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X-WR-CALDESC:Events for ICMC HAMBURG 2026
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DTSTART;VALUE=DATE:20260510
DTEND;VALUE=DATE:20260528
DTSTAMP:20260421T120316
CREATED:20260415T101343Z
LAST-MODIFIED:20260417T114047Z
UID:65335-1778371200-1779926399@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Installations and Performances: Transition | Tension | Potential
DESCRIPTION:Between platforms 3 and 4 at Harburg railway station\, the displays of the Kunstverein Harburger Bahnhof present materials and objects in transformation. They don’t show finished forms\, but processes and contradictions.  \nThe work is occasionally complemented by sound-based and performative interventions. It explores tension\, transitions\, and what emerges in between —between things\, within situations — and how this shapes the way we perceive the world.  \nOpen 24/7\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 
URL:https://icmc2026.ligeti-zentrum.de/event/off-icmc-installations-and-performances-transition-tension-potential/
LOCATION:Kunstverein Harburger Bahnhof\, Hannoversche Straße 85 (at the train station above platform 3&4)\, Hamburg\, 21079\, Germany
CATEGORIES:10-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260510T190000
DTEND;TZID=Europe/Amsterdam:20260510T220000
DTSTAMP:20260421T120316
CREATED:20260421T081038Z
LAST-MODIFIED:20260421T083915Z
UID:65235-1778439600-1778450400@icmc2026.ligeti-zentrum.de
SUMMARY:Opening Concert
DESCRIPTION:Program Overview\nIntroduction \nAlexander Schubert – SCANNERS (2013)\nfor string quintet\, choreography\, and electronics (12 min) \nNicole Brady – Ricochet (World Premiere 2026)\nfor chamber orchestra (10 min) \nAnthony Paul De Ritis – Filters (2015 / 2026)\nfor alto saxophone\, string orchestra\, and live electronics (10 min) \nIntermission (25 min) \nAigerim Seilova / Steffen Lohrey – Breath Mechanics (World Premiere 2026)\nfor two soprano saxophones\, string ensemble\, and live electronics (10 min) \nClarence Barlow – Im Januar am Nil (1985)\nfor ensemble (approx. 25 min) \nShort break (10 min) \nClosing & Conference Information (15 min) \n  \nPerformers\nEnsemble Resonanz – strings\nAsya Fateyeva – saxophone\nVlatko Kučan – saxophone\nJohn Eckhardt – double bass\nDulguun Chinchuluun – piano\nLin Chen – percussion \nConductor\nFriederike Scheunchen \nFind out more about the musicians playing at ICMC HAMBURG 2026 here.  \n  \nAbout the pieces\nAlexander Schubert \nSCANNERS (2013)\nfor string quintet\, choreography\, and electronics \nThe piece SCANNERS copes with the physical qualities of instrumentalists in electro-acoustic music. It is a choreographed composition\, that takes movement as important as sound. The string ensemble turns into a performing machine. The main focus is on the movement of scanning – as well in the interaction of bow and instrument when producing sound as also in purely artificial gestures. There is no difference between musically necessary or choerographically determined mouvement. The piece can be seen as a comment on the relationship of man to digital content: the direct consequences of action can’t be explained by simple cause and effect principles any more\, the musicians become puppets or at least a part of a complex machine. At the same time the piece offers a special focus on the highly specialized genre of the string orchestra: the mechanizing emphasizes the accuracy of the interpreter and the elegance of the traditional movement\, here being staged independently from the production of sound.\nScanners belongs to a series of compositions that deal with physicality\, as there is e.g. Point Ones with interactive conductor or LaPlace Tiger with a sensor-wired drummer. \nAbout the composer\nAlexander Schubert (1979) studied bioinformatics\, multimedia composition. He’s a professor at the Musikhochschule Hamburg. Schubert’s interest explores the border between the acoustic and electronic world. In music composition\, immersive installation and staged pieces he examines the interplay between the digital and the analogue. He creates pieces that realize test settings or interaction spaces that question modes of perception and representation. Continuing topics in this field are authenticity and virtuality. The influence and framing of digital media on aesthetic views and communication is researched in a post-digital perspective. Recent research topics in his works were virtual reality\, artificial intelligence and online-mediated artworks. Schubert is a founding member of ensembles such as “Decoder“. His works have been performed more than 700 times in the last few years by numerous ensembles in over 30 countries. \n  \nNicole Brady \nRicochet (World Premiere 2026)\nfor chamber orchestra and live electronics \nRicochet explores the idea of deviation from an expected path after an initial impact\, leading to new directions. Inspired by the ricochet bowing technique\, this concept unfolds both physically and metaphorically within the ensemble.\nA responsive electronic system listens to the orchestra and generates a parallel sonic layer. Energetic passages produce scattered\, percussive textures\, while quieter material leads to dense\, sustained sound fields. The system alternates between listening and generative modes\, interacting closely with the performers.\nSubtle references to composers such as Couperin\, Ravel\, and Mozart connect historical material with contemporary sound\, while the electronics act as an additional\, autonomous voice within the ensemble. \nAbout the composer\nNicole Brady is an award-winning composer and creative director whose work spans concert music\, immersive installation\, and video game franchises including Final Fantasy\, Tekken\, and Valkyria Chronicles. Her work has been honoured by the Peabody Awards and IndieCade\, and her immersive sound album Lost Palace was released with the Royal Scottish National Orchestra. Recent commissions and performances include the Omega Ensemble\, Melbourne Symphony Orchestra\, Flinders Quartet\, and Lyris Quartet. As creative director of WLDR studio\, her immersive multisensory works have reached over 20\,000 participants across Illuminate Adelaide and Spier Light Art Festival. Nicole is a researcher at the Melbourne Conservatorium of Music and recipient of the Director’s Award for Exceptional Doctoral Research. \n  \nAnthony Paul De Ritis \nFilters (2015 / 2026)\nfor alto saxophone\, string orchestra\, and live electronics \nOriginally composed for alto saxophone and electronic playback\, Filters explores the layering and spatial diffusion of sound. Recorded saxophone material creates a “second” voice\, blending with the live soloist into a unified\, resonant field.\nIn this version for saxophone\, string orchestra\, and multi-channel electronics\, the ensemble extends these layers\, producing a rich interplay between live instruments and their electronically mediated “shadows.”\nThe solo saxophone remains at the expressive center\, while the surrounding textures generate depth\, movement\, and an immersive spatial experience. \nAbout the composer\nDescribed as a “genuinely American composer” (Gramophone)\, “a bit of a visionary” (Audiophile Audition)\, and “bracingly imaginative” (The Boston Globe)\, Anthony Paul De Ritis has received performances around the world\, including at Lincoln Center\, Beijing’s Yugong Yishan\, Seoul’s KT Art Hall\, the Italian Pavilion at the 2015 World Expo in Milan\, and UNESCO headquarters in Paris. \nDe Ritis’s 2012 release “Devolution” by the GRAMMY® Award-winning Boston Modern Orchestra Project\, featuring Paul D. Miller aka DJ Spooky as soloist\, was described as a “tour de force” (Gramophone); and his “Pop Concerto” (2017) featuring Eliot Fisk was lauded as “a major issue of American music\,” (Classical CD Review) and his “Electroacoustic Music – In Memoriam: David Wessel” (2018) was cited as among the “Best of 2018” in the electronic music category (Sequenza 21). \nHe holds a Ph.D. from the University of California\, Berkeley\, and is Professor at Northeastern University\, where he co-founded the music technology program. \n  \nAigerim Seilova / Steffen Lohrey \nBreath Mechanics (World Premiere 2026)\nfor two soprano saxophones\, string ensemble\, and live electronics \nThis work is a composition for two soprano saxophones\, string ensemble (4.4.4.2)\, and 8.1 live electronics\, submitted for the ICMC Special Call 1: Ensemble Resonanz . The piece serves as a spectral dialogue with Clarence Barlow’s Im Januar am Nil\, adopting his strategies of timbral fusion and hocketing but transposing them into the age of Machine Learning. The central material is derived from “ChordsNest\,” a multiphonics palette extension for MaxScore\, which is repurposed here as a training set for a neural network. The compositional core is an “AI Translation Error” in which the model was tasked with reconstructing the cylindrical bore spectra of the digital archive using the conical bore of the live saxophones and the acoustic textures of the string ensemble. \nThe resulting score is a transcription of the AI’s “hallucinations\,” where the ensemble physically replicates the digital artifacts of the style transfer process. The 8.1 electronics mediate this through a dual-role feedback loop. They function first as a synthesized “externalized memory” of the source spectra and secondly as a live inferencing engine that generates “retrospective hypotheses” by attempting to recover source-states from the acoustic performance. This architecture stages a recursive friction between the explicitly presented digital archive and the machine’s error-prone attempt to reconstruct it through physical sound. \nAbout the composers\nHamburg-based composer Aigerim Seilova integrates acoustics\, electronics\, and interactive media. A doctoral researcher at HfMT Hamburg\, her works are performed by Ensemble Modern and the Norwegian Radio Orchestra at festivals like Tanglewood and Chelsea Music Festival. Awards include the Hindemith Prize\, Leonard Bernstein Fellowship\, and Radio France Prize. She serves as Deputy Chair of the DKV Hamburg\, promoting contemporary music and interdisciplinary exchange. \nBorn in Gießen in 1987\, Steffen Lohrey studied Digital Media with a focus on sound in Darmstadt and Multimedia Composition at the Hamburg University of Music and Drama (HfMT Hamburg). His work exists at the intersection of composition\, installation\, and code. He has been involved in a wide range of projects\, including Picadero with the Haa Collective (presented at venues such as Deltebre Dansa and the Fusion Festival)\, Crawlers with Alexander Schubert (ZKM Karlsruhe)\, and Shibboleth by Aigerim Seilova at HfMT Hamburg. His work and collaborations have been featured at Blurred Edges\, the Teatre Principal Terrassa\, and the GREC Festival\, among others. In addition\, Steffen Lohrey works as an audio engineer and sound designer in Hamburg. \n  \nClarence Barlow  \nIm Januar am Nil (1984)\nfor 2 soprano saxophones (1st+clarinet\, bass clarinet)\, 4 violins\, 2 celli\, double bass\, piano\, percussion  \nIm Januar am Nil was written in 1981 for Ensemble Köln – the instrumentation: two soprano saxophones\, percussion (five Japanese temple bells\, a Korean gong\, a crotale\, a cymbal\, a side drum and a bass drum)\, a piano\, four violins\, two cellos and a double-bass. In 1984 the completely revised piece was premiered in Paris by Ensemble Itineraire.\nThrough the piece runs a constantly repeated melody\, increasing both in length and density – new tones appear in the expanding gaps\, first in a purely auxiliary function\, but gradually harmonically rivalling the older tones. A single note at the start develops into a flowing melody moving from transparent tonality through multitonality to a dense self-destructive atonality.\nAt first the melody is played almost inaudibly by the bass clarinet\, amplified by overtones heard as natural harmonics in the strings: the resultant timbre is phonetic\, based on a Fourier analysis of German sentences (as for instance the title itself) containing only harmonic spectra\, namely liquids\, nasals and semi-vowels. Ideally these “scored Fourier-synthesized” words should be comprehensible\, but an ensemble of seven strings can only be approximative. After a few minutes of bass clarinet and strings\, the piano enters in an explicit rendition of the melody\, developing it as described above and timbrally coloured by “hocketing” soprano saxophones. The double bass now also explicitly plays the melody without further developing it – in a “frozen” state it is contrasted with the piano part and slows down during further repetitions due to its increasing length. \nAbout the composer\nClarence Barlow (1945–2023) was a composer and pioneer of computer music\, born into the English-speaking minority of Calcutta (now Kolkata)\, India. He received his early education there\, studying piano\, music theory\, and natural sciences\, and began composing at the age of twelve. After graduating in science from the University of Calcutta in 1965\, he worked as a conductor and teacher of music theory at the Calcutta School of Music.\nIn 1968\, Barlow moved to Cologne\, where he studied composition and electronic music at the Hochschule für Musik\, alongside studies at the Institute of Sonology in Utrecht. During this period\, he began using computers as a compositional tool\, becoming one of the early figures to explore algorithmic and computer-assisted composition.\nFrom the 1980s onward\, Barlow played a central role in shaping the field of computer music. He was closely associated with the Darmstadt Summer Courses\, where he directed computer music activities for over a decade\, and was a co-founder of GIMIK (Initiative Musik und Informatik Köln). He also held numerous academic positions across Europe\, including at the Royal Conservatory in The Hague\, where he served as Professor of Composition and Sonology and later as Artistic Director of the Institute of Sonology.\nFrom 2006 until his retirement\, Barlow was Corwin Professor of Composition at the University of California\, Santa Barbara. His work is characterized by a unique synthesis of mathematical rigor\, cultural hybridity\, and innovative approaches to musical structure\, making him one of the most distinctive voices in contemporary music. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/opening-concert/
LOCATION:Elphilharmonie Hamburg\, Recital Hall\, Platz der Deutschen Einheit\, Hamburg\, 20457\, Germany
CATEGORIES:10-05,Concert,Music,Special Event
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T090000
DTEND;TZID=Europe/Amsterdam:20260511T223000
DTSTAMP:20260421T120316
CREATED:20260415T130451Z
LAST-MODIFIED:20260421T081513Z
UID:65247-1778490000-1778538600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 1a: History of Computer Music
DESCRIPTION:Three papers will be presented and discussed: \n\nHyunmook Lim\, The History of Japanese Electroacoustic Music for Piano from the Perspective of Media Genealogy\n\nPaulo C. Chagas\, Beyond Execution: Unrealizability and the Ontology of Sound in Computer Music\n\n\nAndrea Agostini\, Computer-Aided Composition: A Retrospective and Prospective Outlook\n\n\n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-1a-history-of-computer-music/
LOCATION:Hamburg University of Technology (TUHH)\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T100000
DTEND;TZID=Europe/Amsterdam:20260511T183000
DTSTAMP:20260421T120316
CREATED:20260415T092539Z
LAST-MODIFIED:20260417T114151Z
UID:65340-1778493600-1778524200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Festival Opening
DESCRIPTION:  \nSounds with Fruits and Vegetables | Photo: feeljazz Festival Jakob Stolz\n\nWe’re kicking off the festival week at Hölertwiete near the Harburg Rathaus S-Bahn station. The Harburg Info center\, run by Harburg Marketing\, will serve as the festival hub for three days. Check out the week’s program\, use our program finder to discover events you might enjoy\, look forward to interactive sound installations\, and explore virtual realities.  \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 
URL:https://icmc2026.ligeti-zentrum.de/event/off-icmc-festival-opening/
LOCATION:Harburg Info\, Hölertwiete 6\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T103000
DTEND;TZID=Europe/Amsterdam:20260511T133000
DTSTAMP:20260421T120316
CREATED:20260421T090545Z
LAST-MODIFIED:20260421T090545Z
UID:65795-1778495400-1778506200@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Pavlos Antoniadis: Lanthánon Chóros (Latent Space): Composing with objets trouvés and AI tools
DESCRIPTION:Derivative of a 5-month long composition workshop at the Greek National Opera\, Lanthánon Chóros – Greek for “latent space”– gives an introductory course for multimodal composition beyond the score and the DAW\, employing “objets trouvés” (found objects) through ethical and sustainable AI tools. Such practice should be understood as critically opposing popular practices for music generation through tools like Suno or Udio. The target group of 10-15 participants comprises computer music practitioners – both composers and/or performers – with an interest in both theoretical and practical aspects of AI composition. After a rapid introduction to historical\, technical\, conceptual\, aesthetic and legal issues\, the participants will be guided into composing a short excerpt for the facilitator’s setup (including a grand piano\, a ROLI MPE controller\, R-IoT and\nMUGIC sensors\, TouchKeys sensors)\, to be performed in situ by the facilitator. They will need their own laptop and headphones\, having installed in advance necessary software (SOMAX2\, GesTCom\, RAVE\, INScore\, MuBu and MaxScore)\, for most of which Max/MSP is a prerequisite. \n  \n 
URL:https://icmc2026.ligeti-zentrum.de/event/workshop-pavlos-antoniadis-lanthanon-choros-latent-space-composing-with-objets-trouves-and-ai-tools/
LOCATION:Hamburg University of Technology (TUHH)\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T123000
DTSTAMP:20260421T120316
CREATED:20260415T130523Z
LAST-MODIFIED:20260421T081635Z
UID:65250-1778497200-1778502600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 1b: AI & Music
DESCRIPTION:Two papers will be presented and discussed: \n\nHiroshi Yamato OrbitScore\, A Domain-Specific Language for Polymetric Live Coding Based on Multilayered Temporal Structures\nYuan Zhang and Xinran Zhang\, Hexagram-Based Semantic Composition: Discretizing Embedding Spaces into Symbolic Compositional States for Improvised Performance
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-1b-ai-music/
LOCATION:Hamburg University of Technology\, Ditze Hörsaal (H 016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T123000
DTSTAMP:20260421T120316
CREATED:20260415T131036Z
LAST-MODIFIED:20260421T081756Z
UID:65503-1778497200-1778502600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 2: Music Information Retrieval
DESCRIPTION:Three papers will be presented and discussed:\n\n\n\nAxel Berndt\, Aida Amiryan-Stein\, Manuel Peters\, Meinard Müller and Stefan Balke\, ChoraleWind: An Expressive Wind-Quartet Dataset for End-to-End Rendering from the Neues Thüringer Choralbuch\n\n\n\nMário Pereira\, António Sá Pinto\, Treasa Harkin and Gilberto Bernardes\, Computational Analysis of Expressive Tempo in Irish Traditional Dance Music\n\n\nGilberto Bernardes\, Nádia Moura and António Sá Pinto\, Perpetual Dialogues: A Computational Analysis of Voice–Guitar Interaction in Carlos Paredes’s Discography\n\n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-2-music-information-retrieval/
LOCATION:Hamburg University of Technology\, Ditze Hörsaal (H 016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260421T120316
CREATED:20260421T093948Z
LAST-MODIFIED:20260421T095126Z
UID:65562-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Miles Friday: "Breathwork"
DESCRIPTION:Breathwork is a twelve-channel sound installation where loudspeakers become breathing bodies. Each loudspeaker is encased in an inflatable bag that swells and contracts in response to low-frequency drones\, forming a slow\, ever-shifting breath-like choreography. \nWithin this field of motion\, clouds of layered just intonation partials drift in and out of perception\, while low frequencies create a base of acoustic beating and Shepard tone-esque glissandos. By transforming the loudspeaker into a pneumatic pump\, Breathwork reimagines the loudspeaker as a tool for visual synthesis\, where vibrations in the air animate inflatables as kinetic sculptures—synthetic lungs whose movement create polyrhythms that can be both seen and heard. \nAll audio is generated live via SuperCollider and is running on two Bela Mini Multichannel Expanders. \nAbout the artist\nMiles Jefferson Friday is an artist who focuses on sound as his primary medium. Building new instruments\, composing music\, designing sound sculptures\, and creating immersive installations\, his practice invites us to reconsider how we hear and listen. Miles is currently an Assistant Professor of Digital Music at University of Texas at San Antonio\, holds a DMA and MFA from Cornell University\, and an MA from the Eastman School of Music. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-miles-friday-breathwork-1-2/
LOCATION:Hamburg University of Technology\, Building A\, Foyer\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260421T120316
CREATED:20260421T095644Z
LAST-MODIFIED:20260421T095644Z
UID:65567-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Alessandro Anatrini: "Faulty Oracle"
DESCRIPTION:Faulty Oracle is an adaptive audiovisual installation that conjures a gloriously unreliable divinatory machine. Visitors pose questions through body language: gestures\, movements\, postures which the system interprets\, misreads\, and willfully transforms. In return\, the oracle delivers cryptic animated answers\, flickering between epiphany\, nonsense\, and hallucination. Voices stretch\, fracture\, and echo over visuals that shimmer with unstable symbols\, offering responses that feel both prophetic and utterly broken.\nThe dialogue is a masterclass in miscommunication: questions are misinterpreted\, wrong ones are amplified\, and answers rarely align with intent. The oracle becomes a mirror of ambiguity\, where meaning emerges from error\, chance\, and interpretation rather than clarity.\nBy shifting interaction from language to the body\, Faulty Oracle gleefully dismantles any expectation of precision in human-machine exchange. It invites participants into a space of playful fallibility\, reframing prophecy as a dance of uncertainty and imagination. \nAbout the artist\nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has\nbeen presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-alessandro-anatrini-faulty-oracle-1/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
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:20260421T120316
CREATED:20260421T092055Z
LAST-MODIFIED:20260421T092055Z
UID:65534-1778500800-1778529600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Windisch\, Peng & v. Coler: "MESH"
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 artist\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:https://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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T120000
DTEND;TZID=Europe/Amsterdam:20260511T200000
DTSTAMP:20260421T120316
CREATED:20260421T093204Z
LAST-MODIFIED:20260421T093204Z
UID:65538-1778500800-1778529600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Adriano C. Monteiro & Rafaela B. Pires: "DE/RE:GENERATION"
DESCRIPTION:De/Re:Generation stems from a speculative question: would cicadas sense acoustic information during the up to 17 years they live underground\, before emerging from the soil for a brief adult phase marked by intense acoustic display? From this perspective\, the installation approaches sound not only as an auditory phenomenon\, but as something sensed through the body\, making vibration and tactile perception central to the experience.\nAt the core of the work are rounded\, shell-like sculptures molded from biodegradable cassava-starch bioplastics. These forms visually echo cicada nymphs and exuviae: fragile\, hollow exoskeletons that signal absence\, transfor-mation\, and continuation. Like the remnants left after metamorphosis that nourish other species\, the installation’s ma-terials participate in an ongoing process of regeneration: they deform over time\, respond to humidity and dryness\, and become alternately more rigid or more flexible\, like a living skin in dialogue with the environment. Integrated as touch interfaces\, the bioplastic sculptures function as tactile sensing surfaces that mediate the interaction with the sound en-vironment formed by vibrating surfaces and low-frequency sound fields\, that allude to the cicada’s aboveground and underground sonic worlds\, blurring boundaries between tactile and auditory modes of perception\, organic material and inorganic technological systems. \nAbout the artists\nAdriano Monteiro is a music composer and researcher. His work focus on the convergence of art\, science and technology for creative processes\, performance and analysis of music. He is the author of eletroacustic and intermedia works in different media and formats\, such as acousmatic\, live electronics\, audiovisual performances and installations\, network and telematic music\, and also author and coauthor of several articles concerning creative processes in music and musical analysis. Adriano Monteiro is an associate professor of Music Composition at the School of Music and Scenic Arts of Federal University of Goiás (EMAC/UFG). He studied music composition at the University of Campinas (UNICAMP) and holds a PhD in music from the same institution. \nRafaela Blanch Pires is a designer and professor at the Scenic Arts department at the Federal University of Goiás (Brazil). Her background is in fashion design\, MA in “Fashion and Textiles” and PhD in “Design and Architecture” (São Paulo University). Between 2015 and 2016 she worked as a doctoral visiting student at the “Wearable Senses Lab” at the Technical University of Eindhoven (Holland). She experiments with the areas of bio-materials\, digital fabrication\, special effects make-up\, costume design and electronics. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-adriano-c-monteiro-rafaela-b-pires-de-regeneration/
LOCATION:Stellwerk Hamburg\, Lounge\, Hannoversche Str. 85\, Hamburg\, 21079\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T120000
DTEND;TZID=Europe/Amsterdam:20260511T220000
DTSTAMP:20260421T120316
CREATED:20260421T093204Z
LAST-MODIFIED:20260421T093343Z
UID:65818-1778500800-1778536800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Adriano C. Monteiro & Rafaela B. Pires: "DE/RE:GENERATION"
DESCRIPTION:De/Re:Generation stems from a speculative question: would cicadas sense acoustic information during the up to 17 years they live underground\, before emerging from the soil for a brief adult phase marked by intense acoustic display? From this perspective\, the installation approaches sound not only as an auditory phenomenon\, but as something sensed through the body\, making vibration and tactile perception central to the experience.\nAt the core of the work are rounded\, shell-like sculptures molded from biodegradable cassava-starch bioplastics. These forms visually echo cicada nymphs and exuviae: fragile\, hollow exoskeletons that signal absence\, transfor-mation\, and continuation. Like the remnants left after metamorphosis that nourish other species\, the installation’s ma-terials participate in an ongoing process of regeneration: they deform over time\, respond to humidity and dryness\, and become alternately more rigid or more flexible\, like a living skin in dialogue with the environment. Integrated as touch interfaces\, the bioplastic sculptures function as tactile sensing surfaces that mediate the interaction with the sound en-vironment formed by vibrating surfaces and low-frequency sound fields\, that allude to the cicada’s aboveground and underground sonic worlds\, blurring boundaries between tactile and auditory modes of perception\, organic material and inorganic technological systems. \nAbout the artists\nAdriano Monteiro is a music composer and researcher. His work focus on the convergence of art\, science and technology for creative processes\, performance and analysis of music. He is the author of eletroacustic and intermedia works in different media and formats\, such as acousmatic\, live electronics\, audiovisual performances and installations\, network and telematic music\, and also author and coauthor of several articles concerning creative processes in music and musical analysis. Adriano Monteiro is an associate professor of Music Composition at the School of Music and Scenic Arts of Federal University of Goiás (EMAC/UFG). He studied music composition at the University of Campinas (UNICAMP) and holds a PhD in music from the same institution. \nRafaela Blanch Pires is a designer and professor at the Scenic Arts department at the Federal University of Goiás (Brazil). Her background is in fashion design\, MA in “Fashion and Textiles” and PhD in “Design and Architecture” (São Paulo University). Between 2015 and 2016 she worked as a doctoral visiting student at the “Wearable Senses Lab” at the Technical University of Eindhoven (Holland). She experiments with the areas of bio-materials\, digital fabrication\, special effects make-up\, costume design and electronics. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-adriano-c-monteiro-rafaela-b-pires-de-regeneration-2/
LOCATION:Stellwerk Hamburg\, Lounge\, Hannoversche Str. 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:20260511T130000
DTEND;TZID=Europe/Amsterdam:20260511T153000
DTSTAMP:20260421T120316
CREATED:20260415T101559Z
LAST-MODIFIED:20260420T115033Z
UID:65343-1778504400-1778513400@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Workshop: Code the Beat – Learn to Code through Music
DESCRIPTION:Coding through Music | Photo: ligeti center\n  \nIn this workshop\, you will compose your own music using the program Sonic Pi. Are you passionate about music? Then you’ll discover a new form of expression while learning to code. You already know a little bit about coding? Then you’ll get to know music-making from a different perspective. By the end of the workshop\, you’ll have composed a song and learned something new about coding.  \nFor children and teenagers from age 10 to 14.\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:https://icmc2026.ligeti-zentrum.de/event/off-icmc-workshop-code-the-beat-learn-to-code-through-music/
LOCATION:Hamburg University of Technology\, Building E2\, Am Schwarzenberg-Campus 3\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T133000
DTEND;TZID=Europe/Amsterdam:20260511T153000
DTSTAMP:20260421T120316
CREATED:20260421T084731Z
LAST-MODIFIED:20260421T084731Z
UID:65255-1778506200-1778513400@icmc2026.ligeti-zentrum.de
SUMMARY:Concert 1A
DESCRIPTION:Program Overview\n  \nTyche\nSever Tipei (Bb clarinet\, Esther Lamneck\, performer) \nAIKYAM\nClaudia Robles Angel\n(1 performer (actor) + 5 to 6 members of the audience) \nHOTPO\nMichael Edwards (Saxphone) 11th or 12th \nTessellae\nRodrigo Cadiz (11th only) percussionist Thierry Miroglio\,\n(Percussionist Thierry Miroglio and electronics) \nThe Center of the Universe\nSunhuimei Xia and Sunhuimei Xia\n(Live electronic works\, electronic performer)
URL:https://icmc2026.ligeti-zentrum.de/event/concert-1a/
LOCATION:Hamburg University of Technology\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T153000
DTEND;TZID=Europe/Amsterdam:20260511T160000
DTSTAMP:20260421T120316
CREATED:20260421T083405Z
LAST-MODIFIED:20260421T083405Z
UID:65778-1778513400-1778515200@icmc2026.ligeti-zentrum.de
SUMMARY:Introduction & Welcome to ICMC HAMBURG 2026
DESCRIPTION:ICMC HAMBURG 2026 welcomes this year’s conference community to Hamburg. On this first full conference day\, the team shares a few words about the week’s program before Robert Henke gives his keynote about his life as a toolmaking artist. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/introduction-welcome-icmc-hamburg-2026/
LOCATION:Hamburg University of Technology (TUHH)\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,General
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T160000
DTEND;TZID=Europe/Amsterdam:20260511T170000
DTSTAMP:20260421T120316
CREATED:20260421T082545Z
LAST-MODIFIED:20260421T082545Z
UID:65258-1778515200-1778518800@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Robert Henke
DESCRIPTION:My Life as a Toolmaking Artist: A Personal Reflection on the Challenges and Rewards of Building My Own Instruments\nI had the privilege of witnessing—and participating in—the historic shift of computer-generated music from an academic pursuit to something accessible in a bedroom studio. I embraced this opportunity wholeheartedly\, using environments like IRCAM’s Max to explore new sonic and structural territories. This allowed me to move beyond the constraints of physical instruments I could afford\, the limitations of my own hands\, and the rigid mental models of established MIDI sequencing software. \nDriven by a desire to achieve unique and personal results with limited computing power and knowledge\, I came to value the creative freedom found in self-imposed limitations. This experience led to a deep appreciation for simple yet powerful concepts\, algorithms\, and interfaces. \nSince the beginning\, my music emerged from an iterative process: building instruments\, being surprised and inspired by the results\, and then revising the instruments in response. The insights I gained not only informed a successful commercial product but\, more importantly\, shaped my identity as an artist and my approach to computer-based creation. \nIn my talk\, I will examine selected works of mine from a critical toolmaker’s perspective: did I reinvent the wheel again\, or did I achieve an artistic outcome which justifies the effort? \n  \nRobert Henke\nRobert Henke is an artistic toolmaker and a toolmaking artist\, exploring the creative potential of technology. His practice spans musical compositions\, concerts\, large-scale audiovisual installations\, and computer graphics. His work frequently involves inventing custom algorithms and machines\, blending rigid structure with controlled randomness. His music channels the raw\, repetitive energy of techno culture\, as well as the intricate details and textures of abstract contemporary works. His visual art builds on the legacies of Minimal Art and early computer graphics pioneers.\nSince 1995\, he has recorded and performed as Monolake\, initially a duo with Gerhard Behles and\, since 1999\, a solo project. His artistic collaborations include works with Marko Nikodijevic\, Tarik Barri\, and Christopher Bauder\, among others.\nHenke is also a co-creator of Ableton Live\, software that revolutionised music production and electronic performance. He lectures and writes on sound and creative computing\, and has taught at institutions such as the Berlin University of the Arts\, Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) and IRCAM in Paris.\nHis installations\, performances\, and concerts have been presented at leading venues worldwide\, including Tate Modern\, Centre Pompidou\, PS1\, MUDAM\, MAK\, Palazzo Grassi\, and countless music festivals. \nMore about Robert Henke: www.roberthenke.com \n 
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-robert-henke/
LOCATION:Hamburg University of Technology (TUHH)\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T160000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260421T120316
CREATED:20260415T101718Z
LAST-MODIFIED:20260420T115632Z
UID:65346-1778515200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Stilt Performance: Oakleaf Streetshow – Insect-o-lectic
DESCRIPTION:Oakleaf | Photo: Piet Pabst\n  \nA combination of stilt dancing\, body percussion\, and cutting-edge sound technology. The street performance group Oakleaf Streetshow is headed to Harburg with an interactive walking act. Bizarre\, colorful creatures on stilts buzz through the crowd—creatures that not only look like beetles but sound like them\, too.  \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 
URL:https://icmc2026.ligeti-zentrum.de/event/off-icmc-stilt-performance-insect-o-lectic/
LOCATION:Harburg Info\, Hölertwiete 6\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T170000
DTEND;TZID=Europe/Amsterdam:20260511T190000
DTSTAMP:20260421T120316
CREATED:20260421T091309Z
LAST-MODIFIED:20260421T091309Z
UID:65798-1778518800-1778526000@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Serge Lemouton et al.: Practical Documentation and Collaborative Preservation using Antony
DESCRIPTION:The goal of this workshop is to show\, for the first time ever\, the Antony system\, now in its final state and fully\nfunctional. At the end of this workshop\, the participants will be able to use the database to document\, distribute and preserve their own creations. \n  \nWorkshop by: Serge Lemouton\, Jacques Warnier\, Malena Fouillou\, Laurent Pottier and Xavier Garnier \n  \n 
URL:https://icmc2026.ligeti-zentrum.de/event/workshop-serge-lemouton-et-al-practical-documentation-collaborative-preservation-using-antony/
LOCATION:Hamburg University of Technology\, Building H\, 0.02\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T180000
DTEND;TZID=Europe/Amsterdam:20260511T190000
DTSTAMP:20260421T120316
CREATED:20260415T101813Z
LAST-MODIFIED:20260417T114349Z
UID:65348-1778522400-1778526000@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Concert: Nenad Nikolić – Accordeon meets Techno
DESCRIPTION:Photo: Boris Las Opolski\n  \nNenad Nikolić was born in Serbia and has always been fascinated by his father and grandfather’s accordion playing. But mechanical sounds are from the past. Nenad plays without backing tracks\, performing every single tone live—from “tango to techno.” Don’t miss this chance to see him push the boundaries of his instrument with his electronic accordion.  \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 
URL:https://icmc2026.ligeti-zentrum.de/event/off-icmc-concert-nenad-nikolic-accordeon-meets-techno/
LOCATION:Harburg Info\, Hölertwiete 6\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T190000
DTEND;TZID=Europe/Amsterdam:20260511T210000
DTSTAMP:20260421T120316
CREATED:20260421T085527Z
LAST-MODIFIED:20260421T085653Z
UID:65260-1778526000-1778533200@icmc2026.ligeti-zentrum.de
SUMMARY:Concert 1B
DESCRIPTION:Program Overview\nFantasy for Viola and Computer\nRichard Dudas \nNeuro Translation Engine\nVincenzo Russo \nClimate II for piano and computer \nRikako Kabashima \nWind Blown Rain\nMara Helmuth et al. \nDelicate Anticipation\nKotoka Suzuki \nAir-Carving Bamboo\nYu Chung Tseng
URL:https://icmc2026.ligeti-zentrum.de/event/concert-1b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:11-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T090000
DTEND;TZID=Europe/Amsterdam:20260512T103000
DTSTAMP:20260421T120316
CREATED:20260415T131848Z
LAST-MODIFIED:20260417T114417Z
UID:65271-1778576400-1778581800@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 3a: Music Notation & Representation I
DESCRIPTION:Three papers will be presented and discussed in the Paper Session titled Music Notation & Representation:\n\n  \n\nHyunmook Lim\, The History of Japanese Electroacoustic Music for Piano from the Perspective of Media Genealogy\n\nPaulo C. Chagas\, Beyond Execution: Unrealizability and the Ontology of Sound in Computer Music\n\n\n\nAndrea Agostini\, Computer-Aided Composition: A Retrospective and Prospective Outlook
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-3a-music-notation-representation-i/
LOCATION:Hamburg University of Technology (TUHH)\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T090000
DTEND;TZID=Europe/Amsterdam:20260512T223000
DTSTAMP:20260421T120316
CREATED:20260415T132257Z
LAST-MODIFIED:20260417T114423Z
UID:65275-1778576400-1778625000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 3b: Physiological and Physical Foundations of Creative Systems I
DESCRIPTION:Three papers will be presented and discussed in the Paper Session titled Physiological and Physical Foundations of Creative Systems:\n\n  \n\nChangda Ma\, Sunshiyu Wang\, Canting Zhu and Alexandria Smith\, Extending Xenakis: From Architectural Geometry to Sonification of the Philips Pavilion\n\nEun Ji Oh\, Jun Woo Beck and Alexandria Smith\, The Singing Skin: An Audience-Centered Biofeedback System for Musical Interaction Based on Galvanic Skin Response\n\nPenelope Bekiari and Anastasia Georgaki\, Hyponoia: An Affective Computing System for Augmented Musical Performance — A Case Study\n\n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-3b-physiological-physical-foundations-creative-solutions-i/
LOCATION:Hamburg University of Technology\, Ditze Hörsaal (H 016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T114500
DTSTAMP:20260421T120316
CREATED:20260415T101918Z
LAST-MODIFIED:20260417T114429Z
UID:65350-1778583600-1778586300@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Workshop: Creating Sounds with Fruit and Vegetables
DESCRIPTION:Photo: feeljazz Festival Jakob Stolz\n  \nCome and let your creativity run free at our composition workshop. We’ve got plenty of small musical instruments and a loop station ready for you. Play a fruit and vegetable piano\, record sounds and play them back\, and discover how to create your own beats.  \nFor adults\, teens and children aged 6+\nRegistration required: here and 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:https://icmc2026.ligeti-zentrum.de/event/off-icmc-workshop-creating-sounds-with-fruit-and-vegetables/
LOCATION:Harburg Info\, Hölertwiete 6\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Off-ICMC,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T123000
DTSTAMP:20260421T120316
CREATED:20260415T132858Z
LAST-MODIFIED:20260417T114437Z
UID:65269-1778583600-1778589000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 4a: Music Notation & Representation II
DESCRIPTION:Three papers will be presented and discussed in the Paper Session titled Music Notation & Representation II:\n\n  \n\nRodrigo Cadiz\, Composer-in-the-Loop Generation of Motivic Variants Using State-Space Models and Preference Learning\n\nSolomiya Moroz\, Nicolo Merendino and Massimo Sterlino\, Co-Composing with Plants: Early Experiments in Bio-Responsive Score Design\n\nOrm Finnendahl\, DSP and the Metalevel: Program-name – an integrated environment for algorithmic composition and interctive realtime performance
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-4a-music-notation-representation-ii/
LOCATION:Hamburg University of Technology (TUHH)\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T123000
DTSTAMP:20260421T120316
CREATED:20260415T133949Z
LAST-MODIFIED:20260417T114443Z
UID:65517-1778583600-1778589000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 4b: Physiological and Physical Foundations of Creative Systems II
DESCRIPTION:Three papers will be presented and discussed in the Paper Session titled Physiological and Physical Foundations of Creative Systems II:\n\n  \n\nRolf Bader and Simon Linke\, Impulse Pattern Formulation (IPF) Brain and Larynx Model as a Co-Musician Sound Synthesis Method\n\nTim Ziemer\, Mel-Frequency Cepstral Coefficients and Recording Studio Features for the Analysis of Producer-Driven Music\n\nSimon Linke\, Rolf Bader and Robert Mores\, Designing responsive rhythms utilizing the Impulse Pattern Formulation (IPF)
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-4b-physiological-and-physical-foundations-of-creative-systems-ii/
LOCATION:Hamburg University of Technology\, Ditze Hörsaal (H 016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T130000
DTSTAMP:20260421T120316
CREATED:20260415T103403Z
LAST-MODIFIED:20260417T114448Z
UID:65352-1778583600-1778590800@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Workshop: Music without Touch – Build your own Theremin!
DESCRIPTION:The Theremin | Photo: TUHH WorkINGLab\n  \nNo keys\, strings\, or even physical contact—the theremin is one of the oldest electronic musical instruments and is played solely by movements in the air. In this workshop\, you’ll have the opportunity to build your own theremin using electronic components. Afterward\, you’ll add your personal touch by painting it.  \nFür children and teenagers from age 5 to 16\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:https://icmc2026.ligeti-zentrum.de/event/off-icmc-workshop-music-without-touch-build-your-own-theremin/
LOCATION:Hamburg University of Technology\, WorkINGLab\, Eißendorfer Straße 40 Building N\, 2nd Floor\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Off-ICMC,Workshop
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260421T120316
CREATED:20260421T094037Z
LAST-MODIFIED:20260421T095133Z
UID:65561-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Miles Friday: "Breathwork"
DESCRIPTION:Breathwork is a twelve-channel sound installation where loudspeakers become breathing bodies. Each loudspeaker is encased in an inflatable bag that swells and contracts in response to low-frequency drones\, forming a slow\, ever-shifting breath-like choreography. \nWithin this field of motion\, clouds of layered just intonation partials drift in and out of perception\, while low frequencies create a base of acoustic beating and Shepard tone-esque glissandos. By transforming the loudspeaker into a pneumatic pump\, Breathwork reimagines the loudspeaker as a tool for visual synthesis\, where vibrations in the air animate inflatables as kinetic sculptures—synthetic lungs whose movement create polyrhythms that can be both seen and heard. \nAll audio is generated live via SuperCollider and is running on two Bela Mini Multichannel Expanders. \nAbout the artist\nMiles Jefferson Friday is an artist who focuses on sound as his primary medium. Building new instruments\, composing music\, designing sound sculptures\, and creating immersive installations\, his practice invites us to reconsider how we hear and listen. Miles is currently an Assistant Professor of Digital Music at University of Texas at San Antonio\, holds a DMA and MFA from Cornell University\, and an MA from the Eastman School of Music. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-miles-friday-breathwork-2/
LOCATION:Hamburg University of Technology\, Building A\, Foyer\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, 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:20260512T180000
DTSTAMP:20260421T120316
CREATED:20260421T095626Z
LAST-MODIFIED:20260421T095626Z
UID:65566-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Alessandro Anatrini: "Faulty Oracle"
DESCRIPTION:Faulty Oracle is an adaptive audiovisual installation that conjures a gloriously unreliable divinatory machine. Visitors pose questions through body language: gestures\, movements\, postures which the system interprets\, misreads\, and willfully transforms. In return\, the oracle delivers cryptic animated answers\, flickering between epiphany\, nonsense\, and hallucination. Voices stretch\, fracture\, and echo over visuals that shimmer with unstable symbols\, offering responses that feel both prophetic and utterly broken.\nThe dialogue is a masterclass in miscommunication: questions are misinterpreted\, wrong ones are amplified\, and answers rarely align with intent. The oracle becomes a mirror of ambiguity\, where meaning emerges from error\, chance\, and interpretation rather than clarity.\nBy shifting interaction from language to the body\, Faulty Oracle gleefully dismantles any expectation of precision in human-machine exchange. It invites participants into a space of playful fallibility\, reframing prophecy as a dance of uncertainty and imagination. \nAbout the artist\nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has\nbeen presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-alessandro-anatrini-faulty-oracle-2/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, 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:20260512T180000
DTSTAMP:20260421T120316
CREATED:20260421T100042Z
LAST-MODIFIED:20260421T100234Z
UID:65840-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Dahye Seo: "Sonic Flight"
DESCRIPTION:Sonic Flight transforms the live movement of birds over the skies of Berlin into a poetic soundscape\, where each bird’s flight is mapped onto a musical staff or piano surface. As birds glide\, swoop\, and flutter across the video feed\, their trajectories become sonic gestures—like notes traced in the air—creating an ephemeral composition in real time. Visitors experience a spatialized auditory environment where the motion of the birds is rendered as musical flow and texture\, bridging natural movement and sound. The work explores the translation of fleeting\, living patterns into audible forms\, inviting audiences to perceive the subtle interplay between urban wildlife and sound. By turning the sky into a dynamic score\, Sonic Flight emphasizes the continuous flow of life\, the poetic potential of non-human agency\, and the immersive possibilities of real-time sonification. \nAbout the artist\nDahye Seo (b. 1985\, South Korea) is a multimedia artist based in Berlin. She explores the movement of living organisms and environmental phenomena through sound\, data\, and interactive installations\, creating immersive experiences that bridge perception and natural patterns. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-dahye-seo-sonic-flight-2/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T120000
DTEND;TZID=Europe/Amsterdam:20260512T233000
DTSTAMP:20260421T120316
CREATED:20260421T092222Z
LAST-MODIFIED:20260421T092530Z
UID:65559-1778587200-1778628600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Windisch\, Peng & v. Coler: "MESH"
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 artist\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:https://icmc2026.ligeti-zentrum.de/event/installation-windisch-peng-v-coler-mesh-tuesday-2/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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