing Hamburg’s subculture music scene to the official Aftershow Party of ICMC HAMBURG 2026. \n  \nPowerbanksy (Techhouse / House) \nDelivering a solid 4/4 groove is Powerbanksy — driving tech house\, warm house grooves\, hypnotic basslines. Somewhere between underground club energy and late-night euphoria\, his sound delivers raw momentum with effortless flow: deep\, punchy\, and unapologetically danceable. \nhttps://soundcloud.com/di-ys \n  \n \n  \nRespect & Awareness \nTake care of each other! We want everyone to feel safe\, comfortable\, and respected. To make this night enjoyable for all\, please follow these simple guidelines: \nRespect Boundaries: Treat others with consideration. Always respect personal boundaries – only yes means yes. \nLook Out for Each Other: If you see someone who needs help or looks uncomfortable\, please offer support or inform our staff. \nZero Tolerance for Discrimination: There is no room for sexism\, racism\, homophobia\, transphobia\, or any other form of discrimination or harassment. \nNeed Help? If you feel harassed\, unsafe\, or unwell\, please contact our Awareness Team (you can recognize them by their pink vests) \n 
URL:http://icmc2026.ligeti-zentrum.de/event/after-party/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:16-05,Special Event
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T220000
DTEND;TZID=Europe/Amsterdam:20260516T233000
DTSTAMP:20260615T200849
CREATED:20260422T110714Z
LAST-MODIFIED:20260507T174230Z
UID:10000218-1778968800-1778974200@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 6C (After Party)
DESCRIPTION:From the conference to the dance floor! ICMC HAMBURG 2026 culminates in the Club Concert 6C\, followed by the official After Party. DJs from Hamburg will keep the energy going and invite guests to celebrate the conference finale together. \nThis Club Concert and the After Party are open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\npORCELAIN\nDave O Mahony \nRushpusher\nEric Honour \nSyzygys \nFiona Xue Ju and Drew Farrar \nCapture Un-Capturable\nYue Zhang \nCross talk: distributed feedback \nDennis Scheiba \nthese particles we immersed \nAnqi Liu and Han Zhang \nInterwoven Realms: The Threefold Domain of Consciousness\nQing Ye and Yuxue Zhou \nScarittera – Subterranean Eruptions of Sonic Memory\nDanilo Randazzo \n  \nAbout the pieces & artists\nDave O Mahony: pORCELAIN\nAn audio and video representation for the feeling when ones bones rub together. \nAbout the artist\nDave O Mahony is a PhD graduate of the University of Limerick\, Ireland. His compositions have been performed at the Sines & Squares Festival (Manchester\, UK) both 2014 and 2016\, The Hilltown New Music Festival (Ireland)\, at the Daghda Gravity & Grace Festival (Limerick\, Ireland)\, as part of the Society of Electro Acoustic Music United States conferences 2018 and 2019 (Eugene Or. & Boston Ma.)\, the 2018 New York Electro Acoustic Music Festival\, the the International Computer Music Conference (I.C.M.C.)/ New York Electro Acoustic Music Festival joint 2019 event (both in New York\, NY.)\, the 2018 and 2019 Electroacoustic Barn Dance (Jacksonville\, FL)\, the 2020\, 2021 and 2022 Earth Day Art Model online festivals\, the 2021 New Music Gathering online conference\, the Radiophrenia online event (2022) and the 2020/21 I.C.M.A. conference. He is a member of the Irish Sound Science and Technology Association (ISSTA)\, S.E.A.M.U.S. the I.C.M.A. and has an interest in manipulating modular synthesizers with brainwaves. He holds a Doctorate in Composition in Music Technology\, a BA in English and New Media (Hons) and an MA in Music Technology (Hons) from the University of Limerick\, Ireland. \n  \nEric Honour: Rushpusher\nRushed onto a Push\, Rushpusher features a rush of buttons pushed rushedly\, to push a sense of rushing\, pushy music\, pressing close like pushing through a dense bed of rushes. Also\, a bass may be dropped. \nAbout the artist\nDevoted to exploring and furthering the intersections of music and technology\, Eric Honour’s work as a composer and saxophonist has been featured around the world in numerous international conferences and festivals like ICMC\, SEAMUS\, MUSLAB\, Sonorities\, EMM\, NYCEMF\, and others. A member of the Athens Saxophone Quartet\, he performs regularly in Europe and the United States\, and has presented lectures and masterclasses at many leading institutions.\nHonour is Chair of the School of Visual and Performing Arts\, Professor of music\, and founder of the Center for Music Technology at the University of Central Missouri\, teaching courses in acoustics\, music technology\, and composition. His work as an audio engineer and producer appears on the Innova\, Centaur\, Ravello\, and Irritable Hedgehog labels\, among others\, as well as on numerous independent releases and he has served as an acoustics consultant and designer on projects ranging from recording studios to classrooms to auditoriums and performance spaces\, most recently serving as the principal designer of UCM’s cutting-edge music technology studios\, which opened in 2022. \n  \nFiona Xue Ju and Drew Farrar: Syzygys \nSyzygys is an electroacoustic improvisation for electric guitar\, pedals\, analog and digital synthesizers\, and live electronics. The performance is based on a real-time interaction between two performers whose sound worlds are continuously shaped\, transformed\, and interwoven through electronic mediation. One performer operates a hybrid setup combining analog and digital synthesizers with custom Max/MSP patches and Ableton Live\, controlled via MIDI to enable responsive sound generation\, processing\, and structural modulation. The other performer plays electric guitar through an extended chain of pedals\, exploring experimental sound production\, noise-based textures\, and timbral instability. \nRather than treating the electronic systems as fixed signal processors\, the performance emphasizes electronics as active agents within an improvisational ecology. Sound materials circulate between guitar\, synthesizers\, and live processing\, creating feedback loops of influence in which gesture\, listening\, and system behavior mutually inform musical decisions. The resulting form emerges through moment-to-moment negotiation\, highlighting fragility\, risk\, and unpredictability as core aesthetic values. \nThe performance explores the tension between control and indeterminacy in live electronic improvisation\, examining how analog and digital systems can coexist and interact within a shared sonic space. By foregrounding performer–performer and performer–system interaction\, the work contributes to contemporary discourse on electroacoustic improvisation\, hybrid performance practices\, and the role of real-time electronic mediation in collaborative music-making. \nAbout the artists\nFiona Xue Ju is a Ph.D. candidate in Experimental Music and Digital Media at Louisiana State University. A composer and media artist originally from China\, she works across sound\, performance\, and visual design. She holds a Bachelor’s degree in composition from Oberlin Conservatory and a Master’s degree in CoPeCo (Contemporary Performance and Composition) from CNSMD Lyon. Her work blends electronic music with multimedia\, exploring immersive\, politically engaged experiences across digital and physical spaces. \nDrew Farrar is a composer\, guitarist\, and educator from St. Louis\, Missouri\, based in Baton Rouge\, Louisiana. His music explores agency and otherness through physical movement\, quotation\, and spectral techniques. His works have been performed by ensembles including RE:duo and the Illinois Modern Ensemble. He received M.M. degrees in Composition and Guitar Performance from the University of Illinois at Urbana-Champaign and is currently pursuing a Ph.D. in Composition at Louisiana State University. \n  \nYue Zhang: Capture Un-Capturable\nCapture Un-Capturable is an interactive performance that integrates sign language with Mediapipe gesture recognition technology. Grounded in the notion that “sound is formless and sign language is silent\,” the work reimagines translation by placing sign language at the center of artistic expression. Drawing upon the metaphor of the “strobe camera” in sign language\, the piece captures and translates natural phenomena beyond the limits of human perception — from the surging magma within the Earth to the subtle sounds of water\, forests\, and rain in the outer spheres. By centering people with disabilities as both the creative core and source of inspiration\, the work transforms all audience members into equal participants\, enabling them to “listen” through gestures and “see” through sound — a cross-sensory experience where technology\, nature\, and human compassion converge. \nAbout the artist\nZhang Yue (b. 2002) is a member of the International Computer Music Association (ICMA) and the Electroacoustic Music Society of the Chinese Musicians’ Association. She is currently pursuing a master’s degree at the Wuhan Conservatory of Music.\nHer works have been selected for the International Computer Music Conference (ICMC) in 2023\, 2024\, and 2025. Among them\, Flying with the Starlings received the Best Student Work Award at ICMC 2023. She has twice been awarded the Phil Winsor Young Composer Award at WOCMAT (2023\, 2024). Her works The Butterfly Revelation and The Lament of Plants won first prize in the electroacoustic category at the International Electroacoustic Music Competition (IEMC) in 2024 and 2025\, respectively. Her thesis received the Outstanding Bachelor’s Thesis Award at the Wuhan Conservatory of Music and was selected for the National Conservatory Graduate Academic Symposium. \n  \nDennis Scheiba: Cross talk: distributed feedback for mobile devices \nRecent developments in spatial audio have largely focused on fixed loudspeaker arrays or object-based rendering systems\, often implying a privileged listening position and reducing sonic space to a localized perspective of a sweet spot. This work instead questions whether object-based thinking can be redirected from optimizing a sweet spot toward adapting sound spatialization to the room and the bodies within it by using bi-directional audio streaming.\nUsing Stecker\, a custom-built streaming framework\, the microphones and loudspeakers of audience smartphones are accessed via WebRTC to form a distributed\, wireless feedback network. In this setup\, each participant becomes an active acoustic node\, and spatialization emerges from the physical arrangement\, proximity\, and interaction of devices rather than from predefined speaker layouts. The resulting feedback grid produces an embodied and continuously reconfiguring spatial field that blurs the boundaries between performer\, audience\, and sound diffusion. \nAbout the artist\nDennis Scheiba is an artistic and research associate at the Robert Schumann Hochschule Düsseldorf. He works as a composer\, live coder\, and audio-visual artist with a special interest in multi-spatiality and streaming technologies. He has performed at MIT\, Johns Hopkins University\, ZKM\, KUG\, and IRCAM.\nScheiba has a background in mathematics and machine learning and currently researches on audio-only VR environments\, JIT-compilation in DSP environments\, WebRTC streaming\, and packaging of audio-projects. \n  \nAnqi Liu and Han Zhang: these particles we immersed \nthese particles we immersed (2025) is a 50-minute multimedia live set that treats performance as an evolving ecology of touch\, signal\, and shared attention. Built around a DIY sensor instrument\, live electronics\, and real-time visual processing\, the work uses yarn as both material and method\, a soft architecture that binds bodies\, devices\, and projected image into a single\, unstable circuit. Rather than presenting sound and image as parallel layers\, the piece stages their continuous co-production\, where tactile tension\, proximity\, and micro-gestures become the conditions from which sonic and visual events emerge. \nAt the center of the work is translation\, understood not as a neutral bridge but as a set of thresholds that determine what becomes legible. Physical relations are translated into control and transformation\, then translated again into audible and visible behavior. Each translation clarifies and cuts at once; it amplifies certain forces\, pressure\, friction\, breath\, strain\, while compressing others that resist capture. The DIY sensor instrument foregrounds this politics of conversion by making mediation visible. It asks what is gained when embodied experience becomes data\, and what is lost when lived continuity is segmented into events that can be routed\, processed\, and displayed. \nThe system is designed to remain sensitive to failure modes\, noise\, drift\, latency\, and feedback\, not as problems to be corrected but as evidence of an environment acting back. The live electronics operate less as “effects” and more as a responsive habitat\, shaping the performers’ pacing and risk\, while being reshaped by their touch. The visual processing functions as another listening surface\, a reactive field that materializes tension and release\, accumulation and rupture\, making the translation chain perceptible as a changing image ecology. \nParticipation is embedded in the work’s method. Yarn creates a shared infrastructure that requires negotiation\, it constrains and enables simultaneously\, producing a relational dramaturgy of binding and unbinding. Decisions are distributed across bodies\, sensors\, algorithms\, and the room itself\, including its light\, resonance\, and attention economy. The piece treats the performance space as an active participant\, where the smallest shifts in gesture or position can tilt the system from stability into turbulence\, or from turbulence into fragile coherence. \nDeveloped during one of our Visiting Artist Scholar Designer Residencies\, these particles we immersed proposes a way of composing with thresholds\, where form is discovered through real-time negotiation among material\, technology\, and care.\nIn ICMC 2026\, we are flexible to perform this piece in any length as needed. \nAbout the artist\nāññā is an interdisciplinary performative duo formed by multimedia artists Anqi Liu and Han Zhang\, devoted to fluid\, cross-sensory\, and interrelational experiences. We play\, dream\, and create together—expanding the boundaries of perception and space. As lifelong collaborators\, we weave our diverse journeys into a shared artistic language: ski partners carving through mountains and rivers\, practitioners of occult metaphysics immersed in the I Ching and star charts.\nOur work is not merely a collaboration\, but a continuous merging of lives\, thoughts\, and psyches—an evolving dreamscape where creative boundaries dissolve and reassemble in perpetual transformation.\nHaving completed their BROILER Artistic Residency with Oracle Egg and the Visiting Artist Scholar Designer Residency at Rocky Mountain College of Art + Design\, āññā is currently releasing an experimental film with Music For Your Inbox\, Los Angeles\, and preparing for their upcoming show with Dog Star Orchestra in Los Angeles this June. Their debut album is also in progress. \n  \nQing Ye and Yuxue Zhou: Interwoven Realms: The Threefold Domain of Consciousness\n“Overlap: The Three Realms of Consciousness” is a multimedia musical work that explores the deep structures of the human psyche. The sonic dimension includes ASMR trigger sounds—such as wood\, metal\, and human oral noises—woven into an arch-shaped structure (ABCB’A’) that connects Freud’s three dimensions of the preconscious\, the unconscious\, and consciousness. Through TouchDesigner\, sound and visuals jointly construct a psychological landscape\, revealing the interlacing and transformation of multidimensional consciousness within dreams. The audience is drawn into a psychological space that transcends reality\, experiencing the flow and reflection of consciousness through the fusion of sound and form. \nAbout the artists\nQing Ye is a composer and doctoral student in Music Technology at Nanjing University of the Arts\, supervised by Professor Xuan Wang. She is a member of the Electronic Music Society of the Chinese Musicians’ Association and holds a Level-3 composer certification. Her works have been presented at international composition competitions including the Hangzhou International Electronic Music Festival and the Sibelius and Vivaldi International Music Competitions. Her practice focuses on computer-assisted composition and audiovisual creation. \nYuxue Zhou is a Ph.D. in Musicology at the Communication University of China under the supervision of Professor Xuan Wang. Her creative work focuses on electronic and multimedia music. She has received awards at major composition competitions including MUSICACOUSTICA-BEIJING\, the Hangzhou International Electronic Music Festival\, and the Vivaldi International Composition Competition. Her works have been presented in national arts projects and international multimedia music events. \n  \nDanilo Randazzo: Subterranean Eruptions of Sonic Memory\nThis live electronics piece is conceived for solo computer and visual media. It stands between computational ethnomusicology and computer music performance\, addressing the challenge of reinterpreting a vanishing oral tradition through digital technologies while questioning the musical relationship with the original repertoire. The current focus is on Sicilian carters’ songs\, chosen for their distinctive melodic style in Sicilian traditional music. The project employs pioneering computer music techniques to sonify the repertoire’s melodic and spectral data. Specifically\, the sound design draws from David Wessel’s seminal work on timbral morphing and spectral interpolation (as exemplified in “Antony”). These early computer music strategies create a sonic bridge between oral tradition and digital reinterpretation. The compositional logic follows the principles of soundscape composition\, treating the analytical data as environmental sound sources that are organized according to R. Murray Schafer’s concepts of soundmark\, keynote\, and signal. The performance features realtime arrangements of textures produced through different sonification strategies\, evoking the identity of the carters’ songs across three levels of fidelity: • Lo-fi: only hints at the original melodies\, functioning as distant soundmarks • Hi-fi: closely follows melodic structures\, preserving recognizable keynote elements • Rationalized: derived from analysis data\, creating textures that may converge with or contrast against the tradition\, acting as foreground signals. The live set recreates an imaginary soundscape rooted in sound hauntology\, understood here as the persistence of a disappearing oral memory within digital mediation\, where echoes of the tradition resonate and evolve through early computer music techniques. The piece is accompanied by abstract visuals evoking the eruption of sonic memory from Mount Etna through suggestive imagery in a Mediterranean palette. \nAbout the artist\nDanilo Randazzo is a PhD student\, sound artist\, and music technology teacher based in Catania\, Sicily. His research explores oral music traditions through computational analysis and electronic reinterpretation. He has presented at Audio Mostly (QMUL) and CHiME (Open University)\, performed at Milano Music Week and venues like Macao Milano\, and was a member of laptop orchestra 1h2nein. His work includes live electronics with self-programmed instruments and soundtracks for contemporary dance and film. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/club-club-concert-6c-after-party/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:16-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T193000
DTEND;TZID=Europe/Amsterdam:20260513T210000
DTSTAMP:20260615T200849
CREATED:20260415T121938Z
LAST-MODIFIED:20260421T201129Z
UID:10000121-1778700600-1778706000@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Concert | Florentin Ginot: "Disturbance"
DESCRIPTION:Photo: Florentin Ginot\n  \n“Disturbance” is an audiovisual solo performance that blends elements of concert\, video art\, and theater. With his double bass and analog synthesizers\, Florentin Ginot invites the audience on a live nocturnal journey. Past and present collide with ghostly glitches and pulsating electronic rhythms.  \nregistration required here \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-concert-florentin-ginot-disturbance/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:13-05,Concert,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T173000
DTEND;TZID=Europe/Amsterdam:20260513T191500
DTSTAMP:20260615T200849
CREATED:20260415T121612Z
LAST-MODIFIED:20260421T200357Z
UID:10000120-1778693400-1778699700@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Installation & Performance | Andrea Mancianti & Tom De Cock: "Autophagy III"
DESCRIPTION:Photo: Andrea Mancianti\n  \nAutophagy III is a participatory installation that visitors can walk through and interact with: the interplay of small percussion instruments\, sixteen suspended sound sources\, and an interactive lighting system creates an immersive soundscape.  \nNo registration required \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n  \n  \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-installation-performance-andrea-mancianti-tom-de-cock-autophagy-iii/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:13-05,Installation,Off-ICMC,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T220000
DTEND;TZID=Europe/Amsterdam:20260512T233000
DTSTAMP:20260615T200849
CREATED:20260421T092805Z
LAST-MODIFIED:20260511T101751Z
UID:10000150-1778623200-1778628600@icmc2026.ligeti-zentrum.de
SUMMARY:zl!ster Performance | MËSH Installation
DESCRIPTION:TBA \n 
URL:http://icmc2026.ligeti-zentrum.de/event/performance-mesh-installation/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Installation,Performance
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T120000
DTEND;TZID=Europe/Amsterdam:20260512T220000
DTSTAMP:20260615T200849
CREATED:20260421T092222Z
LAST-MODIFIED:20260501T120213Z
UID:10000149-1778587200-1778623200@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Henry Windish\, Tristan Peng & Henrik von Coler: "MËSH"
DESCRIPTION:MËSH is an immersive\, networked music and media system that blends interactive installation with live performance. Developed since 2019\, MËSH uses a distributed array of interactive nodes to create a responsive audiovisual environment. Depending on the venue\, installations range from 4 to 16 interconnected nodes communicating over a wireless local network. \nEach node processes real-time movement captured by its camera using custom computer-vision software. These motion signals drive local sound generation in SuperCollider and trigger sample playback drawn from a curated library of field recordings and media fragments. Sounds are spatialized across the network\, forming a shared\, evolving soundscape shaped directly by audience interaction. \nMËSH also functions as a performance instrument: synchronized graphical scores are displayed across all nodes\, enabling musicians to perform within the same reactive ecosystem. This latest iteration continues MËSH’s exploration of distributed creativity and collaborative sensing. \nAbout the artists\nHenry Windish is a graduate student at Georgia Tech. His work focuses on computer music systems\, audio software development\, and collaborative tools for performance and education. He contributes to the design and implementation of networked performance platforms and supports projects involving SuperCollider\, audio networking\, computer vision\, and interactive media. Previously\, he studied electrical engineering at Washington University in St. Louis. \nTristan Peng is a PhD student at Georgia Tech exploring interaction design\, spatial audio\, and sonification; previously studying at CCRMA at Stanford University. His work aims to create accessible\, artful\, and interactive ways for people to experience sound. His current projects investigate how data can become a medium for participation and how immersive audio spaces can evoke emotion and understanding in ways that traditional visualizations cannot. \nHenrik von Coler is a musician and researcher. In 2024 he founded the Lab for Interaction and Immersion at Georgia Tech. Before that he was the director of the Electronic Music Studio at TU Berlin. Henrik’s research explores interface design\, algorithms for sound generation and experimental concepts for composition and performance. In 2017 he founded the Electronic Orchestra Charlottenburg to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-windisch-peng-v-coler-mesh-tuesday/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T130000
DTSTAMP:20260615T200849
CREATED:20260421T122614Z
LAST-MODIFIED:20260423T185305Z
UID:10000168-1778583600-1778590800@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Henry Windish\, Tristan Peng and Henrik von Coler: Working with MËSH: Advanced Tools and Strategies for Networked Instruments in Music and Sound Art
DESCRIPTION:This workshop introduces MESH\, a portable\, wireless system for distributed music performance and interactive installation. Designed as a flexible alternative to infrastructure-heavy networked ensembles\, MESH enables performers to create spatially distributed musical systems using compact\, self-contained nodes that communicate over a wireless network. \nParticipants will gain hands-on experience with the core concepts behind MESH\, including distributed sound synthesis\, Open Sound Control (OSC) based communication\, and decentralized performance design. We will build and perform with a distributed system\, gaining practical insight into the design and implementation of portable networked music environments. In addition to performance-oriented applications\, the workshop will also introduce approaches for audience interaction using computer vision techniques. The workshop is suitable for musicians\, composers\, and researchers interested in electroacoustic performance\, interactive systems\, and networked music practices. \n  \nRequirements\n\nNo prior knowledge\nNo materials needed – we will provide materials\n\n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitators\nHenry Windish is a graduate student in the School of Music at the Georgia Institute of Technology. His work focuses on computer music systems\, audio software development\, and collaborative tools for performance and education. He contributes to the design and implementation of networked performance platforms and supports student projects involving SuperCollider\, audio networking\, computer vision\, and interactive media. Henry has been with the MËSH project since it launched at Georgia Tech in 2024. Previously\, he studied electrical engineering at Washington University in St. Louis. \nTristan Peng (he/him) is a Music Technology PhD student at the Georgia Institute of Technology exploring interaction design\, spatial audio\, and sonification; previously studying at the Center for Computer Research in Music and Acoustics (CCRMA) in the Department of Music as well as the Department of Computer Science at Stanford University. A creative technologist and musician\, his work aims to democratize music through technology–creating accessible\, artful\, and interactive ways for people to experience sound. His current projects investigate how data can become a medium for participation and how immersive Audio spaces can evoke emotion and understanding in ways that traditional visualizations cannot. \nHenrik von Coler is a musician and researcher\, working at the intersection of art\, science and technology. In 2024 he founded the Lab for Interaction and Immersion (L42i) at Georgia Tech’s School of Music. Before that he was the director of the Electronic Music Studio at TU Berlin and head of the Computer Music Team at the Audio Communication Group. In his research and creative work\, Henrik has explored various aspects of electronic music and musical instruments. This includes interface design\, algorithms for sound generation and experimental concepts for composition and performance. Most of his projects treat space as an integral part of music. In 2017 he founded the Electronic Orchestra Charlottenburg – an ensemble of up to 12 electronic musicians – to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-henry-windish-et-al-working-with-mesh-advanced-tools-and-strategies-for-networked-instruments-in-music-and-sound-art/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T120000
DTEND;TZID=Europe/Amsterdam:20260511T200000
DTSTAMP:20260615T200849
CREATED:20260421T092055Z
LAST-MODIFIED:20260501T120134Z
UID:10000133-1778500800-1778529600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Henry Windish\, Tristan Peng & Henrik von Coler: "MËSH"
DESCRIPTION:MËSH is an immersive\, networked music and media system that blends interactive installation with live performance. Developed since 2019\, MËSH uses a distributed array of interactive nodes to create a responsive audiovisual environment. Depending on the venue\, installations range from 4 to 16 interconnected nodes communicating over a wireless local network. \nEach node processes real-time movement captured by its camera using custom computer-vision software. These motion signals drive local sound generation in SuperCollider and trigger sample playback drawn from a curated library of field recordings and media fragments. Sounds are spatialized across the network\, forming a shared\, evolving soundscape shaped directly by audience interaction. \nMËSH also functions as a performance instrument: synchronized graphical scores are displayed across all nodes\, enabling musicians to perform within the same reactive ecosystem. This latest iteration continues MËSH’s exploration of distributed creativity and collaborative sensing. \nAbout the artists\nHenry Windish is a graduate student at Georgia Tech. His work focuses on computer music systems\, audio software development\, and collaborative tools for performance and education. He contributes to the design and implementation of networked performance platforms and supports projects involving SuperCollider\, audio networking\, computer vision\, and interactive media. Previously\, he studied electrical engineering at Washington University in St. Louis. \nTristan Peng is a PhD student at Georgia Tech exploring interaction design\, spatial audio\, and sonification; previously studying at CCRMA at Stanford University. His work aims to create accessible\, artful\, and interactive ways for people to experience sound. His current projects investigate how data can become a medium for participation and how immersive audio spaces can evoke emotion and understanding in ways that traditional visualizations cannot. \nHenrik von Coler is a musician and researcher. In 2024 he founded the Lab for Interaction and Immersion at Georgia Tech. Before that he was the director of the Electronic Music Studio at TU Berlin. Henrik’s research explores interface design\, algorithms for sound generation and experimental concepts for composition and performance. In 2017 he founded the Electronic Orchestra Charlottenburg to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-windisch-peng-v-coler-mesh/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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