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DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260624T030514
CREATED:20260421T103302Z
LAST-MODIFIED:20260511T151132Z
UID:10000157-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Juan Hernández: "Helium Burning"
DESCRIPTION:Nuclear reactions in stars create a wide variety of chemical elements\, starting from hydrogen — in Carl Sagan’s words\, ‘by a kind of stellar alchemy’ (Sagan\, 2014\, p. 231). This process is known as stellar nucleosynthesis. Helium Burning is conceived as a generative system that addresses the affordances of such astronomical processes to explore timbral plasticity through digital sound synthesis in an 8-channel sound installation. The triple-alpha process by which three helium nuclei fuse into a carbon nucleus in the core of a red giant star informs a comprehensive four-layer timbral morphing process. The sound synthesis model encompasses methods of transformation of microsounds such as granulation\, transposition and time-stretching of sound files (Roads\, 2003) as well as iterative re-synthesis procedures. Iteration in the successive sound synthesis stages connotes the recursion in the nucleosynthesis process. The system is devised after the three steps of the triple-alpha process: \n\nTwo helium nuclei form an unstable beryllium nucleus\nA short-lived beryllium nucleus may be approached by another helium nucleus and fuse into an excited state of carbon called Hoyle state\nThe Hoyle state decays to the ground (stable) state of carbon (Ryan and Norton\, 2010\, p. 105-7)\n\nThe rate at which the timbral morphing process evolves is mapped from the initial abundance ratios of the nuclei involved in the different steps of the nucleosynthesis process. As the piece progresses in time\, the transmutation of timbral substances is actualised\, evoking the transmutation of atomic nuclei in the core of a star. Form emerges from the timbral morphing process. The successive phases of the sound synthesis process are the building blocks of musical structure. Because of the plasticity intrinsic to their probabilistic nature\, stellar nucleosynthesis processes may serve as models for open-ended forms. \nThe performative concept underlying sound spatialisation in the piece connotes Niels Bohr’s observation on the essential aspects of quantum mechanics\, furthered and rephrased by Carlo Rovelli as ‘the unambiguous description of any phenomenon requires the inclusion of all the objects involved in the interaction in which the phenomenon manifests itself’ (Rovelli\, 2021\, p. 119). The fluctuating ambisonic panning of each sound grain draws attention to the significance of the interaction between the phenomenon of timbral transmutation and the listener\, actualising Rovelli’s contention that ‘all phenomena are quantum phenomena’ (Rovelli\, 2021\, p. 119). \nThis work was supported by the Ministry of Science\, and Innovation of Colombia under scholarship program 860. \nAbout the artist\nJuan Hernández is a composer\, performer and sound artist from Colombia. In 2024 he completed his Composition PhD at the University of Leeds\, under the supervision of Dr Ewan Stefani and Dr Oliver Thurley. Juan collaborates with Ángela Hoyos Gómez in a computer music/ sound installation/ digital performance project called Ulrica Dúo. His solo work and with Ulrica Dúo has been presented in different venues and galleries in Colombia\, Mexico\, Sweden\, UK\, Greece and Portugal. His recent work explores different strategies for designing new musical frameworks based on the analysis and mapping of data from astronomical sources. Juan is currently Assistant Professor at Pontificia Universidad Javeriana in Bogotá\, Colombia. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-juan-hernandez-helium-burning-1/
LOCATION:Hamburg University of Technology\, Building N (Foyer)\, Eißendorfer Straße 40\, 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:20260512T090000
DTEND;TZID=Europe/Amsterdam:20260512T103000
DTSTAMP:20260624T030514
CREATED:20260415T131848Z
LAST-MODIFIED:20260511T154902Z
UID:10000081-1778576400-1778581800@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 3a: Music Notation & Representation I
DESCRIPTION:Session Chair: Axel Berndt\n  \nPaper abstracts\nTianze Zhang\, Shingyui He and Lei Xuan\, “CNN-BiLSTM Hybrid Model with Physical Constraints for Automatic Piano Fingering Generation”\nPiano fingering is a pivotal technique that piano learners must master. To address the difficulties in the application and arrangement of fingering during practice and early stages of learning\, this paper proposes an artificial intelligence hybrid model based on Bidirectional Long Short-Term Memory (BiLSTM) network\, Convolutional Neural Network(CNN) and Attention\, with the aim of automatically generating piano fingerings. The model extracts physical features\, including spatial\, temporal\, hand motion\, and fingering information\, and integrates biomechanics constraints during neural network training for the first time. Based on the aforementioned algorithms\, the model achieved a good result. This innovative methodology enhances predictive performance by accurately capturing the complex\nphysical interactions inherent in piano fingering. This paper also compares the model with fingerings generated by other algorithms to verify the reasonableness and effectiveness of the hybrid model in piano fingering prediction. In conclusion\, the model can efficiently and conveniently provide fingering support for piano learners\, and has strong application prospects and practical value. \n\nJuan Carlos Vasquez and Zhonghao Chen: “Recursive Radiance: Multimedia Interpretations of Traditional Chinese Aesthetics”\n\nThis paper presents Recursive Radiance\, a multidisciplinary artwork integrating traditional Chinese practices with contemporary technologies through parallel sonic and visual implementations. The project pairs a four-channel acousmatic composition with an installation of graphic scores\ninspired by the Jianzi notation system. The sonic component transforms improvisations based on the traditional guqin piece ”Cai Zhen You” (Wandering in True Essence) through fab synthesis\, spatial diffusion\, and electronic processing. The composition employs chaotic attractors for spatial movement\, creating an immersive soundscape that embodies Daoist principles of fluidity and transformation. The visual component features a series of hanging scrolls and fragments functioning as both notation and artistic extension. These graphic scores emerge from a hybrid methodology combining traditional ink boxes with tensioned strings\, cyanotype printing\, 3D environmental scans\, and AI-generated imagery created through LoRA models trained on interpretative readings of the Guqin’s notation system. Recursive Radiance functions as both a hybrid physical-digital installation and a framework for cultural preservation.\nThis paper documents the completed musical composition\, graphic scores\, and conceptual approach to public engagement through immersive multimedia. Our research demonstrates how computational tools and engineering techniques can support artistic expression while preserving cultural heritage\, offering new pathways for audience interaction with traditional art forms through contemporary multimedia experiences.\nRob Canning: “Scores That Run: Graphic Notation with Embedded Performance Semantics”\nThis paper presents an approach to digital graphic notation in which performance semantics are embedded directly into the visual surface of the score. Working in standard SVG and authored entirely in Inkscape\, the score is composed as a graphic–semantic document: visual elements carry lightweight cue structures encoded in their identifiers\, and these cues are executed in real time by a browser-based runtime. The score therefore functions simultaneously as image\, temporal structure\,\nand performative interface\, without reliance on symbolic engraving or external playback systems.\nThe framework supports hybrid formal topologies\, including continuous scrolling trajectories\, page-based local environments\, and patterned navigation between sectional states. Animated motion fields provide shared gestural resources for ensemble coordination and may\noptionally drive live electronic processes\, enabling a unified grammar of acoustic and electronic gesture. All cue semantics—structural\, temporal\, gestural\, textual\, and media-based—are authored within the same executable layer as the notation\, so behaviour and interpretation\narise from a single surface. Because the system is based entirely on open web standards\, it enables a direct draw-and-perform workflow accessible to composers and performers without specialised technical infrastructure. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-3a-music-notation-representation-i/
LOCATION:Hamburg University of Technology\, Building H\, 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:20260624T030514
CREATED:20260415T132257Z
LAST-MODIFIED:20260511T155028Z
UID:10000083-1778576400-1778625000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 3b: Physiological and Physical Foundations of Creative Systems I
DESCRIPTION:Session Chair: Tony de Ritis\n  \nPaper abstracts\nAmir Abbas Orouji\, Ayoub Banoushi and Gilberto Bernardes: “Vibrational Analysis of Traditional Persian Kamanche Sound Box: Experimental and Computational Investigation of Structural Modifications”\nThe kamanche\, a bowed spike fiddle central to Persian classical music\, features a spherical sound box covered with stretched animal skin and is played vertically on the performer’s lap. Despite acoustic similarities to the violin\, comprehensive research on kamanche acoustics remains limited. This study investigates the acoustic contribution of the sound box to resonance characteristics and tonal quality of the closed-back kamanche\, the most prevalent contemporary variant. The research combines COMSOL Multiphysics vibration simulation with experimental validation through impulse response frequency measurements. Investigated modifications include upper and lower hemisphere thickness variations and sound hole area reduction. Results demonstrate that upper hemisphere changes\, while preserving internal air volume\, substantially affect fundamental resonance patterns\, corroborating traditional luthier observations. This study also suggests that the vibration modes 4\,5\, and especially 7 might be good candidates for maximum contribution to the overall amplifica-\ntion of the string’s resonance and the overall sound of the instrument. \nNikolaus Knop: “Ponticello: An Interactive Conducting System for Mixed Music Performance”\nIn composed music that combines acoustic instruments with electronic processing or fixed media\, synchronizing acoustic and electronic layers remains a persistent challenge. The use of click tracks\, while technically effective\, significantly restricts the performers’ freedom to expressively shape musical time. This paper presents Ponticello\, a system that addresses the synchronization problem by inferring the ensemble’s tempo from a video stream of the conductor in real-time. Instead of the ensemble being beholden to a fixed digital click track\, the computer follows the flexible pulse indicated by the conductor\, which already functions as a shared temporal reference for the human performers. Although the idea of interactive conducting systems is not new —it has been researched since the 1970s — research has largely focused on applications that simulate instrumental performances based on MIDI scores\, which limits their applicability to the performance of mixed music. To support a broad range of compositional strategies for mixed music\, Ponticello instead models the electronic part as a timeline of temporally extended\, electronic processes whose playback tempo is continuously controlled by the conductor. The system has proven sufficiently reliable and accurate in rehearsal and concert settings across multiple conductors.\nLucas Ong\, Ruby Crocker and George Fazekas: “Emotion-Based Film Music Retrieval with Handcrafted and Deep Models”\nFilm music powerfully conveys emotion\, yet computational methods for retrieving film tracks that match a target emotional state remain underexplored. This paper presents two approaches for emotion-based film music retrieval using Valence–Arousal (V–A) representations. The models are evaluated on the FME-24 dataset\, which provides time-aligned participant-annotated V–A ratings for film music excerpts. The first approach applies k-Means to handcrafted audio features\, while the second uses a VaDE model with contrastive learning to align audio and V–A embeddings. Results show that both methods capture emotion-related structure\, with the deep model enabling more flexible\, fine-grained selection. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-3b-physiological-physical-foundations-creative-solutions/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, 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:20260512T103000
DTEND;TZID=Europe/Amsterdam:20260512T130000
DTSTAMP:20260624T030514
CREATED:20260421T115650Z
LAST-MODIFIED:20260423T174621Z
UID:10000163-1778581800-1778590800@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Weiyi Dai: From Objects to Soundscapes: Participatory Spatial Composition through Data-Driven Multimodal Systems
DESCRIPTION:This workshop offers hands-on experience with Full House\, a multimodal soundscape system designed specifically for participatory spatial composition. Through a real time data driven architecture\, the system transforms the manipulation of physical objects into continuous spatial sound and visual processes.\nRather than teaching a fixed compositional style\, the workshop focuses on methodological thinking: sound is understood as an ongoing systemic behavior shaped by data\, space\, and interaction\, rather than a sequence of triggered musical events. It emphasizes the participatory creative cycle of experience–data–adjustment. Participants will learn how to integrate object based interaction\, mapping strategies\, and spatial audio technologies to construct intelligible\, inclusive\, and non repetitive soundscapes. \n  \nRequirements\nBasic computer literacy. To fully experience and understand the structural logic of the Full House system\, participants must bring their own laptop and headphones. Installation of TouchDesigner (TD) in advance is highly recommended; group on site installation will also be available. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitator\nWeiyi Dai is a composer\, sound artist\, and researcher working at the intersection of computer music\, spatial audio\, and multimodal interaction. He is an Associate Professor at the Shanghai Conservatory of Music\, School of Digital Media Art\, where his work focuses on soundscape systems\, participatory sound environments\, and the translation of artistic practice into technological platforms. His recent Projects explore object‐based interaction\, spatial sound rendering\, and data‐driven Sound libraries for immersive environments\, with applications in performance\, installation\, and education. His research has been presented in academic and artistic contexts related to computer music\, sound art\, and media technology. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/workshop-dai-weiyi-objects-soundscapes-participatory-spatial-composition/
LOCATION:Hamburg University of Technology\, Building H (H 0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Workshop
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:20260624T030514
CREATED:20260415T101918Z
LAST-MODIFIED:20260429T124944Z
UID:10000115-1778583600-1778586300@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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T123000
DTSTAMP:20260624T030514
CREATED:20260415T132858Z
LAST-MODIFIED:20260511T155201Z
UID:10000080-1778583600-1778589000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 4a: Music Notation & Representation II
DESCRIPTION:Session Chair: Juan Parra\n\nPaper Abstracts\nRodrigo Cadiz: “Composer-in-the-Loop Generation of Motivic Variants Using State-Space Models and Preference Learning”\nMost current approaches to symbolic music generation rely on large-scale deep learning models trained on massive corpora and operate exclusively on pitch and duration\, disregarding the articulations and dynamics that are fundamental to musical expression. We present a composer-in-the-loop system that addresses both limitations. A precomposed motive\, complete with pitch\, rhythm\, articulation\, and dynamics\, is modeled as a reference trajectory in a musically interpretable state space\, and variants are generated by sampling structured stochastic deviations inspired by Kalman filtering. A neural network modulates variance and structural edit probabilities based on com-\nposer preference\, learning from the composer’s own selections rather than from external data. Implemented as a simple browser-based application\, the system supports real-time audition and persistent model reuse. The approach represents a first step toward a compositional workflow in which larger musical structures are built by concatenating and varying short\, fully expressive motivic ideas. \nSolomiya Moroz\, Nicolo Merendino and Massimo Sterlino: “Co-Composing with Plants: Early Experiments in Bio-Responsive Score Design”\nThis paper presents a novel compositional system that positions plants as active\, agential collaborators. We developed a custom IoT sensor device to measure a plant’s biophysical state\, including electrical activity\, light\, and humidity\, and stream this data in real-time to a bespoke software environment. Unlike commercial bio-sonification devices that generate ambient sound\, our system translates biophysical fluctuations into the structural elements of a live musical score. The project is grounded in posthumanist and new materialist frameworks\, which embrace interspecies entanglement. Here\, collaboration is reconceived as a non-hierarchical network: the plant influences algorithmic score generation\, software mediates the data\, and human performers interpret the live-generated notation\, creating a continuous feedback loop. This approach challenges traditional paradigms of human-environment interaction\, proposing a relational and interdependent creative process. The system also serves as the technical foundation for an in-development chamber opera\, where musicians perform by interpreting a score generated in real time by their more-than-human partners.\nOrm Finnendahl\, “DSP and the Metalevel Clamps – an integrated environment for algorithmic composition and interactive realtime performance”\nIntegrating low level DSP operations and highlevel concepts for organizing musical material has been a long-standing repeated topic in the discussion of computer music. Although many capable DSP systems with advanced features concerning the organization\, visualisation and transformation of musical material on a higher level are in widespread use today\, they either suffer from an ongoing separation between the higher level and the DSP level or the lack of a satisfying infrastructure for the integration of both worlds. Clamps 1 is a Common Lisp Package built on top of Incudine for the DSP part\, CLOG for the GUI and other music related CL packages to create a unified platform\, intended\nto combine realtime performance\, algorithmic composition and notation in a single application language and memory space. It has been successfully used for a wide a range of applications from traditional compositional work and the production of Electroacoustic Music to Interactive Live-Performances. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-4a-music-notation-representation-ii/
LOCATION:Hamburg University of Technology\, Building H\, 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:20260624T030514
CREATED:20260415T133949Z
LAST-MODIFIED:20260511T155410Z
UID:10000129-1778583600-1778589000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 4b: Physiological and Physical Foundations of Creative Systems II
DESCRIPTION:Session Chair: Simon Linke\n  \nPaper Abstracts\nRolf Bader and Simon Linke: “Impulse Pattern Formulation (IPF) Brain and Larynx Model as a Co-Musician Sound Synthesis Method”\nA sound synthesis method is proposed as a variation of the Impulse Pattern Formulation (IPF) sound synthesis introduced before\, now combining an IPF Brain model previously proposed\, driven by a simple IPF of brain input stimulation and acting on a larynx IPF for vocalization. The resulting sounds produce timbre\, rhythm\, articulation\, and large-scale form with a single algorithm reminding on complex articulated vocalization of living being. A systematic investigation of the Brain IPF with the input IPF shows many kinds of articulations for converging\, bifurcating\, and chaotic IPF input\, but only the chaotic input has a high likeliness to end in a distinct sound. By varying the amount of excitatory vs. inhibitory neuron relations of the IPF Brain model\, realistic relations found in humans are found to have a wider distribution of articulatory possibilities. Varying the adaptation strength of the Brain IPF\, distinct sounds can often only be produced by certain values\, where some sounds can only be produced by no or a strong adaptation but not for medium adaptation strength\nvalues. Overall\, the relation between the Brain IPF output and its parameters are too complex to easily predict its output\, making this synthesis method a co-composer for a musician or composer displaying its ’own will’\, so a unique sound synthesis co-musician method. \nTim Ziemer: “Mel-Frequency Cepstral Coefficients and Recording Studio Features for the Analysis of Producer-Driven Music”\nIn music information retrieval\, Mel frequency cepstral co-efficients are a ubiquitous set of audio analysis features that has proven its value for practical tasks\, like automatic genre recognition or playlist generation. However\, in the recording studio practice\, a very different set of audio analysis tools is consulted. In this study\, we utilize audio analysis tools from the recording studio for house and techno music analysis\, and compare its discriminative power and its interpretability with Mel frequency cepstral coefficients. In a quantitative style classification task\, recording studio features perform slightly worse than Mel frequency cepstral coefficients. However\, they are much more explanatory when it comes to exploring differences between US and German music. The set of features is a promising tool for the research of producer-driven music.\nSimon Linke\, Rolf Bader and Robert Mores: “Designing responsive rhythms utilizing the Impulse Pattern Formulation (IPF)”\nImpulse Pattern Formulation (IPF) is an analytical modeling approach for synergetic systems motivated by research on musical instruments. It describes the nonlinear coupling of system components as the interaction between individually propagating\, exponentially damped impulse trains. Due to this general approach\, the IPF has been successfully applied to topics other than musical instruments and is hypothesized to be capable of modeling the entire process of musical perception and performance in the future. This work investigates how the IPF can be applied as a compositional tool that reproduces fundamental musical behavior by modelling the synchronization of musicians to an external rhythm. The derived model is systematically examined by analyzing its behavior when coupled to numerically designed and carefully controlled rhythmical beat sequences. Thus\, in the future\, the IPF model can be applied\, e.g.\, to replace drum machines and click tracks with more musical and creative solutions. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-4b-physiological-and-physical-foundations-of-creative-systems-ii/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, 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:20260512T130000
DTSTAMP:20260624T030514
CREATED:20260415T103403Z
LAST-MODIFIED:20260429T125016Z
UID:10000116-1778583600-1778590800@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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T130000
DTSTAMP:20260624T030514
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:https://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:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T173000
DTSTAMP:20260624T030514
CREATED:20260421T181755Z
LAST-MODIFIED:20260428T112006Z
UID:10000185-1778583600-1778607000@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Fixed Media | Program Overview\nInner Line\nHyewon Kim \nA Portrait of Kwesi Brookins\nRodney Waschka \nBiomimicry\nChun-Han Huang \nDear Beginner\nVadim D. Genin \nEncircled\nAdam Stanovic \nmight have seen\nTakumi Harada \nSilence\nZiyu Pang \nTemporal Shards\nRay Tsai \nWhen An Android Becomes Obsolete\nGiancarlo Alfonso \n\n  \nAbout the pieces & artists\nHyewon Kim: Inner Line\nThe self is not something fixed\, but rather a moving line that is constructed through continuous interaction and emotional attunement with others. However\, in personality disorders\, this system of connection is damaged. Mirror neurons function dimly\, and the ability to share emotions by following another’s gaze or to attune feelings toward the same object becomes dulled. These individuals either fail to perceive the distance between ‘me’ and ‘you’ or become extremely conscious of it\, unable to live together in a shared world. ‘Inner Line’ explores these internal fractures and fragments the audience’s gaze and emotions. The piece is structured around an unstable relationship between live performers\, where accumulated interactions gradually alter the percussionist’s playing rather than producing immediate disruption. Spatially\, performers and sound sources are distributed across the stage and loudspeaker field\, preventing the audience from occupying a single\, optimal listening position. It does not control or design the audience’s emotional responses\, but rather leaves them to interpret and explain for themselves what emotions they experienced. And it reveals that this imperfect sensation itself is the essence of how we connect with others. Through this work\, rather than sharpening the boundaries of the inner self\, I aim to identify where our gaze has been fixed and to unravel that rigid thinking. \nAbout the artist\nHyewon Kim (b. June 1989) is a composer based in Seoul\, South Korea. She treats all vibrating objects as equal musical material\, working primarily with percussion and electroacoustic media. She also conceives and produces sound-based exhibitions in which audiences directly experience the inherent vibrations of materials. She earned her B.A. and M.A. in composition from Chugye University for the Arts\, studying with Sungjun Moon\, and is an active member of the Korean Electro-Acoustic Music Society (KEAMS). Her works have been presented at international and domestic festivals\, including ICMC. \n  \nRodney Waschka: A Portrait of Kwesi Brookins\nA Portrait of Kwesi Brookins is one of a series of computer music acousmatic portraits of artists\, composers\, and friends. Dr. Brookins\, a former professor of psychology and Africana Studies at North Carolina State University\, now serves as a Vice Provost at his alma mater\, Michigan State University. This sound portrait makes use of a recording of his rich\, sonorous voice saying his name and (then) position and naming his main area of work – child welfare. The piece also uses a public domain melody from Ghana\, a country Dr. Brookins has visited often as a scholar and pedagogue. \nAbout the artist\nRodney Waschka II is probably best known for his algorithmic compositions and his unusual operas. His music has been called “astonishing” and “strikingly charismatic” by Paris Transatlantic Magazine\, “a milestone in the repertoire” by Computer Music Journal\, “fluent and entertaining” by Musical Opinion of London\, and “oddly moving” by Journal Seamus. His mentors include Larry Austin\, Robert Ashley\, Paul Berg\, Clarence Barlow\, Konrad Boehmer\, Thomas Clark\, Charles Dodge\, and George Lewis. Waschka is Director and Professor of Arts Studies at North Carolina State University. \n  \nChun-Han Huang: Biomimicry\nBiomimicry is an electroacoustic composition constructed entirely from synthetic sound sources. Originating as a technical exploration within the Max programming environment\, the work emulates natural sonic phenomena—including weather patterns and animal vocalizations—without the use of field recordings or sampling. By reconstructing organic textures through digital synthesis\, the piece navigates the boundary between the artificial and the natural\, creating immersive soundscapes that range from ambient subtlety to chaotic intensity. \nAbout the artist\nChun-Han Huang (b. 2002) is a composer and sound artist based in Taiwan. He is currently a graduate student majoring in Computer Music at the Institute of Music\, National Yang Ming Chiao Tung University (NYCU). His creative practice focuses on electroacoustic composition and sound design\, exploring the intersection of organic sound sources and digital signal processing. \n  \nVadim D. Genin: Dear Beginner\nThe idea behind the piece is to create a relationship between the live performer and the fixed electronics\, as if the performer were relying on the signals the electronics were sending. All together\, it could resemble the process of getting to know the interface of some new\, unfamiliar equipment\, with the task becoming increasingly complex. The electronics are composed of sounds extracted from videos that have been accumulating in the smartphone’s memory for years. Moreover\, the selected samples are moments during which nothing happens in the video\, that is\, the most unnecessary garbage sounds. Finding sounds that are not interesting in their usual form and using them for musical purposes is an interesting challenge for the composer. \nAbout the artist\nVadim D. Genin. Born November 14\, 1993. Composer\, sound-artist\, PhD degree in Physics and Mathematics. Graduate of the Saratov State Conservatory and Saratov State University. Major projects are the video game opera “The World of Wondrous Rooms” and the documentary cantata “The Restorer”. Participant of festivals such as impuls (Austria)\, IDEA IWYC (Bulgaria)\, ARCo (France)\, CEME (Israel)\, ilSuono (Italy)\, Meridian (Romania)\, Teden Sodobne Glasbe Bled (Slovenia)\, Encontres de Compositors (Spain)\, reMusik.org (Russia)\, ICMC (USA). \n  \nAdam Stanovic: Encircled\nIn early 2025\, staff and students from the Sound and Music Programme\, LCC\, travelled to the London Wetlands Centre (part of the Wildfowl and Wetlands Trust (WWT)) to make recordings of the site and its surrounding areas. The project was inspired the long-running SoundLapse project at the Universidad Austral de Chile\, where recordings of the wetlands around Valdivia have inspired ecological\, educational\, and creative research. During the course our project\, we met with our counterparts in Chile and learned about their interests\, methods\, and research goals. We also met with staff and the London Wetlands Centre\, and heard about the rapid decline in global wetland environments and their plans to create 100\,000 hectares of sustainable wetlands in the UK. Arriving at the London Wetland Centre\, on the morning of the 11th Feb 2025\, I was immediately struck by the relative silence. For over an hour I had battled my way through the bustle of central London\, travelling by bus\, tube\, and train. And suddenly\, I was surrounded by stark winter trees. I could hear my feet crunching on the stony paths\, and a distant crow cawing. For a moment\, it felt like an oasis of calm. But as my ears acclimatised\, I realised that London\, the great metropolis\, was ever-present. I could hear it rumbling in the distance\, interrupted only by the roar of overhead planes bound for Heathrow. The more I tried to focus on the sounds of the centre itself\, the more aware I became of the monstrous city beyond… We were\, I felt\, encircled… Initially\, this piece set out to traverse city and Centre\, transitioning from the chaos of one to the calm of the other. As the piece developed\, however\, I started to realise that it is not simply the London wetlands that are encircled; although their geographies are vastly different\, most of the world’s wetlands are\, in one way or another\, equally encircled… \nAbout the artist\nAdam Stanović composes music with recorded sound. In recent years\, his music has drawn from both studio and location recordings\, using both digital and analogue technologies. To date\, he has won prizes\, residencies\, and mentions in over 40 international composition competitions\, had his music performed in over 700 international concerts\, and published works on 16 different albums\, including three solo albums (on the Sargasso and Empreintes DIGITALes record labels). Adam is Dean of Screen\, University of the Arts\, London. For more information\, visit: www.adamstanovic.com \n  \nTakumi Harada: might have seen\nThis piece is composed primarily of sounds obtained through field recording. Originally\, these sounds were recorded in a variety of locations and may appear to lack a clear contextual relationship. However\, through processes of transformation and manipulation\, their conventional sonic characteristics are dismantled. As a result\, latent commonalities inherent in the sound materials emerge\, generating connections among them and forming a unified continuity within the work as a whole. \nAbout the artist\nTakumi Harada. Born in 2000. From Tokyo\, Japan. Currently enrolled at Kunitachi College of Music. Began producing works in 2025. \n  \nZiyu Pang: Silence\nIn this age of information overload\, countless voices swirl around us. Yet rather than merely adding our own\, there are times when we simply wish to remain silent. Within that silence\, everything is expressed. This work employs minimal sound material\, dissecting the passage of time into numerous fragments of silence. It aims to strip away all superfluity\, reaching the most fundamental tranquillity of sound and spirit\, expressing the Eastern philosophical notion that ‘silence is golden’. \nAbout the artist\nZiyu Pang\, March 29\, 2005\, Third-year undergraduate student majoring in Music Sound Direction at the Wuhan Conservatory of Music \n  \nRay Tsai: Temporal Shards\nTemporal Shards is a short electroacoustic work that explores fragmented experiences of time within everyday perception. Through brief\, distorted frequencies shaped by compression\, reversal\, and abrupt interruption\, the piece unfolds fleeting moments emerging from a narrow temporal fissure. Temporal flow becomes unpredictable as acceleration\, suspension\, and sudden collapse coexist\, leaving behind transient perceptual traces that resist linear progression and stable structure. \nAbout the artist\nRay Tsai (Tsai Yi-Jui)\, born in Hsinchu and currently studying at National Yang Ming Chiao Tung University\, is a DJ\, music producer\, and new media artist. His work spans sound art\, electroacoustic music\, and video installation\, using experimental sonic structures to explore the relationship between technology and perception. Under the alias †Egothy†\, he is active in the underground electronic music scene\, performing noise\, deconstructed electronics\, and other avant-garde styles that shape sensory experiences oscillating between chaos and order. \n  \nGiancarlo Alfonso: When An Android Becomes Obsolete\nThis musical composition explores the concept of technological and computational obsolescence\, comparing it to a reflection on human obsolescence and human labor\, whether mechanical\, artistic\, or intellectual. In a social context increasingly oriented towards efficiency and automation\, human beings find themselves in a state of constant competitive rivalry with artificial systems designed to be faster\, tireless\, and free from the weaknesses that characterize human labor. The composer makes use of the figure of an android that has reached the end of its life cycle\, as a metaphor for this condition. Throughout the composition\, the machine’s final moments of activity are evoked\, during which states of confusion\, anger\, despair\, and acceptance emerge. These states do not represent real emotions\, but rather the result of calculations and assessments of its own operational status\, which contributes to humanizing the android by placing it on the same level as the human beings. From a compositional perspective\, the piece is mainly based on granulation techniques\, accompanied to a lesser extent by subtractive and additive synthesis. The sound material consists mainly of concrete mechanical and metallic sounds\, which are then granulated and processed\, along with cold\, more abstract\, unstable\, and unnatural synthetic sounds. The composition develops as a continuous friction between mechanical and rhythmic rigidity and sonic and timbral neuroticism\, suggesting the progressive deterioration of the physical and mental functions of the android protagonist. \nAbout the artist\nGiancarlo Alfonso\, (born on 14 June 2000) is a composer and electroacoustic music student at the Conservatorio \n 
URL:https://icmc2026.ligeti-zentrum.de/event/listening-room-2-2/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T173000
DTSTAMP:20260624T030514
CREATED:20260421T184536Z
LAST-MODIFIED:20260428T110819Z
UID:10000180-1778583600-1778607000@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Fixed Media | Program Overview\nSeething Field: Imprint\nSam Wells \nContours of Anxiety\nZihan Wang and Wenxin Zhou \nDreams of the Jailed Refugee\nRobert Sazdov \nflusso_sonoro_1\nSebastiano Naturali \nGalactic Railroad\nYunze Mu \nIdeale Landschaft Nr. 6\nClemens von Reusner \nIncarnations\nYoungjae Cho \nInformation Body Horror\nPrimrose Ohling \nJardín de Luz\nIván Ferrer-Orozco \nNon è un atlante di traiettorie algo-siderali\nAndrea Laudante\, Paolo Montella and Giuseppe Pisano \nNor’wester\nTeerath Majumder \nOcean Reflection\nYu Qin \nrain contained\, rain contains…\nWei Yang \nSAW\nGabriel Araújo \nWild Fruits: Epilogue\nJames Harley \nInside the metal plate\nRaul Masu and Francesco Ardan Dal Ri \n\nAbout the pieces & artists\nSam Wells: Seething Field: Imprint\nSeething Field: Imprint is a turbulent interplay of memory and resonance\, written for seventh-order ambisonics fixed media. The work unfolds through the filtering\, modulation\, distortion\, and reverberation of a time-stretched recording of Jack Kerouac. Using ambisonic impulse responses for the Chapel of the Four Chaplains\, located in the basement of Temple Performing Arts Center\, Seething Field: Imprint harnesses the Chapel’s reverberant and sonic characteristics\, a space dedicated to four chaplains who sacrificed their lives on the USS Dorchester—a ship Kerouac once served on but was recalled from before its tragic sinking. The source material for Seething Field is a brief recording of Kerouac speaking “The Ocean\,” time-stretched 512 times from about 1.5 seconds to over 10 minutes. This slow unfolding of speech provides the formal and harmonic structure of the work. The stretched recording was then recursively recorded through the Chapel’s reverb\, a process akin to Alvin Lucier’s I Am Sitting in a Room\, revealing and reinforcing the shared resonant frequencies of Kerouac’s voice and the Chapel dedicated to the Four Chaplains. The title draws from the closing lines of Kerouac’s The Sea is My Brother\, where ‘the sea stretched a seething field which grew darker as it merged with the lowering sky.’ Seething Field mirrors this seascape\, embodying the darkness\, expansiveness\, and tension of turbulent times\, past and present. \nAbout the artist\nSam Wells (Philadelphia) is a musician and artist whose work explores breath\, space\, and embodiment across acoustic\, electronic\, and multimedia forms. As trumpeter and improviser\, he has performed internationally with ensembles including Aeroidio\, Miller/Vidiksis/Wells Trio\, and SPLICE Ensemble. His compositions have been performed widely in the U.S. and abroad. Wells is a Cycling ’74 Max Certified Trainer and an Assistant Professor of Music Technology and Composition at Temple University. \n  \nZihan Wang and Wenxin Zhou: Contours of Anxiety\nThis work draws inspiration from my own experience and understanding of anxiety\, attempting to express it through immersive sonic work. I perceive this emotional state as an ever-shifting form: evoked\, diffused\, released\, and finally calmed. It should be clarified that this is not designed according to rigorous psychological science but rather leans towards an expression of my personal emotional experience. Throughout the piece\, characteristics of this psychological journey: suppression\, constraint\, and release are mapped onto frequency density\, timbre\, texture\, and the spatial tension between acoustic elements. From a compositional perspective\, timbre spatialisation functions as the primary technical and expressive strategy. This involves decomposing sound according to its spectral characteristics and distributing these components across distinct spatial locations (Normandeau\, 2009). Within this framework\, ambisonics operates as the spatialisation method\, whereby its manipulable parameters generate distinctive timbral and spatial effects. These elements collectively construct the work’s internal emotional narrative\, integrating spatial parameters as essential compositional materials rather than superimposed effects. \nAbout the artists\nZihan Wang (07/12/2000) is an electroacoustic music composer\, film composer\, and sonic artist. He is currently a post graduate research student at Monash University\,Melbourne\, Australia\, where his work investigates compositional strategies for ambisonics-based environments. His research engages with Robert Normandeau’s concept of timbre spatialisation and Denis Smalley’s theory of spectromorphology\, with a particular emphasis on timbre\, spatial articulation\, and electroacoustic composition. His creative practice includes fixed-media electroacoustic works\, sound installations\, animated score composition\, and film scoring. His work has been presented at venues and conferences including TENOR 2025 and the Melbourne International Film Festival (MIFF). Wenxin Zhou is a composer specializing in electroacoustic and interactive media music. She holds a Bachelor of Composition and Music Production from the Australian Institute of Music and graduated with a Distinction in the Master of Composition for Electroacoustic and Interactive Music from the University of Manchester. Her creative practice focuses on exploring the transformation and fusion between real-world sounds and electronic soundscapes. \nWenxin Zhou \n  \nRobert Sazdov: Dreams of the Jailed Refugee\n‘Dreams of the Jailed Refugee’ (2023-25) is the final work of the ‘Dreams of the Jailed’ trilogy. This final instalment extends the trilogy’s engagement with statelessness and incarceration\, attending to the psycho-emotional toll borne by refugees subjected to carceral regimes — both literal and systemic — under global structures of war\, famine\, and economic precarity. Composed for fixed media\, the work utilises the acousmatic form to foreground disembodied sonic presences\, suggesting the persistence of memory and agency even under conditions of profound erasure. The absence of visual referents invites the listener into a mediated interiority — a sound world shaped by fragmented dreams\, longing\, and dislocation. Dreams of the Jailed Refugee proposes a mode of listening that is politically charged and ethically attuned. It seeks to destabilise hegemonic narratives of migration by offering a counter-sonic space in which refugee subjectivities are not merely represented\, but sonically enacted. In doing so\, the work aligns with broader decolonial and posthumanist currents in contemporary sonic arts practice\, where listening becomes an act of recognition and resistance. \nAbout the artist\nRobert Sazdov is a composer\, music producer\, and academic. He is currently Associate Professor at the University of Technology of Sydney (UTS) in Music and Sound Design\, where he also served as Head of Music and Sound Design (2018-2024). Sazdov’s compositions and productions have received notable prizes and awards from various organizations and institutions\, including: Daegu International Computer Music Festival\, International Composition Competition Città di Udine\, ‘Pierre Schaeffer’ Competition\, Musica Nova Competition\, Sonic Arts Awards\, Bourges International Competition\, Just Plain Folks Music Awards\, and the Audio Engineering Society. Sazdov’s music has been released by Capstone Records\, Vox Novus\, Accademia Musicale Pescarese\, Society for Electroacoustic Music\, Australasian Computer Music Association\, Sonic Arts Awards and SoundLab Channel. He has undertaken residencies at the Erich-Thienhaus-Institue\, Detmold University (2012)\, The Sonic Lab\, Sonic Arts Research Centre\, Queen Mary University (2007)\, and at SPIRAL – University of Huddersfield (2023). He was also a Visiting Research Fellow at Applied Psychoacoustics Laboratory – University of Huddersfield (2023)\, Institute of Electronic Music and Acoustics – Graz (2023)\, and The Sonic Lab\, Sonic Arts Research Centre\, Queen Mary University (2023). \n  \nSebastiano Naturali: flusso_sonoro_1\nflusso_sonoro_1 is a fixed-media electroacoustic composition that explores sound as a fluid\, continuously transforming entity\, oscillating between density and transparency. The work invites the listener to perceive sound both as an uninterrupted flow and as a succession of interruptions\, turbulences\, and suspensions that shape its trajectory. The piece reflects on temporal perception and memory through the interaction between microsonic detail and large-scale form. Recorded and synthetic sound materials are intertwined and progressively transformed\, emphasizing the tension between natural sound qualities and electronic abstraction. Rhythmic structures derived from iterative transformations and masking processes generate evolving layers that gradually increase in complexity and density. A central section focuses on sustained textures in the mid–low frequency range\, combining stretched vocal layers and processed high-frequency elements to create a suspended sonic environment. In the final section\, earlier rhythmic materials re-emerge and are subjected to global processing techniques\, including digital silence and spectral degradation. The work was composed using Ableton Live and Max for Live tools. It is presented as a stereo fixed-media piece\, with a quadraphonic version also available. \nAbout the artists\nSebastiano Naturali (born 15 February 2006) is an Italian composer and guitarist working in the field of electroacoustic and electronic music. He is currently pursuing undergraduate studies in Electronic Music and Classical Guitar at the Conservatory of Potenza. His work focuses on sound transformation\, spatial audio\, and practice-based artistic research using digital music systems. \n  \nYunze Mu: Galactic Railroad\n“Merry meet\, merry part.” At the end of a 4-year relationship\, I started to think about why people meet if we’ll eventually separate and what the true happiness or the final destination of everyone is. I found no answer. However\, this piece is somehow the record of my thinking during that period. This piece was inspired by the book “Night on the Galactic Railroad” by Japanese author Kenji Miyazawa. In my imagination\, the Milky Way is full of steam trains. They meet\, run together\, and separate eventually. None of them knows where the destination is\, they just keep running toward somewhere\, restlessly. Does it matter if you know where the destination is? Maybe not. Are all the experiences more valuable than the end? Maybe so. The only thing I know is\, I’ll always keep running just like those steam trains\, no matter what. \nAbout the artist\nYunze Mu is a composer\, sound artist and music programmer based in Louisville\, Kentucky. He currently teaching at University of Louisville\, School of Music as Assistant Professor. He received a DMA (Doctor of Musical Arts) in Composition at the College-Conservatory of Music\, University of Cincinnati\, where he studies computer music with Mara Helmuth\, teaches introductory courses in electronic music\, and works on his web-based music application\, Web RTcmix. Mu holds a bachelor’s degree in music composition from Central Conservatory of Music\, Beijing\, China. His music\, papers\, and VR installations have been shown and performed at numerous events and conferences\, such as NIME\, ICMC\, SEAMUS\, NYC Electronic Music Festival\, and venues in China\, Poland\, France\, United States\, and Korea. \n  \nClemens von Reusner: Ideale Landschaft Nr. 6\nThe manifold real (sound)-landscapes have been themes in the arts again and again over the course of time. Special approaches can be found in so-called “ideal landscapes”\, namely in European landscape painting of the 17th and 18th centuries. The 8-channel electroacoustic composition “Ideal Landscape No. 6” is inspired by these constructed\, calm but non-real landscapes of European landscape painting as well as by an etching by the German artist N.N. It is the 6th sheet of his cycle “Variations in G”\, which has no title of its own. Although the composition is not about the “setting to music” of a graphic model\, there are structural similarities between the two works. The sound material is abstract sounds produced with synthesisers and as well calculated with Csound\, a programming language for sound synthesis\, which were created through additive and subtractive sound synthesis. \nAbout the artist\nClemens von Reusner is a composer based in Germany. His works of electroacoustic music and radiophonic audio pieces focus equally on purely electronically generated sounds as well as sounds found in special places and processed in the studio. He is a member of the “Academy of German Music Authors” and he has received national and international awards for his compositions. They are performed worldwide at renowned international festivals of contemporary music. \n  \nYoungjae Cho: Incarnations\nThis work is the first piece in a series that employs higher-order Ambisonics\, focusing on the creation of an immersive environment through 3D audio. The composition is based on field recordings captured using Ambisonic microphones of various orders\, which serve as the primary material for spatial composition. The work explores the relationship between recorded soundscapes and temporal contexts by constructing a narrative structure that connects imagined past events\, present bodily experiences\, and speculative future occurrences. Through this approach\, spatial sound is treated not only as an acoustic phenomenon but also as a medium for linking time\, memory\, and place within an immersive listening environment. \nAbout the artist\nYoungjae Cho (1990) is a composer based in Bremen\, Germany\, and Korea. His work includes solo and chamber music\, electroacoustic music\, and live electronics\, focusing on immersive spatial sound through multichannel audio systems. Presented at international festivals such as DEGEM\, ZKM\, ICMC\, and ORF Musikprotokoll\, his music received the Gold Award at the IEM & VDT Student 3D Audio Production Competition\, and he was an Artist in Residence at ICST Zurich. \n  \nPrimrose Ohling: Information Body Horror\nPrivileging patterns of information over its instantiation is a promise first conceived of within the field of cybernetics and popularized through science fiction. Is disembodiment truly liberatory? Information Body Horror (IBH) was written to leverage the experience of having a body that is abstracted\, debated\, and legislated. Lived experience is twisted to force rhetoric and justify legislation\, displacing and endangering individuals and communities. IBH started with a claim of self-expression and agency through an improvised recording on modular resulting in ‘lived material’. The artist finds that improvisation with any instrument is an embodying experience where their expression is in its purest form. How much can you alter recordings before they lose their original meaning? Should you alter them to begin with? The artist not only manipulates recordings but forces a layer of digital alterations. The use of sampling obscures source material in the meso timescale and a form of algorithmic micro-sampling through pitch shifting results in violent granular fractalizations. The act of sound design and composition becomes a reenactment of how external discourse overwrites lived reality. The stems are then mixed to 8 channels in Max/MSP reflecting the propagation of external discourse through institutional channels. The creative decisions in mixing are to ensure the abstracted material is engineered to outperform and silence the lived material. This stage is where IBH is codified and written to memory. Finally\, abstractions are instantiated through 8 speakers\, a setup largely reserved for professional environments\, hindering public engagement. However\, those who can listen will have differing experiences depending on where they are in the listening environment. The setup surrounds listeners\, it sonically reaches out and presses on them\, observing them. To call disembodiment in this case liberatory dismisses the lived and emboldens the abstracted material. I have found through this process that a separate disembodiment\, of self by self\, is impossible. It has only spoken to the complexity of selfhood. In the first section let the dense textures sink in as they swirl and oscillate in space. Secondly\, synthesized voices will call out to you from their digital void. In the final section\, sounds reflect ocean waves and wind\, natural patterns reclaiming space through digital noise. The textures eventually ease and lighten but this is not peace. It is endurance. The tides cycle. The winds change. They continue regardless. \nAbout the artist\nPrimrose Ohling b. 2002 is a musician\, multimedia artist\, and coder. She is drawn to rhythms\, textures\, and the dichotomy between improvisation and the precision of digital electronics. Her foundation is in jazz saxophone and improvisation. She continues to explore that side of her artistry\, letting it influence her work. She finds inspiration in reconstituting familiar sounds\, creating immersive and evolving soundscapes. Her music explores transformation\, inviting listeners into a fluid auditory experience. Recently\, her focus has been on modular synthesis\, where she utilizes digital modules and custom DSP algorithms\, adding further depth to her distinctive style. As a trans artist\, her work often engages with themes of embodiment\, bodily autonomy\, and the violence of abstraction. \n  \nIván Ferrer-Orozco: Jardín de Luz\nJardín de Luz (2021) is based exclusively on the Debris Project sound database\, comprising over 2\,000 samples. An algorithm using musical descriptors selects materials that are further developed through sampling and synthesis\, generating a new category of sounds termed hybrids. Conceived as a form of sonic gardening\, the work organises these materials within the acoustic space. Light operates as a metaphor for the listener’s disposition to listen\, and the garden as a heterotopic sonic space. \nAbout the artist\nIván Ferrer-Orozco (Mexico City\, 1976) is a composer\, electronic media performer and computer music designer. His music has been performed extensively in festivals and by ensembles from Mexico\, Spain\, Canada\, Argentina\, Ecuador\, Chile\, South Korea\, France\, Hong Kong\, Vietnam\, Japan\, USA\, Germany\, Ireland\, Portugal\, Italy\, and Cyprus. He has been artist in residence at: Akademie der Künste Berlin\, Schleswig-Holsteinisches Künstlerhaus\, Residencia de Estudiantes\, Camargo Foundation\, MacDowell Colony\, Djerassi\, CMMAS\, Hooyong Performing Arts Centre\, ARTos Foundation\, Ibermusicas\, I-Portonus\, Conseil des Arts et Lettres du Québec\, among others. As electronic media performer he performs as soloist and as sideman with artists and ensembles from Spain and abroad. In 2019 and 2024\, the Mexican government appointed him to the Sistema Nacional de Creadores de Arte\, a national programme that awards outstanding artists from all disciplines. He was a member of Neopercusion\, Madrid based contemporary ensemble\, currently he is a member of Vertixe Sonora Ensemble and Synergein Project. He has been part of the Forms of Culture Research Group at the Study Programme in Critical Museology\, Artistic Research Practices and Cultural Studies of the National Museum and Arts Centre Reina Sofia. He has been awarded with the 2021 Best Music Award of the International Computer Music Association. \n  \nAndrea Laudante\, Paolo Montella and Giuseppe Pisano: Non è un atlante di traiettorie algo-siderali\nThis piece is neither an exploration of movement nor a calculated map. Instead\, it invites the listener to experience a sonic drift\, propelled by precise mathematical rules. Large sound masses govern the flow\, turning slowly with heavy inertia\, while sharper\, faster sounds cut through the space\, leaving vivid acoustic traces. The resulting soundscape is a complex web of intersecting paths. Musical fragments pulse rhythmically\, creating a changing geometry of sound that expands and contracts around the audience. Originally composed in High Order Ambisonics\, this work was forged collectively—through shared practices\, exchanged sounds\, and the unpredictable alchemy of collaboration\, allowing the music to evolve in ways no single mind could anticipate. \nAbout the artists\ntotaleee is a trio of composers of acousmatic music and laptop performers consisting of Giuseppe Pisano-Riise (1990)\, Andrea Laudante (1993)\, and Paolo Montella (1986). In their composition work they use immersive audio technologies to create fictional environments of plausible and impossible nature. This is done through the use of multichannel synthesis techniques\, physical modeling of room acoustics\, field recordings\, and feedback loops. The trio debuted with their first piece ‘Non è un compendio di Etologia numerico-digitale’ in 2023 and since then their works have been played in many different contexts including ICMC (2023 Shenzhen\, 2024 Seoul)\, Ircam (Paris)\, Sonosfera (Pesaro)\, ACMC (Sydney)\, Prix CIME\, WOCMAT (Taipei) and many more. They have also received awards such as the first prize at ISAC 2024 (International Sonosfera Ambisonics Competition)\, the Teresa Rampazzi Award at CIM XXIV and a Distinction per Category at CIME 2023. totaleee is the first stable project to emerge from Napoli Totale Elettronica [NTE]: an open and fluid composers’ society that embraces the collective electroacoustic works produced by affiliated artists from and/or based in Naples. Connected to the NTE collective are the DIY portable loudspeaker array VOLTA and the festival for multimedia arts Marginale. \n  \nTeerath Majumder: Nor’wester\nThe Bengali new year (mid-April on the Gregorian calendar) invariably brings with it violent storms near the Bay of Bengal. We call them Kal Baishakhi. They can wreak havoc on people’s daily lives\, damage crops\, cause floods\, and displace people. The suffering is considerable. Yet\, somehow\, knowing that these cataclysmic events are inevitable helps generate acceptance. We know what nature has in store for us\, the destruction it will cause; we also know it will pass. It is all part of the cycle. During a particularly difficult time of my life when I was reconciling with several grave losses\, the Kal Baishakhi and our acceptance of it was inspiring. It helped me see the bigger picture beyond the carnage\, the impermanence of everything\, and the strength in us to grieve and overcome loss. Nor’wester is a depiction of not just the dynamics of a storm but also our tumultuous experience of it. It is gradual and sudden\, momentary and eternal\, stationary and chaotic. These are some of the qualities that have been expressed in this piece through electronic timbres and spatialization. The piece was written using a range of generative processes that gave rise to complex timbres. The sounds were modeled using wavetable and granular synthesizers along with careful parameter randomization. No audio samples were used. The piece also explores different combinations of polyrhythmic patterns that fit within a fixed cycle length. Moving frequently between these combinations often creates a disorienting effect while maintaining a grid-like rhythmic quality. The sounds then went through first-order ambisonic encoding (mono\, stereo and granular). Ambisonic effects such as delay\, reverb and compression were applied during mixing. The ambisonic master was then decoded for octaphonic playback. \nAbout the artist\nTeerath Majumder is a Bangladeshi composer and technologist who works in interactive and immersive media\, computer music\, and sound design. He questions socio-sonic dynamics that are often taken for granted and reimagines relationships between participants through technological mediation. In 2025\, he created Do Not Feed the Robots\, a participatory concert involving a range of “interactive objects” and automatons. In the same vein\, his 2022 work Space Within fostered collaboration between audience members and featured musicians using his “interactive objects.” His collaboration with Nicole Mitchell resulted in the immersive sound installation Mothership Calling (2021) that was exhibited at the Oakland Museum of California. He composed and designed sound for Qianru Li’s immersive multimedia piece A Shot in the Dark (2023) that explored Asian-American identity in the face of anti-Black police violence with reference to the shooting of Akai Gurley in 2014. His compositions have been performed by Hub New Music\, Transient Canvas\, and London Firebird Orchestra among other ensembles. He often collaborates with dancers and filmmakers in various capacities and produces genre-bending electronic music for his studio projects. \n  \nYu Qin: Ocean Reflection\nOcean Reflection is a 22-minute sonic journey exploring the ocean as a vast system of hidden energy operating on temporal scales far beyond human perception. Drawing on field recordings from the North Sea—including both oceanic soundscapes and offshore drilling infrastructure—the electronics function as a structural\, time-based layer that is organically coordinated with the music through the piece. Sustained harmonic fields and slow-form processes in music evoke the ocean’s apparent calm and depth\, while industrial sounds gradually surface\, revealing human intervention not as an immediate rupture but as a long-term disturbance embedded within marine systems. Ocean Reflection invites listeners to reflect on scale\, time\, and the asymmetry between human activity and ecological response. \nAbout the artist\nYu (Hayley) Qin is a composer and improviser\, currently a PhD candidate at UC Irvine\, whose work weaves music\, dance\, and digital technologies into immersive\, interdisciplinary experiences. Drawing inspiration from marine environments\, human psychology\, and neuroscience\, her creations explore hidden energies\, human-nature interplay\, and collective imagination. Her works have been performed across North America and East Asia. \n  \nWei Yang: rain contained\, rain contains…\n“rain contained\, rain contains…” is a fixed-media piece exploring the close relationship between everyday objects and nature. Made from sounds of bottles\, tubes\, and rain\, it invites listeners to discover sonic connections and containment between the profound and the ordinary. Bottles and resonant tubes act as vessels of containment\, symbolically setting boundaries. Yet\, by performing them\, their distinctive sounds—clinks\, taps\, and resonances—uncover hidden textures and melodic fragments that break through the physical. Rain\, a fundamental element\, unifies the soundscape. While shaping the acoustic environment\, the rain also consists of drops\, each of which can be contained and has its own unique sonic profile. Through careful transformation and juxtaposition\, the piece highlights the shared granular qualities that allow bottle and tube sounds to seamlessly transform into rain\, and vice versa\, blending the domestic and the natural. This sonic alchemy explores how these elements “find and contain each other\,” fostering an “ecological listening” that reveals the deep interconnectedness of our everyday objects and the natural world. Various signal-processing techniques were employed to achieve a wide range of sonic materials and spatial transformations\, including granular synthesis\, filtering\, spherical-angular decomposition/recomposition\, a custom spherical-cap order upmixer\, a custom reverb with feedback delay networks\, and more. \nAbout the artist\nWei Yang is a composer/sound artist from China. He works with different media\, through which he often contemplates the body’s role in sound production\, sound in space\, as well as the integration of various data from the performance environment (reverberation\, light\, etc.). Wei composes both instrumental and electronic music\, and often incorporates various sensors and physical computing to build performative systems that allow dynamic interaction among different actors within the system. His works have been performed internationally at various events\, including the Darmstadt Summer Festival\, Salzburg Music Festival\, BEAST Festival\, NUNC!\, ICMC\, ISAC Sonosfera\, Tomeistertagung\, ORF Musikprotokoll\, the San Francisco Tape Music Festival\, SEAMUS\, Espacious Sonores\, Festival Atemporánea\, Nucleo Música Nova SiMN\, Sound Image Festival\, and Ars Electronica. \n  \nGabriel Araújo: SAW\nA hyperrealistic space of bees\, motors\, and sawtooth waves. The piece focuses on the commonalities of these sounds and explores the constant transformation of materials\, between the natural and the artificial\, the real and the impossible\, the biological\, the mechanical\, and the fantastical. \nAbout the artist\nGabriel Araújo. Composer\, multimedia artist\, and educator whose work bridges ecological\, technological\, and cultural models through sound\, video\, and transmedia pieces. He is Assistant Professor of Music Technology at Texas A&M University – Central Texas. Gabriel studied composition with Paulo Guicheney at the Universidade Federal de Goiás (Brasil)\, and obtained his master’s degree from the CNSMD de Lyon (France)\, where he studied with Michele Tadini and attended the classes of Martin Matalon and François Roux. He completed his DMA at the University of Texas at Austin under Januibe Tejera\, where he served as Assistant Intructor for the Experimental and Electronic Music Studio. ​ He received the Funarte composition prize from the Brazilian Ministry of Culture at the Biennial of Contemporary Brazilian Music\, the Rainwater Innovation Grant\, and was a finalist at Prix CIME/ICEM and MA/IN Awards. He has collaborated with performers such as PHACE Ensemble\, Vertixe Sonora\, HANATSUmiroir\, Line Upon Line Percussion\, the Orchestra of the National Opera of Lyon\, Soundmap Ensemble\, Atelier xx-21\, Olivier Stankiewicz\, Alice Belugou\, and have been featured at festivals such as MA/IN Festival (IT)\, Ars Electronica Forum Wallis (SWI)\, MUSLAB (ECU)\, SEAMUS (US)\, Lontano (BR)\, Plurisons (BR)\, CNMAT (US)\, Empreintes (FR)\, Electric LaTex (US)\, Festival No Conventional (Colombia).​ \n  \nJames Harley: Wild Fruits: Epilogue\nWild Fruits 5: Epilogue is an electroacoustic soundscape work from the Wild Fruits cycle\, begun in 2003. The piece includes spoken text taken from Wild Fruits by Henry David Thoreau\, recorded by Jim Bartruff\, and Pilgrim at Tinker Creek by Annie Dillard\, recorded by Anne-Marie Donovan. The sounds are all based on field recordings from various locations\, processed in the studio. Originally conceived as an 8-channel surround-sound work\, Epilogue uses material from the other works in the cycle\, treated in new ways. \nAbout the artist\nJames Harley is a Canadian composer teaching at the University of Guelph. He obtained his doctorate at McGill University in 1994\, after spending six years (1982-88) composing and studying in Europe (London\, Paris\, Warsaw). His music has been awarded prizes in Canada\, USA\, UK\, France\, Austria\, Poland\, Japan\, and has been performed and broadcast around the world. Recordings include: Neue Bilder (Centrediscs\, 2010)\, ~spin~: Like a ragged flock (ADAPPS DVD\, 2015)\, Experimental Music for Ensembles\, Drums\, and Electronics\, with Philippe Hode-Keyser (ADAPP CD\, 2022)\, Lithophonica\, with Gayle Young (Farpoint 2025) . As a researcher\, Harley has written extensively on contemporary music. His books include: Xenakis: His Life in Music (Routledge\, 2004)\, and Iannis Xenakis: Kraanerg (Ashgate\, 2015). As a performer\, Harley has a background in jazz\, and has most recently worked as an interactive computer musician. \n  \nRaul Masu and Francesco Ardan Dal Ri: Inside the metal plate\nThis 5.1 acousmatic work is entirely constructed from the resonant behaviour of a single metal plate\, activated through a set of physical and acoustic excitations. All sound material is generated via controlled feedback processes\, bowing\, mallets\, and additional excitation techniques that probe the material responses and instabilities of the plate. Feedback is not employed as an effect\, but as a generative mechanism\, where the plate\, transducers\, amplification\, and acoustic space form a dynamic system capable of producing emergent sonic behaviours. The resulting sounds do not represent the plate\, but rather make audible its internal activity\, thresholds of stability\, and variations in resonant response. The 5.1 spatial distribution places these sounds around the audience with the intention of situating the listener inside the resonant body itself. Through an immersive aural experience\, the work proposes a form of embodied self-perception\, in which listening is no longer external to the sound object but coincides with it: the audience does not listen to the plate\, but listens as the plate\, temporarily adopting its vibrational perspective. \nAbout the artists\nRaul Masu (1992) is Professor of Electroacoustic and Multimedia Composition at the Conservatories of Trento (Italy). He holds a PhD in Digital Media from Universidade Nova de Lisboa and adjunct faculty in Computational Media and Arts\, Hong Kong University of Science and Technology Guangzhou (China). His compositional practice includes works\, presented in festivals\, conferences\, concerts\, and performances in 10 counties. He has published approximately 70 papers in international venues in the fields of electronic music (NIME\, TISMIR\, Organised Sound\, Audio Mostly\, Sound and Music Computing) and interactive technologies (CHI\, DIS\, TEI). \nFrancesco Ardan dal Ri began his musical career as an electric guitarist and thereminist and continues to collaborate with artists on both regional and international scenes\, working in live performance contexts as well as in recording studios. Over time\, his interests have progressively shifted toward contemporary and experimental music\, with a particular focus on the creative possibilities offered by software-based systems and electronic instruments\, both commercial and self-designed. He earned degrees Electronic Music from the Conservatory of Trento with top marks. This trajectory led him to pursue a PhD at the Department of Information Engineering and Computer Science (DISI)\, University of Trento under the supervision of Prof. Nicola Conci\, focusing on artificial intelligence and deep learning applied to audio signals. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/listening-room-1-2/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260624T030514
CREATED:20260421T094037Z
LAST-MODIFIED:20260421T095133Z
UID:10000141-1778583600-1778608800@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:20260624T030514
CREATED:20260421T095626Z
LAST-MODIFIED:20260508T114724Z
UID:10000143-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Alessandro Anatrini & Alessandro Aresta: "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 artists\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). \nAlessandro Aresta \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-alessandro-anatrini-faulty-oracle-2/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I (A 1.27)\, 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:20260624T030514
CREATED:20260421T100042Z
LAST-MODIFIED:20260423T171616Z
UID:10000154-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Dahye Seo: "Unscored"
DESCRIPTION:A camera installed on a balcony captures the live sky\, converting it into generative sound in real time. The trajectories of birds crossing the frame are translated into piano tones\, forming unpredictable melodies. The time spent watching the sky—waiting for the next sound—becomes part of the work. \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-unscored-2/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II (A 2.34)\, 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:20260624T030514
CREATED:20260421T191718Z
LAST-MODIFIED:20260427T105320Z
UID:10000196-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Bill Parod & Teresa Parod: "The Elephants of Trianon"
DESCRIPTION:The Elephants of Trianon is an augmented-reality audiovisual installation that extends a series of public murals into an interactive spatial sound environment. The original work consists of ten adjacent murals painted on garage doors in a public alley in Evanston\, Illinois\, USA. These form part of a larger international body of public work by the artist\, Teresa Parod. For the International Computer Music Conference\, the project is presented as a free-standing installation at TU Hamburg-Harburg using large construction-fence banners which approach the full-size of the garage door murals. \nUsing a custom mobile app\, visitors’ devices recognize each mural and anchor a corresponding three-dimensional audiovisual scene in space. As visitors move through the installation and activate additional murals\, their scenes accumulate and blend\, creating a continuously evolving environment\, rather than a sequence of isolated works. The installation therefore functions as a spatial composition shaped by listener movement\, attention\, and duration of engagement. \nThe soundscape combines field recordings made in Bali\, New Orleans\, and Chicago with instrumental layers and voices in ten languages. Animated three-dimensional forms—birds\, bats\, dogs\, elephants\, rabbits\, and celestial figures—appear among the murals\, along with subtle video textures and custom shaders that bring painted elements into motion. Some virtual elements are not confined to a single mural but move throughout the installation space\, responding to the physical layout and dimensions of the exhibition environment. \nThe project suggests a scalable model for mobile\, spatially responsive sound installations in galleries and public spaces. The software framework and mobile application used in The Elephants of Trianon have been developed through prior public installations and gallery presentations and are designed to function across a range of exhibition formats\, from outdoor murals to indoor projection and free-standing display structures. The ICMC installation demonstrates how augmented reality can be used not only as a visual medium\, but as a platform for spatial audio composition and listener-driven musical form. \nAbout the artists\nBill Parod (b. 1954\, Chicago USA) is a composer\, improviser (violin)\, and software developer who works on interactive spatial music\, audio poetry\, image reactive augmented reality\, and living music mobile apps. His work has appeared in Chicago at Elastic Arts\, Experimental Sound Studio\, and the Jay Pritzker Pavilion; Burning Man\, Nevada USA; New York University NYC\, and Ircam in Paris\, France. \nTeresa Parod (b. 1957\, Alton IL\, USA) paints vibrant\, luminous oil paintings and murals\, celebrating life through dichotomies such as light and shadow\, warm and cool and complementary colors. Her landscapes invoke mythological destinations inviting the viewer to journey there.\nShe has created over one hundred works of public art in the United States\, Cuba\, Bali\, Nepal\, and Istanbul. In Cuba\, she was honored to work with mosaicist José Fuster\, whose work inspired her creation of art in unexpected and underused spaces.\nShe lives in Evanston\, Il with her husband\, Bill Parod. Together they have collaborated on several exhibitions and performances and multichannel visual and musical art.\nShe also teaches art history at Oakton college\, does an annual century bike ride and studies and performs classic Indonesian dance. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-bill-parod-teresa-parod-the-elephants-of-trianon-2/
LOCATION:Hamburg University of Technology\, Outdoor Area 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:20260512T110000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260624T030514
CREATED:20260423T170857Z
LAST-MODIFIED:20260423T171322Z
UID:10000231-1778583600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Zhao Jiajing: "Omniopticon"
DESCRIPTION:Omniopticon invites visitors to step inside a constantly shifting field of sound. Scattered throughout the space are wireless loudspeakers. They are not fixed in place: you are free to pick them up\, move them\, tilt them\, rotate them\, or leave them somewhere new. Every gesture reshapes the acoustic environment\, allowing the installation to unfold differently with each visitor’s presence.\nThe work takes its name from the idea of the omniopticon: a condition in which everyone can observe and be observed\, a feature of today’s social-media-saturated world. Rather than presenting this as a system of surveillance\, Omniopticon turns it into a shared\, exploratory environment. Visibility becomes audibility\, and moving a loudspeaker becomes a way\nof revealing or obscuring sonic perspectives.\nAs the speakers change position\, the sound re-forms across the room. What you hear is shaped not only by the architecture\, but also by the placement of the speakers and by the choices of those around you. No two moments are alike. The installation becomes a collective instrument whose behaviour reflects the actions and curiosity of its participants.\nYou are invited to explore. Try moving a single speaker or coordinating with others. Follow a sound across the room\, or gather several speakers into a cluster. Listen to how the sonic space expands\, fragments or gathers as you intervene. Notice how your movements influence – and are influenced by – other people in the space.\nIn Omniopticon\, space is not a backdrop but the material of the artwork itself: a social\, physical and acoustic terrain that shifts with every action. It is both an immersive environment and a gentle social experiment\, prompting reflection on how we navigate shared spaces\, how we shape them\, and how they in turn shape us. Your participation completes the piece. \nAbout the artist\nZhao Jiajing (赵嘉旌; family name–given name) is a London-based electroacoustic composer and sound artist from Beijing. \nZhao’s practice spans acousmatic music\, sound installation\, performance\, and new media. Since 2019\, he has focused on spatial sound\, creating multichannel compositions and installations. His work explores questions of time\, technological mediation\, and our evolving relationship with both the digital and natural worlds. He frequently collaborates across disciplines\, working with practitioners and researchers in visual art\, theatre\, science\, and technology. \nZhao’s work has been featured at major international venues and festivals such as Ars Electronica (AT)\, IRCAM (FR)\, ZKM Karlsruhe (DE)\, ICMC (Int’l)\, SICMF (KR)\, GMEM (FR) and ORF musikprotokoll (AT).  He has received recognitions and commissions from the ISCM British Section\, Musica Nova\, Aesthetica × Audible\, the Shanghai International Arts Festival\, The Engine Room\, Musicacoustica\, Royal College of Art × LG Display\, IEM Graz\, among others. \nZhao holds an MA in Information Experience Design from the Royal College of Art and is currently pursuing a PhD at the University of the Arts London (CRiSAP)\, supervised by Adam Stanović. He is also a mentor and visiting lecturer for the MA in Designing Audio Experiences at University College London. \n  \n\n***\nOminiopticon uses the Snappi speakers system: a low cost wireless multichannel system developted by Marcus Weseloh and Jacob Sello at the ligeti center‘s Innolab.
URL:https://icmc2026.ligeti-zentrum.de/event/installation-zhao-jiajing-omniopticon/
LOCATION:Hamburg University of Technology\, Building A\, Installation Space (A 3.35.1)\, Am Schwarzenbergcampus 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:20260512T220000
DTSTAMP:20260624T030514
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:https://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:20260512T120000
DTEND;TZID=Europe/Amsterdam:20260512T233000
DTSTAMP:20260624T030514
CREATED:20260421T093204Z
LAST-MODIFIED:20260423T130929Z
UID:10000151-1778587200-1778628600@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:20260512T133000
DTEND;TZID=Europe/Amsterdam:20260512T150000
DTSTAMP:20260624T030514
CREATED:20260421T165721Z
LAST-MODIFIED:20260512T080329Z
UID:10000176-1778592600-1778598000@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 2A
DESCRIPTION:The second lunch concert of ICMC HAMBURG 2026 takes listeners on a journey through different cultures and technological approaches. The focus is on transformation: how are traditional instruments\, natural sounds\, or even everyday noises reinterpreted through the lens of computer technology and artificial intelligence?\nThe international composers are once again partly supported by Hamburg’s Ensemble 404\, which bridges the gap between academic composition and vibrant performance. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nPlight of the Monarch\nSalvatore Siriano \nSprinkle\nHuixin Xue\nPipa: Yinghan Liu\nComputer Music Designer: Shihong Ren \nLate Shift \nBenjamin Broening\nFlute: Giusy Panzanaro (Ensemble 404) \nFall and Rise\nWan Heo\nViolin: Bahar Erunsal (Ensemble 404) \nSqueakeasy \nJonathan Wilson\nViolin: Yao Dong Zhang (Ensemble 404) \nI Dreamed of Naïma \nChristopher Dobrian\nVibraphone: Aiyun Huang \nFree-Wheelerish (a movement from the suite Things Ain’t What They Used To Be)\nMark Whitlam\nPercussion: Mark Whitlam\nBassoon: Rodrigo Rodrigues (Ensemble 404) \n  \nAbout the pieces & composers\nSalvatore Siriano: Plight of the Monarch\nMonarch butterfly populations face ongoing and compounding threats driven by habitat loss\, pesticide exposure\, invasive plant species\, and continued encroachment on open land where milkweed once thrived. Since the mid-1990s\, eastern migratory monarch numbers have fallen to a fraction of their historical peaks; although recent seasons have shown modest recovery\, populations remain far below long-term averages.\nWithin this context\, the work traces key stages of the monarch lifecycle\, including overwintering in Mexico\, migration\, mating\, and reproduction\, using scientific data from the Monarch Joint Venture and the U.S. Geological Survey translated into sonic parameters through additive and FM synthesis. Long-term population trends shape the evolving texture\, dynamics\, and rhythmic behavior of the sound\, allowing ecological data to inform the temporal and spectral structure of the audio.\nTranslation also operates across media. Original filmed footage from the Fox River Valley in Illinois\, a recurring migratory and breeding landscape for eastern monarch populations\, is transformed through point-cloud and depth-camera processes. Human presence and natural environments are rendered as shifting\, particle-based forms whose fragmentation mirrors the precarity of monarch habitats\, situating ecological data within a perceptual and embodied frame rather than a purely representational one.\nThe work concludes with documentation of a community-based public artwork that distributes milkweed seeds to local residents. While the piece does not involve direct audience interaction\, this closing gesture reframes participation as shared responsibility. Rather than positioning environmental change solely at the level of policy\, the work emphasizes individual and community-scale actions\, such as reducing pesticide use\, planting milkweed and other native species\, and allowing greater biodiversity within managed landscapes\, as tangible responses to ongoing habitat loss. Because eastern North American monarch butterflies lay their eggs exclusively on milkweed\, these localized decisions directly shape their capacity to survive and reproduce. \nAbout the artist\nSalvatore Siriano is a Chicago-based composer\, audiovisual artist\, and educator whose work explores the relationship between sound\, image\, and the natural environment through digital media. His recent works have been presented at Sound/Image Festival (UK)\, SICBM (Brazil)\, Seoul International Computer Music Festival\, Art Alive Festival (Portugal)\, WOCMAT (Taiwan)\, NOIS//E (Italy)\, as well as ICMC\, NYCEMF\, and SEAMUS. He is full-time music faculty at Triton College. \n  \nHuixin Xue: Sprinkle\nThis piece seeks to explore new timbres and performance techniques for the pipa\, aiming to integrate the language of electronic music with the instrument’s sound in order to present a novel acoustic effect.\nThe pipa uses an unusual strings A #D E #G. \nAbout the artists\nHuixin Xue is a Chinese composer\, music producer and Music AI researcher. She is a Ph.D. candidate in Music AI at Shanghai Conservatory of Music\, an exchange student at the Hamburg University of Music and Theatre. She graduated from the Music Engineering Department of Shanghai Conservatory of Music both for her bachelor’s and master’s degrees.\nHer pieces won numerous awards\, including The Honorable Mention of the 2024 Sound Chain International Electronic Music Composition Competition (the only Chinese winner among the 6 winners worldwide). Her work was presented at the 2025 ICMC. Her pieces have been performed at major festivals. She also has participated in over twenty commercial music creation projects.\nDuring her doctoral studies\, she participated in the development of the AI Music Therapy Pod at the Shanghai Conservatory of Music\, co-developed SongEval\, the first aesthetic evaluation dataset for AI-generated songs\, and contributed to organizing the Automatic Song Aesthetic Evaluation Challenge at ICASSP 2026. \nPipa: Yinghan Liu \nComputer Music Designer: Shihong Ren \n  \nBenjamin Broening: Late Shift\nLate Shift explores the liminal light of dusk as shadows lengthen\, the bright colors of day darken\, and the familiar world is gradually transformed. A comparable transformation takes place in Late Shift: the flute and electronics slowly descend to lower registers over the course of the piece as flute sounds are gradually replaced by whispering percussion sounds in the electronics. \nAbout the artists\nBenjamin Broening’s music has been called “adventurous\, thoughtful\, eloquent\, and disarmingly direct.” His orchestral\, choral\, chamber and electroacoustic music has been performed in over twenty-five countries and across the United States by many soloists and ensembles.\nBroening is recipient of Guggenheim\, Howard and Fulbright Fellowships\, and has also received recognition and awards from the American Composers Forum\, Virginia Commission for the Arts\, ACS/Andrew Mellon Foundation\, the Jerome Foundation and the Presser Music Foundation among others.\nTrembling Air\, a Bridge Records release of his chamber music recorded by Eighth Blackbird\, has been praised as “haunting” and “enchanting” (Cleveland Plain Dealer)\, “magical” (Fanfare)\, “other-worldly” (Gramophone)\, and “coruscatingly gorgeous” (CD Hotlist). Critics have called Recombinant Nocturnes\, a disk of music for piano recorded by Duo Runedako “ breathtaking” (World Music Report) and “deep\, troubling” (François Couture). Nineteen other pieces have been released by Ensemble U: in Estonia and on the Centaur\, Everglade\, Equilibrium\, MIT Press\, Oberlin Music\, Open G\, Métier\, New Focus\, Ravello and SEAMUS record labels.\nBroening is founder and artistic director of Third Practice\, an annual festival of electroacoustic music at the University of Richmond\, where he is Professor of Music. He holds degrees from the University of Michigan\, Cambridge University\, Yale University\, and Wesleyan University. \nFlute: Giusy Panzanaro (Ensemble 404) \n  \nWan Heo: Fall and Rise\nFall and Rise is the second episode of my previous solo cello piece\, When It Falls. Drawing from the same inspiration\, which was the fallen leaves on the ground at Jeolmul Forest in Jeju Island\, Korea\, with a variety of colors and shapes\, this version for amplified violine and electronics focuses more on the timbre of the instrument. Particularly\, transitions between normal to harmonics\, different fingerings\, and how they create different textures and sonorities. \nRecording of When It Falls and field recordings from Jeolmul Forest were processed using modular synthesis\, creating certain atmosphere to the piece. Pitch and rhythmic materials for the violin was extracted from spectral analysis of the recordings which gives the sonic coherence to the three different sound sources. \nAbout the artists\nWan Heo is a Korean-born composer based in Chicago. Her works have been performed internationally in South Korea\, Germany\, Italy\, Singapore\, Spain\, and throughout the United States. Her percussion solo Unveiled Future is published by Alfonce Production.\nWan’s music has been commissioned and featured by Darmstädter Ferienkurse\, SEAMUS\, Yarn/Wire\, VIPA\, among others. She received an Honorable Mention for the Christine Clark/Theodore Front Prize in the IAWM New Music Search.\nHer doctoral dissertation explores the vulnerability of South Korea’s sonic environments through field recordings made at Buddhist mountain monasteries. Works from this project have been presented at NYCEMF\, the Composition in Asia Conference\, and NSEME.\nWan is a Visiting Assistant Professor at Wake Forest University. She holds a B.M. in Composition from Ewha Womans University and an M.M. in Composition from Florida State University. She is currently ABD in the Ph.D. program in Composition and Music Technology at Northwestern University\, where she works under the guidance of Alex Mincek\, Stephan Moore\, and Jay Alan Yim. \nViolin: Bahar Erunsal (Ensemble 404) \n  \nJonathan Wilson: Squeakeasy \nSqueakeasy was written for Maja Cerar during the COVID-19 pandemic from late 2020 to the early summer of 2021. The composition was conceived from my accidental discovery of a metallic chair that was loosely bolted to a metal patio set and could pivot in such a way to create an ear-piercing\, yet irresistible screech. The timbral qualities of that chair intrigued the composer to determine the various sonic transformations that could be realized after recording that initial sound\, which quickly led to pairing the electronics with the violin because of the multimbral similarities observed between them. Additional recordings of squeaky wooden surfaces\, such as a wooden chair and floorboards\, were included to enhance the timbral relationships between violin and electronics. The composer’s decision to explore their timbral relationships was partly inspired by Denis Smalley’s “Base Metals” by relating metal-based and wood-based sound families from the electronics to different violin timbres or extended techniques such as col legno\, glissando\, tremolo\, pizzicato\, ricochet\, and natural and artificial harmonics. The structure of this composition alternates between sections with performer + electronics and cadenzas with amplified violin\, which could be loosely described overall as a concertino for amplified violin based on the virtuosic elements of the violinist’s performance. The sound of the violin is amplified throughout the work by the electronic performer’s patch that was programmed on Max/MSP. The performer of the electronics triggers each instance of fixed media from the laptop while the performer follows both the score and a counter/timer that is displayed on a separate computer monitor. \nAbout the artists\nDr. Jonathan Wilson’s works have been performed at the Ann Arbor Film Festival\, European Media Art Festival\, ICMC\, SICMF\, SEAMUS\, NYCEMF\, MUSELAB\, NSEME\, Napoleon Electronic Music Festival\, Iowa Music Teachers Association State Conference\, and Midwest Composers Symposium. He is the winner of the 2014 Iowa Music Teachers Association Composition Competition. Jonathan has studied composition with Lawrence Fritts\, Josh Levine\, David Gompper\, James Romig\, James Caldwell\, Paul Paccione\, and John Cooper. In addition\, studies in conducting have been taken under Richard Hughey and Mike Fansler. Jonathan is a member of Society of Composers\, Inc.\, SEAMUS\, ICMA\, and the Iowa Composers Forum. \nViolin: Yao Dong Zhang (Ensemble 404) \n  \nChristopher Dobrian: I Dreamed of Naïma\nI Dreamed of Naïma for vibraphone and interactive computer system references a composition by John Coltrane in fragmented and distorted fashion\, as if recollected in a dream. The computer program\, written in Max for Live\, senses the sound of the vibraphone\, and algorithmically adds its own sounds to extend and elaborate the instrumental sound. The 7-minute piece mixes composition and improvisation\, with the computer performing interactively and responsively (with no attending technician needed)\, such that each performance is unique. \nAbout the artists\nChristopher Dobrian is Professor Emeritus of Integrated Composition\, Improvisation\, and Technology in the Department of Music\, with a joint appointment in the Department of Informatics\, at the University of California\, Irvine. He is a composer of instrumental and electronic music\, and taught courses in composition\, theory\, and computer music. He conducts research on the development of artificially intelligent interactive computer systems for the cognition\, composition\, and improvisation of music. He has published technical and theoretical articles on interactive computer music\, and is the author of the original reference documentation and tutorials for the Max\, MSP\, and Jitter programming environments by Cycling ’74. He holds a Ph.D. in Composition from the University of California\, San Diego\, where he studied composition with Joji Yuasa\, Robert Erickson\, Morton Feldman\, and Bernard Rands\, computer music with F. Richard Moore and George Lewis\, and classical guitar with the Spanish masters Celin and Pepe Romero. Dobrian has been an invited Fulbright specialist at the Korean National University of Arts\, the University of Paris-Sorbonne\, McGill University in Montreal\, and the Accademia Chigiana in Siena\, and has been a guest professor at Yonsei University\, Taiwan National Normal University\, University of Paris 8\, and the National University of Quilmes in Argentina. \nVibraphone: Aiyun Huang\nAcclaimed percussionist Aiyun Huang has performed with leading orchestras and at major international festivals worldwide\, premiering works by contemporary composers. Her research explores the performing body across music\, dance\, theatre\, and media technology\, and she directs the TaPIR Lab at the University of Toronto\, where she is Professor of Music. She founded the biennial Transplanted Roots percussion symposium\, has served as a juror and keynote speaker at prestigious events globally. Born in Taiwan\, Aiyun was named a Fellow of the Royal Society of Canada in 2024. \n  \nMark Whitlam: Free-Wheelerish (a movement from the suite Things Ain’t What They Used To Be)\nThe movement from a longer suite—titled in reference to Duke Ellington’s big band jazz classic\, released over sixty years ago—offers a gentle provocation\, contrasting traditional approaches to jazz improvisation with emerging paradigms in human–AI interaction. Combining real-time machine learning and deep learning tools\, the piece stages a live collaboration between improvising human musicians and generative AI agents. Central to the work is a subversion of the established technique of the contrafact\, whereby new melodies are composed over pre-existing chord progressions. Here\, the process is inverted: AI agents are tasked with reharmonising composed melodic lines\, thereby disrupting the expected harmonic framework. This indeterminacy both encourages and challenges the performers to find new musical responses. \nLeveraging technologies including Somax2\, RAVE\, Mosaïque\, and Google MediaPipe within MaxMSP\, the system enables algorithmic agents to act as both collaborative and disruptive partners in the performance loop. These agents generate unexpected musical gestures and offer novel\, interactive visual and audible modalities that stimulate and provoke the performers. The result is an evolving musical language that emerges from the entangled dynamics of this extended network of human and machine improvisers. \nAbout the artists\nMark Whitlam has been a professional musician for 25 years\, having toured internationally with UK jazz luminaries including Andy Sheppard\, Iain Ballamy and Jason Rebello (Sting) and Mercury Prize Nominee Eliza Carthy. Recent collaborations have included work with Adrian Utley (Portishead) and Will Gregory (Goldfrapp). He has also collaborated with Mercury Prize His compositions and performances have received airplay on BBC radio 2\, 3 \,6 and Jazz FM\, with TV credits including HBO’s miniseries Industry. Mark teaches in the UK at Bath Spa University and BIMM University\, where he is a senior lecturer. He is mid-stage in his PhD in Composition at the University of Bristol\, UK\, exploring the affordances offered by generative AI agents in the liminal space between composition and improvisation. He also has a keen interest in the links between actor network theory and 4E cognition in the space of human-AI mediated music-making. \nPercussion: Mark Whitlam \nBassoon: Rodrigo Rodrigues (Ensemble 404) \n  \nVolunteers\nTechnical Director / Main Sound\nSteffen Lohrey\nLeon Sudahl \nSound Assistants\nJakob Seyberth\nTim Christiansen \nStage / Light / Video\nEvelin Lindberg\nDong Zhou\nJames Tsz-Him Cheung \nProduction\nAigerim Seilova\nHuixin Xue\nHaonan Guo\nXinyi Yang\nNiko Yin\nJiwon Seo\nMenghuan Feng \n 
URL:https://icmc2026.ligeti-zentrum.de/event/lunch-concert-2a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T140000
DTEND;TZID=Europe/Amsterdam:20260512T144500
DTSTAMP:20260624T030514
CREATED:20260415T115815Z
LAST-MODIFIED:20260429T125043Z
UID:10000117-1778594400-1778597100@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Workshop: Creating Sounds with Fruit and Vegetables
DESCRIPTION:Come 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-2/
LOCATION:Harburg Info\, Hölertwiete 6\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T153000
DTEND;TZID=Europe/Amsterdam:20260512T163000
DTSTAMP:20260624T030514
CREATED:20260421T144640Z
LAST-MODIFIED:20260511T124700Z
UID:10000174-1778599800-1778603400@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Falk Hübner: "The artist-researcher as a connector in times of crises: Some questions to computer music"
DESCRIPTION:In the last 5–10 years\, artistic research has undergone a process of growing maturity: often transdisciplinary in nature\, the discipline has grown into an immense diversity\, and out of a “need for syntheses”\, the focus of the discourse is “shifting more towards methodological aspects and best practices” (Craenen 2025). The artist-researcher is a central persona in this field\, that is typically characterised by hybridity and fluidity\, taking part in several practices\, contexts\, and discourses — connecting all of these\, both within and outside the arts.  \nAt the same time\, however\, we live in a time characterised by multiple crises that don’t seem to end very soon\, and leave the world in extreme continuous instability on a global scale. This includes late-stage neoliberalism and capitalism\, climate change and questions of climate justice\, rising fascism and multiple wars\, to mention only the largest and most devastating examples.  \nWhile the arts can never literally “solve” any of these issues\, artists have always related to the world and times they live in\, in one way or another. And just as several scientists have taken more activist stances recently (Heinzen-Ziob 2026)\, artistic research arguably can take (more) responsibility to address social-societal issues\, and explore what kinds of “shifts” might be suggested\, provoked\, proposed\, speculated\, or imagined.  \nIn this lecture\, Falk Hübner will offer various examples of such socially engaged artistic research projects\, and discuss the persona of the artist-researcher as a “connector” and the methodological consequences such a positionality implies. From this perspective\, he develops a series of questions to the field of computer music\, to explore and discuss bridges and potential connections between topics of socially engaged artistic research and the disciplines and discourses of (research in and through) computer music.  \nFalk Hübner\nSince completing his composition and double bass studies at ArtEZ University of the Arts in Arnhem\, The Netherlands\, he has been active in contemporary jazz\, experimental music theatre\, and a wide range of interdisciplinary collaborations within and beyond the arts. Between 2008 and 2013\, he conducted his doctoral artistic research project Shifting Identities at DocARTES/Leiden University\, which led to a series of experimental music theatre works as well as his first book\, Shifting Identities: The Musician as Theatrical Performer (2014). From 2019 to 2021\, Falk conducted postdoctoral research at HKU University of the Arts Utrecht on artistic research methodology and ethics. \nAs a teacher and research supervisor\, he has worked at HKU University of the Arts\, the Master NAIP (New Audiences and Innovative Practices) at the Royal Conservatoire The Hague\, the ArtEZ Master in Music Theatre\, and as Director of Research and Writing for the ArtEZ International Master Artist Educator. \nFalk’s current research focuses on the social and activist potential of artistic research\, transdisciplinarity\, artistic research methodologies\, practices of care and care-fulness\, climate justice\, circularity\, and anti-racism. He is part of the Dutch research network Creating Cultures of Care and a member of the Graduate Committee of the Professional Doctorate in Arts & Creative Practices. He currently supervises two Professional Doctorate candidates and four PhD candidates. \nAmong other publications\, Falk is the author of Method\, Methodology and Research Strategy in Artistic Research: Between Solid Routes and Emergent Pathways (2024) and co-editor (with Henny Dörr) of the volume on the collaborative transdisciplinary artistic research project If You Are Not There\, Where Are You? (2017). Together with Annelys de Vet\, he is co-editor-in-chief of Forum+\, a journal for research and the arts based in Antwerp. \nIn addition to his professional life\, Falk is an (ultra-)marathon runner. He lives in Rotterdam with his partner and their five children. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-falk-hubner-the-artist-researcher-as-a-connector-in-times-of-crises-four-questions-to-computer-music/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T160000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260624T030514
CREATED:20260421T123923Z
LAST-MODIFIED:20260427T155441Z
UID:10000170-1778601600-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Thomas Meckel\, Dennis Scheiba and Moritz Wesp: SONA – Audio-VR
DESCRIPTION:Virtual Reality technologies remain largely inaccessible to blind and visually impaired People due to their strong reliance on visual interfaces. At the same time\, blind people possess highly developed skills in spatial orientation and navigation through sound. SONA takes this contradiction as its starting point and investigates how VR can be reconceptualized as an inclusive medium by utilising spatial audio as a primary navigation and interaction tool.\nSince 2023\, SONA has developed Audio-VR works in close collaboration with blind and visually impaired communities in Cologne and North Rhine-Westphalia. This work has produced two formats: SONA – Seeing Sound\, a large-scale performative VR installation in complete darkness\, where visitors navigate a motion-captured space using spatial audio\, sensory shoes\, and voice commands\, guided by a blind performer; and SONA – Diving in the Dark\, a mobile Audio-VR game in which players explore a virtual underwater world — guided entirely by 3D sound — using a smartphone and Headphones with head-tracking as a display-free VR headset.\nFrom a technical perspective\, the workshop addresses spatial audio not as an immersive effect but as a functional interface for navigation and interaction. We will discuss the Audio-VR navigation tools developed within the project — including virtual echolocation\, a virtual audio cane\, and virtual wall membranes — and the design decisions behind them. The technical stack (Unity\, Wwise/Audiokinetic\, head-tracking via smartphone sensors\, voice recognition and microphone input) will be presented alongside the iterative research process and our inclusive worldbuilding methods.\nThe workshop combines a presentation and discussion of the artistic and technical background with a hands-on opportunity to test SONA – Diving in the Dark. \nMore about SONA here.\nSONA Film here. \n  \nRequirements\nNone \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitators\nThomas Meckel. Media artist\, game designer\, and musician. His interactive cinema performance Solaris has been presented internationally. Together with Tobias Thomas\, he curates the concert series Round at the Cologne Philharmonic. He studied Media Arts at the Academy of Media Arts Cologne\, Cultural Studies in Lüneburg\, and Applied Theatre Studies in Giessen. Since 2023\, he has been developing concepts for SONA and moderating its artistic realization. \nDennis Scheiba. Music informatician and Software developer from Cologne. He holds a Bachelor’s degree in Mathematics and a Master’s degree in Sound and Reality (Robert Schumann University of Music\, Düsseldorf). A core developer of the music software SuperCollider\, he has been a research and artistic assistant at the Robert\nSchumann University of Music Düsseldorf since 2023\, working in the field of artificial intelligence and Musical practice. At SONA\, he contributes expertise in AI\, sound\, and interface development—particularly for the AI seagull character and custom text-to-speech systems. \nMoritz Wesp. Game designer\, trombonist\, and media artist. As a trombonist\, he performs internationally with ensembles such as Matthias Muches’ Bonecrusher and Mariá Portugal’s Erosão. He develops his own electronic instruments (including a virtual trombone) and programs interactive music games. Moritz studied at the Lucerne School of Music and at the Cologne University of Music and Dance. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/workshop-thomas-meckel-et-al-sona-audio-vr/
LOCATION:Hamburg University of Technology\, Building H (H 0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T163000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260624T030514
CREATED:20260421T190439Z
LAST-MODIFIED:20260505T075342Z
UID:10000223-1778603400-1778608800@icmc2026.ligeti-zentrum.de
SUMMARY:Panel A: Physiological and Physical Foundations of Creative Systems
DESCRIPTION:This panel explores how artistic and creative systems can be understood through physiological and physical models of perception\, cognition\, and material interaction. Bringing together perspectives from musicology\, artistic research\, science\, and technology\, the discussion addresses the relationship between approaches such as physical modelling\, artificial intelligence\, and theories of self-organization in contemporary creative practice. \nA central focus lies on human listening\, embodied perception\, and the question of how technological systems relate to the complexity of musical experience. By connecting theoretical reflection with artistic perspectives\, the panel examines how creative systems emerge between body\, instrument\, environment\, and computation. \n  \nPanelists\nRolf Bader \nAlessandro Anatrini \nJakub Sawicki \n  \nModeration: Andreas Möllenkamp \n  \nAbout the Panelists\nRolf Bader studied Systematic Musicology\, Physics\, Ethnology\, and Historic Musicology at the University of Hamburg where he obtained his PhD and Habilitation. He is Professor for Systematic Musicology at the Institute of Systematic Musicology\, University of Hamburg since 2007. His major fields of research are Musical Acoustics and Musical Signal Processing\, Musical Hardware and Software Development\, Music Ethnology\, Music Psychology\, and Philosophy of Music. He published several books and papers about these topics. He was a visiting scholar at the Center for Computer was also working as a professional musician\, composer\, and artist\, running recording studios\, working as a music journalist\, leading exhibitions\, and running a cinema. He conducted fieldwork as an Ethnomusicologist in Bali\, Nepal\, Thailand\, Cambodia\, Myanmar\, Sri Lanka\, China and India since 1999. \n  \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 been 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  \nJakub Sawicki is a music psychologist and physicist whose research combines aspects of both fields. He studied music at Listaháskóli Íslands University and the Berlin University of the Arts. Alongside his position as organ improviser at Berlin Cathedral\, he continued his scientific research and received his Dr. rer. nat. degree from the Technical University of Berlin. He subsequently managed the research project “Synchronization Phenomena Related to Brain and Music (SynProMusic)” at the Potsdam Institute for Climate Impact Research. His research interests include music perception\, modeling of complex systems\, and neural dynamics. His latest book\, Music Psychology—Balance of Relations\, was published by Springer in 2025. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/panel-a-physiological-and-physical-foundations-of-creative-systems/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Panel
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T190000
DTEND;TZID=Europe/Amsterdam:20260512T210000
DTSTAMP:20260624T030514
CREATED:20260421T170217Z
LAST-MODIFIED:20260512T080618Z
UID:10000219-1778612400-1778619600@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 2B
DESCRIPTION:This Evening Concert promises a special experience for both eyes and ears. At the center of this session is the saxophone\, performed by one of the most distinguished artists of our time: Hamburg-based saxophonist Asya Fateyeva. Together with her talented students\, she presents five works specially conceived for her and her instruments.\nThis instrumental focus is complemented by two striking video works\, presented on the specially installed video wall in the FEH\, which dissolve the boundaries between sonic and visual space. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nSaxophone: Asya Fateyeva \nAdaptive_Study#06 – Symbolic Structures Enhanced\nRiccardo Dapelo \nExpandiere \nChing Lam Chung \npan:individual\, “come closer\, come home”\nFranz Danksagmüller \nSilent “human bird language” \nYongbing Dai and Yiping Bai \nCor Ddiglwed (Unhearing Chorus) \nJoe Wright \nWind Blown Rain\nMara Helmuth\nClarinet and Tarogato: Esther Lamneck\nVideo: Alfonso Belfiore \nPoetic Encounter with the digital shadow\nNicolas Kummert \n  \nAbout the pieces & the artists\nRiccardo Dapelo : Adaptive_Study#06 – Symbolic Structures Enhanced\nAdaptive_Study#06 – Symbolic Structures Enhanced (2025) is the sixth work in a series of compositional studies initiated in 2015\, exploring musical forms that are not temporally fixed. The piece investigates adaptive processes based on symbolic structures\, short-term memory\, and performer–system interaction. The live electronics analyses performer input and generate responses through the transformation and recombination of symbolic data. Rather than functioning as an autonomous generator\, the system acts as a responsive partner\, shaping musical form through evolving interactions over time. Control of event density at micro and macro-structural levels plays a central role\, preventing entropic saturation. The work is conceived as an open study\, in which form emerges through the negotiation between performer and system\, maintaining stylistic coherence while allowing variability across performances. \nAbout the artist\nRiccardo Dapelo (b. 1962) studied composition with G. Manzoni and A. Vidolin. His work focuses on acoustic and electronic composition\, live electronics\, and interactive systems\, and has been performed internationally. He has published articles and lectured on voice analysis\, spatialisation\, philosophy of art\, and musical time. He collaborates with visual artists on interactive works and sound installations for museum and exhibition spaces. He teaches Composition at the Conservatory of Piacenza. \n  \nChing Lam Chung: Expandiere\nThis piece explores the different sound qualities of the baritone saxophone—from pitched materials to mechanical sounds—and its interaction with electronics\, thereby investigating the sonic hybridity between the instrument and electronic media. Both tape and live electronics are used: the fixed electronics allow sound objects to be precisely organized within the spatial environment\, while the live electronics serve as a bridge between the instrument and the fixed electronics\, enhancing their connections. \nThrough this approach\, the piece creates a unique sonic environment in which different sound objects interact and evolve with one another\, offering the audience a varied auditory experience in which the instrument and electronics fully merge. \nAbout the artist\nCHUNG Ching Lam\, Mavis (b.2003)\, was born and raised in Hong Kong. Mavis currently studies Master music composition at Frankfurt University of Music and Performing Arts\, under the guidance of Orm Finnendahl and Ulrich Alexander Kreppein.\nMavis’s music thoughtfully explores timbre\, transforming ordinary sounds into unexpected auditory experiences. Her compositions discover the beauty of melancholy as she creates a unique sonic landscape that reflects her philosophy and experiences.\nShe received third prize in the 2nd NC Wong Young Composers Award and was chosen for the electroacoustic composition fellowship at the Delian Academy 2024. She also participated in the URTIcanti contemporary music festival and the Internationales Digitalkunst Festival. Furthermore\, she attended the South China Contemporary Creative Music Institute and has been selected for the Mixed Media category at the iISUONO Contemporary Music Week 2025. Her compositions have been performed in Greece\, Germany\, and Italy.\nShe studies Bachelor music composition at Hong Kong Baptist University\, under the guidance of Eugene Birman\, Camilo Mendez\, Stylianos Dimou and Ka Shu TAM. \n  \nFranz Danksagmüller : pan:individual\, “come closer\, come home”\npan:individual is a participatory work for organ\, live electronics\, mobile phones\, and audience that explores how individual perception\, agency\, and identity are transformed within digitally mediated collective systems. The piece examines how contemporary technologies shape experiences of belonging\, guidance\, and participation\, blurring the boundary between individual action and collective behavior.\nThe performance unfolds as a distributed audiovisual environment in which audience members access individualized video streams on their mobile phones. Initially fragmented and asynchronous\, these streams gradually align\, forming a shared sonic and visual field. The organ part follows algorithmic and process-based instructions that guide constrained improvisation\, functioning not as an authoritative voice but as one element within a larger collective texture shaped by live electronics.\nAs the performance progresses\, audience members are invited to participate vocally\, tuning into sustained pitches suggested by the audiovisual environment. Digital avatars address participants directly\, encouraging alignment and proximity and culminating in the formation of a collective sonic organism.\nRather than presenting a narrative or explicit critique\, pan:individual creates an experiential situation in which participants are invited to reflect on how digitally mediated systems influence collective identity\, agency\, and the desire to belong. \nAbout the artist\nFranz Danksagmüller (*1969) is an Austrian organist\, composer\, and media artist working at the intersection of instrumental performance\, live electronics\, rule-based improvisation\, and participatory systems. He is Professor for Organ and Improvisation at the University of Music in Lübeck and currently Visiting Professor at the Royal Academy of Music\, London. His works include music theatre\, ensemble and vocal works\, and participatory projects integrating digital technologies and audience interaction\, presented internationally across Europe\, Asia\, Africa\, and North America. \n  \nYongbing Dai and Yiping Bai: Silent “human bird language” \nThis work\, composed for saxophone and electronic music\, uses the saxophone’s unique multiphonic harmonics\, distinctive timbre\, and various techniques such as tonguing to evoke an effect of ancient human “bird language\,” akin to “abstract writing” incomprehensible to modern humans. It uses this to question the constant self-destruction that occurs on our shared planet. We can consider this: we have entered the age of artificial intelligence\, with highly advanced science and technology. Yet\, even in this civilized context\, for their own benefit\, humans can disregard and kill their fellow human beings. This is utterly absurd and tragic. How is this different from the barbaric slaughter of ancient times? What is the significance of the development of human technology and civilization? \nAbout the artists\nDai Yongbing holds a doctorate in Electronic Music Composition from the Shanghai Conservatory of Music. He currently teaches electronic music at the Art and Technology Department of the Composition Department of Wuhan Conservatory of Music. He was sponsored to study composition and electronic music composition at the Royal Danish Academy of Music\, where he received a master’s degree in composition. In 2023\, he studied sound art at the University of Music and Drama in Munich\, Germany.In 2024\, he was sponsored by the European Union’s Erasmus program to study electronic music composition with Professor Karlheinz Essl at the University of Music and Drama in Vienna\, Austria. The electronic music work “Two Trembling Hearts” won the first prize at the Hangzhou International Electronic Music Festival. In June 2022\, he was selected for the academic class of computer music design and performance at the IRCAM-Manni-festival Music Festival at Pompidou in Paris\, France. His work “Two Worlds of Monks” won the first prize in the UPI-Sketch professional group at the 2022 Xenakis (CIX) Music Center in France. His wind band work “Non-Taoism” was premiered by the Shenzhen Symphony Orchestra. His works have been performed all over the world\, such as Munich and Düsseldorf in Germany\, Amsterdam in the Netherlands\, Vienna in Austria\, Lisbon in Portugal\, Copenhagen in Denmark\, New York in the United States\, Tokyo in Japan\, Seoul in South Korea. \nYiping Bai \n  \nJoe Wright: Cor Ddiglwed (Unhearing Chorus) \nCor Ddiglwed (unhearing chorus) takes inspiration from Daphne Oram’s ‘Bird of Parallax’\, and was developed with the one-of-a-kind\, Mini Oramics\, developed by Tom Richards based on Oram’s designs for a revised version of her pioneering graphical synthesis machine. \nIn the piece\, the author phrases/samples recorded with Oramics\, alongside field recordings taken locally to his home in South Wales and live processed saxophone which uses the instrument as input to a phase vocoder designed to mimic the writing / replaying / overwriting process that Mini Oramics facilitates. \nThe piece was written in the context of a highly divisive by-election in which local communities in South Wales saw a hot rise in populist sentiment\, and a rise in polarised rhetoric on and offline. While the technical inception of the piece draws heavily on Oram and the legacy of her synthesiser design\, the field recording process at this time highlighted the importance shapes and forms in captured human and animal voices – seen through an Oramics lens. The piece explores the idea of diverse clashing narrative threads in a fight for attention – as a metaphorical mirror to the author’s recordings of local dawn choruses. Both in the piece and the context of its composition\, these voices are\, despite their differences\, interconnected by common challenges and under-explored common ground\, yet are broadly unheard by others. \nThe piece forms part of a broader body of recent work that explores Oramics in the context of Oram and Iannis Xenakis’ work\, and the ways that their thinking and legacy can apply to contemporary musical composition\, instrument design\, and accessible musical tools and resources. \nAbout the artist\nJoe Wright is a musician and maker based in Cardiff\, with an interest in collaborative music making\, field recording\, accessible music technology/practice\, and creative code. As a saxophonist\, Joe is currently playing across the UK and Europe with jazz/contemporary music groups led by Rob Luft\, Corrie Dick\, and in FORJ. He also has a long-standing collaboration – Onin – with experimental musician\, James L Malone that explores unstable systems and atypical interactions. Recently\, Joe has been exploring field recording with a focus on his local natural spaces in South Wales. \n  \nMara Helmuth\, Esther Lamneck and Alfonso Belfiore: Wind Blown Rain\nWind Blown Rain was inspired by natural processes and forces involving water. Water metamorphoses between many opposing states: from a gentle drizzle to a stormy downpour\, from a tiny droplet to a crashing ocean. Life on earth is dependent on water\, and also at its mercy. This piece focuses mainly on the transformed sounds of rain\, and its reflections in the tárogató sound. Samples were recorded in Venice and Ascea\, Italy. The music was composed in Italy in the summer of 2025 at Wassard Elea Artist’s residency in Ascea by a computer music composer and a performer/real time composer. While most of our previous collaborations have relied solely on the sound of the performer’s instrument for the computer part\, in this piece the instrumentalist interacts primarily with music created from natural recordings and their processed transformations. A third artist created the video part in response to the music from his own water-related video recordings. The video component of Wind Blown Rain is a visual meditation on the natural landscape\, filtered through the inner rhythm of rainfall. Created with images generated and modified using artificial intelligence\, the editing alternates slow-motion sequences\, crossfades\, and subtle variations to evoke a dilated sense of time. The environment\, immersed in rain\, transforms gradually\, suggesting a fragile balance between presence and dissolution. The visual work accompanies the music as a mental landscape—fluid and contemplative. \nAbout the artists\nMara Helmuth (b. 1957)\, internationally known computer music composer/researcher\, received a Guggenheim Fellowship in 2025. Her research explores sonification\, granular synthesis\, wireless sensor networks\, Internet2\, and RTcmix. She is Professor at College-Conservatory of Music\, University of Cincinnati\, where she received the George Rieveschl Award for Scholarly / Creative Works at in 2023. She served on the International Computer Music Association board of directors and as President. D.M.A.: Columbia Univ.\, earlier degrees: Univ. Ill. U-C. \nClarinet and Tarogato: Esther Lamneck\nThe New York Times calls Esther Lamneck “an astonishing virtuoso.” She has appeared as a soloist with major orchestras\, with renowned chamber music artists and an international roster of musicians from the new music improvisation scene. http://www.estherlamneck.com/ \nVideo: Alfonso Belfiore\nAlfonso Belfiore is a composer and visual artist whose work explores the relationships between sound\, image\, movement\, and perception. Former professor of electronic music at the Conservatories of Florence and Padua\, he has collaborated with international institutions\, creating performances\, sound installations\, and multidisciplinary projects that merge musical innovation with digital art. His recent work investigates memory\, dreamlike space\, and the fragile line between reality and imagination. \n  \nNicolas Kummert: Poetic Encounter with the digital shadow\nThis proposal invites saxophonist Asya Fateyeva into an improvisatory performance that explores the encounter between acoustic virtuosity and real-time electronic transformation. The project centres on a live-electronics setup I have developed within artistic research contexts over several years—a system deliberately designed to be simple\, flexible\, affordable\, and fast to deploy. It requires only a close microphone (ideally the Vigamusictools Intramic)\, a small audio interface\, a laptop\, and three compact controllers. Its purpose is not to impose effects but to extend the sonic and expressive possibilities of the acoustic instrument while remaining transparent and highly responsive.\nThe concept is straightforward: the saxophone produces the primary musical material\, and I modulate that sound live through controlled timbral\, spectral\, and temporal transformations. The electronics behave as a reactive partner—what I call the performer’s digital shadow: a sonic counterpart that follows\, shapes\, questions\, or briefly detaches from the acoustic gesture. The identity of the acoustic sound remains fully audible\, while the electronic layer opens new directions within the improvisation.\nThe artistic foundations of this work draw on several research frameworks:\n• Improvisation as assemblage (after Deleuze): the performance is approached as a self-emergent system in which performers\, instruments\, digital processes\, acoustics\, and feedback relations act together to shape the form in real time.
• Paulo de Assis’s Logic of Experimentation: the focus lies on what the instrument–electronics constellation can do when activated through exploratory performance\, rather than on pre-defined material.
• Georgina Born’s theory of musical mediation: the setup foregrounds the interplay between acoustic sound\, digital transformation\, performer interaction\, and audience perception.
• Laurent Cugny’s audiotactile perspective: the electronic layer functions as an extension of touch\, gesture\, and micro-timing rather than an external effect. The project treats improvisation as a co-embodied process that produces a hybrid sonic entity.\nMusically\, the performance is structured as a series of improvisatory episodes that examine different modes of relationship between acoustic and transformed sound:
– subtle extensions of timbre and resonance;
– interactive textures and rhythmical counterpoints between acoustic phrasing and electronic responses
– sections where Asya’s sound is heavily transformed in real time\, while the unprocessed acoustic sound is replayed in the pauses of her playing\, blurring the audience’s visual-aural connection\, and questioning the musician’s immediate relationship to her own instrument.\nBecause the system is lightweight and adaptable\, the collaboration requires limited rehearsal and can be shaped around Asya’s musical language and preferred improvisational strategies. The format proposes an accessible but conceptually rigorous exploration of improvisation\, mediation\, and electronic augmentation. It offers the conference audience an accessible example of how simple\, flexible computer-music tools can generate rich musical dialogues and expand the expressive ecology of the acoustic instrument\, shedding new light on various aspects of improvisation.\nI propose to conclude the performance with a short discussion in which Asya can reflect on how the electronic shadow influenced musical decision-making\, interaction\, and perception—offering insight into the core research questions driving this work. \nAbout the artist\nNicolas Kummert (1979) is a Belgian saxophonist\, electronic artist\, composer and researcher known for his melodic sense\, openness and exploratory approach. He has recorded over 70 albums and performed worldwide with artists such as Lionel Loueke\, Jeff Ballard\, DRIFTER and many others. Active in hybrid acoustic–electronic projects\, film and dance music\, and interdisciplinary research\, he develops innovative modulation processes and collaborates across jazz\, poetry\, contemporary dance and African music. \n  \nVolunteers\nTechnical Director / FOH\nGiovanni Dinello \nSound Engineering \nLuciano Correa \nLight Design\nGabriel Saber\, Lukas Becker \nStage & Sound Assistance\nAdrián Velasco \nProduction\nValentina Donato\nHaewon Sim \n 
URL:https://icmc2026.ligeti-zentrum.de/event/concert-2b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:12-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T193000
DTEND;TZID=Europe/Amsterdam:20260512T210000
DTSTAMP:20260624T030514
CREATED:20260415T120722Z
LAST-MODIFIED:20260511T141240Z
UID:10000118-1778614200-1778619600@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Ctrl+Alt+Music: The Science Slam on Music in the Digital Age
DESCRIPTION:Photo: ligeti center\n  \nCurtain up for new sounds\, science\, and research! At our Science Slam\, the field of computer music is presented in clear\, engaging\, and entertaining talks. Speakers have ten minutes to try to score as many points as possible using PowerPoint presentations and (live) music. The audience decides who wins.  Registration required here  \n  \nProgram Overview\nVirtuosity: A Delightful Visualised\nKarl F. Gerber & Karina Erhard \nNow My Life Is Sweet Like Cinnamon. Complete Control? Between X-Box\, Keyboards and dance mats\nVictor Gelling \nLet’s Play with Space Instruments\nKiyoshi Furukawa & Takayuki Hamano \nSonic Earth: A Real-time Journey Through Environmental Data\nRiccardo Mazza \nMusical Chemistry: The Periodic Table in Light and Sound\nWalker Smith \n  \nAbout the presentations\, artists & performers\nKarl F. Gerber & Karina Erhard:  “Virtuosity: A Delightful Visualised”\nEspecially in these times of ubiquitous AI hype\, audiences attending live electronic music performances want to feel confident in the performers’ direct\, unadulterated virtuosity. How?  \nAbout the artists & performers\nSince 2019\, Karl F. Gerber and Karina Erhard have been working as a duo at the intersection of composition\, improvisation\, electronics\, and performance. Their focus: the interplay between human and machine as an immediate sound experience. Central to their work are Gerber’s automated “author instruments”—ranging from violin and zither to recorder and talking drum—enhanced by sensors and interactive systems. The pieces emerge experimentally through a blend of construction\, programming\, and improvisation and have been presented internationally at festivals such as NIME\, CMMR\, and the ICMC.\nWorks such as “Limit\,” “Produktionsmittel\,” and “Corporeality – in Honour of Harry Partch” combine flutes\, microtonal instruments\, and automated sound devices; in “Four Strings not for Strings\,” even PlayStation controllers become instruments. Several awards—including prizes at CMMR and Matera Intermedia as well as film awards in Bangkok—underscore their international impact.\nGerber has been developing real-time music-mechatronic systems since the 1980s\, while Erhard is active as a flutist in the contemporary music scene and has performed as a guest artist at the Munich Biennale and the Darmstadt Summer Courses\, among others. \n  \nVictor Gelling: “Now My Life Is Sweet Like Cinnamon. Complete Control? Between X-Box\, Keyboards and dance mats”\n“I am the musician with a calculator in my hand.”   \nThat’s more or less how Kraftwerk described themselves—and many other computer geeks who sit in front of their computers day in and day out\, constantly asking themselves the same question: How do I control a sound that doesn’t have to follow any physical laws?   \nControllers and interfaces are precisely those buttons\, pads\, and objects used not only to build electronic sounds but also to play them. They translate touches\, movements\, and sometimes even chance into sound. Some resemble instruments\, others more like tools or toys.   \nThis talk is about how these things work and why they’re so exciting for many musicians. What actually happens when you move a knob? How does that become music? Where does technology end and expression begin? And do we even need to separate them anymore?   \n“And when I press this button\, it plays a little piece of music!”  \nAbout the artist & performer\nVictor Gelling (born in Berlin in 1998) is a composer and improviser. Using stringed instruments—including the double bass\, tenor banjo\, pedal steel guitars\, as well as synthesizers and self-programmed computer software\, they create sounds ranging from jazz and noise to electric cowboy songs and complex music\, which can be heard in works with NOW MY LIFE IS SWEET LIKE CINNAMON\, the Antiphon Orchestra\, the alternative country band Slowklahoma\, solo works\, or their performances with the Jorik Bergman Trio. Victor studied jazz double bass and improvisation at the HfMT Cologne. Victor serves on the board of the Kölner Jazzkonferenz e.V.\, is a member of the impakt collective in Cologne\, and manages the collective’s own label\, impakt-records. Concert tours have taken him throughout Europe\, North America\, and South America. Festival appearances include the Acht-Brücken-Festival in Cologne\, the Warsaw Autumn Festival\, the Darmstadt Summer Courses for New Music\, Cologne Jazzweek\, and the Festival de La Habana de Música Contemporánea (Cuba). \n  \nKiyoshi Furukawa & Takayuki Hamano: “Let’s Play with Space Instruments”\nKiyoshi Furukawa and Takayuki Hamano have developed a software that uses audience members’ smartphones as instruments\, thereby creating a spatial orchestra.  Instead of passively listening to music\, it allows people in the audience to interact musically with one another and connect.  \nAbout the artists & performers\nKiyoshi Furukawa studied composition with Isang Yun at the Berlin University of the Arts and with György Ligeti at the Hamburg University of Music and Theater. He has received numerous awards and scholarships. He was artist-in-residence at the ZKM (Germany). On the occasion of the opening of the new ZKM building in 1997\, Furukawa was commissioned to conceive and compose a multimedia opera titled “To the Unborn Gods.” Since 2000\, he has been a professor in the Department of Intermedia Arts at the Tokyo University of the Arts. \nTakayuki Hamano is an associate professor of computer music at Kunitachi College of Music. He holds a master’s degree from the Institute of Sonology at the Royal Conservatory in The Hague and a Ph.D. in Fine Arts from the Tokyo University of the Arts. He is also CTO of the technology company coton\, which aims to integrate music technology into society. Recently\, he has been involved in the development of collaborative creative systems for music education. \n  \nRiccardo Mazza: “Sonic Earth: A Real-time Journey Through Environmental Data”   \nSonic Earth is an interactive journey that transforms environmental data into a vibrant musical landscape. The audience experiences a “sonic journey around the world\,” in which a live connection to weather stations and satellite APIs captures temperature\, humidity\, and pollution levels from various corners of the globe and transforms them into musical compositions where the wind shapes the textures and the climate determines the harmony. Sonic Earth explores how technology can help us reconnect with the Earth through the universal language of sound.  \nAbout the artist & performer\nRiccardo Mazza is a composer\, sound artist\, and researcher specializing in how we perceive sound. He teaches New Technologies at the School of High Musical Specialization (APM) in Saluzzo and is the founder of Experimental Studios in Turin. Throughout his career\, he has worked on innovative technologies for cinema and music\, collaborating with renowned artists and developing software for immersive audio. His latest project\, Sonic Earth\, has been presented worldwide. \n  \nWalker Smith: “Musical Chemistry: The Periodic Table in Light and Sound”\nWhat would atoms sound like? Is the periodic table a musical instrument? Do Helium atoms have dance parties? In this presentation\, the rainbow-clad “musical chemist” Roy G. Biv takes you on a journey through the through the sounds of the molecular world. Using data sonification\, he translates the light frequencies released by atoms into sounds that we can hear\, creating a unique microtonal chord for each element. Showcasing his Interactive Musical Periodic Table\, he will show how he has used these light frequencies from elements to design musical timbres\, scales\, chords\, and full compositions. He will also discuss how his sonification approaches consider human auditory perception\, and the design of sonic transformation strategies that allow us to hear more details of these sounds while preserving their core harmonic character. As the world’s first “musical chemist\,” he extends sonification into (per)sonification\, bringing the sounds of the molecular world to life through Helium Dance Parties and Magic Alchemical Drum Sets.  \nAbout the artist & performer\nWalker Smith is the world’s first “musical chemist.” Originally from Knoxville\, Tennessee\, he is currently a PhD candidate in computer-based music theory and acoustics at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA). He earned dual bachelor’s degrees in chemistry and music composition from Indiana University Bloomington. He creates educational multimedia performances that merge music and science\, including “The Sound of Molecules\,” which he has performed for thousands across the United States and Europe. As part of a Fulbright scholarship in the Netherlands\, he developed the Interactive Musical Periodic Table\, a project featured at a meeting of the American Chemical Society and by more than 50 international news outlets. In summer 2025 he was a resident artist/researcher at the Ligeti Zentrum in Hamburg. There\, he developed a new show titled “The Well-Tempered Periodic Table\,” combining sonifications of chemical elements with acoustic instruments\, audience interaction\, and lighting design. He has presented his sonification research and compositions at conferences and festivals including AudioMostly\, the International Conference on Auditory Display\, Sound and Music Computing Conference\, International Computer Music Conference\, and the New York City Electroacoustic Music Festival. He has also contributed a book chapter to Advances in Quantum Computer Music\, edited by Eduardo Miranda. His main research and performance practice explore the scientific\, educational\, and musical possibilities of turning the periodic table into a musical instrument and making molecular music. Walker is a Goldwater Scholar and Knight-Hennessy Scholar.  \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-ctrlaltmusic-the-science-slam-on-music-in-the-digital-age/
LOCATION:Kultur Palast Harburg\, Rieckhoffstraße 14\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T213000
DTEND;TZID=Europe/Amsterdam:20260512T233000
DTSTAMP:20260624T030514
CREATED:20260421T150351Z
LAST-MODIFIED:20260512T081011Z
UID:10000068-1778621400-1778628600@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 2C
DESCRIPTION:Club Concert 2C invites you to an extraordinary sonic experience in the state-of-the-art Production Lab of the ligeti center. On a specialized 20.8-channel system\, international artists unfold immersive sound worlds ranging from physical gesture to complex AI analysis.\nExperience the synergy of historical depth and futuristic technology—an evening in which the audience quite literally immerses itself in sound. \n  \nProgram Overview\n\n\nDinosaur\, Glitched! \nFernando Lopez-Lezcano \nFause\, Fause\nJules Rawlinson \nLive ‘Shō’ Coding – Algorithmic Improvisation of Aitake Harmonies\nAtsushi Tadokoro \nQuiet Catastrophe Unleashed\nNicola Casetta \nAgain\nJulian Green \nCosmologies 3\nAaron Einbond \nAIKYAM\nClaudia Robles Angel \n\n\n  \nAbout the pieces & the artists\nFernando Lopez-Lezcano: Dinosaur\, Glitched!  \nThis is another ditty to add to the Dinosaur Songbook\, a music composition and performance project that started when the COVID pandemic kick-started a round of modular synthesizer building. This was a return to my roots\, as I started my discovery of electronic sound by designing and building modular synths from scratch in the late 70’s and early 80’s. \n“Carlitos” is the small Eurorack synth filled with modular goodies that will be used in this performance. It will be helped\, as has become the norm\, by the miniature Kastle\, probably the best birthday present ever\, and the smallest dinosaur I have in my herd. Carlitos houses an eclectic mix of analog\, digital and hybrid modules that has been evolving over several years and many concerts. \nThis round of noises comes courtesy of continued experiments coding in the Droid voltage processor computer language. One addition has been an implementation of Rob Hordijk’s Rungler circuit. This is a “low frequency” Rungler as the Droid is not fast enough to process voltages at audio rates\, and while it will never sound like the original\, it does provide a never-ending cornucopia of chaotic behaviors. As it is software\, many additional features were added\, in part to further confuse the performer who has even more knobs and controls to handle\, with the same brain power as before. Many other sources of sound make up the piece\, from complex oscillators with multiple feedback paths to fingers scratching a built-in microphone\, to an emulation of the Radio Music module with additional sampled voices. Various granular synthesis systems play a constant role in the sound universe of the piece. \nAs always all sounds are piped through a Linux computer running SooperLoopy\, a SuperCollider program written by the composer that spatializes sounds dynamically in realtime using HOA (High Order Ambisonics)\, and includes asynchronous loopers with a granular synthesis core that can sample\, replay and process more screaming dinosaur layers than you can count. \nAbout the artist\nFernando Lopez-Lezcano was given a choice of instruments when he was a kid and liked the piano best. His dad was an engineer and philosopher and his mother loved biology\, music and the arts. He studied both music and engineering\, and in his creative artistic work he tries to keep art and science chaotically balanced. He has been working at CCRMA since 1993 and throws computers\, software algorithms\, engineering and sound into a blender\, serving the result over many speakers. He can hack Linux for a living\, and sometimes he likes to pretend he can still play the piano. \nHe built El Dinosaurio (an analog modular synth) from scratch more than 40 years ago\, and it still sings its modular songs. He also loves to distill music from pure software and uses computer languages as scoring tools to carve music from text. He returned to realtime performances with an ever growing modular synthesizer herd\, including the original El Dinosaurio. He was the Edgard-Varèse Guest Professor at TU Berlin in 2008 and has been teaching the “Sound in Space” course at CCRMA for quite a while. He has also likes designing and building “things”\, including Ambisonics microphones (the SpHEAR project) and 3d sound diffusion spaces (the Listening Room and Stage systems at CCRMA\, and our “portable” GRAIL concert speaker array). \nHe feels happiest when playing music and making weird noises\, even better when playing with friends\, and even better on stage. \n  \nJules Rawlinson: Fause\, Fause\nFause\, Fause (c. 7mins) is one scene from an interactive audiovisual work that brings together different strands of creative computing\, sound design and composition. The work combines elements of game audio\, computer music\, traditional Scots folk song and highly detailed virtual landscapes to create an immersive songscape where the player traces the deconstructed ghosts of a song that features heavily processed fragments of the traditional ballad Fause\, Fause sung by Scottish music specialist Lori Watson. These fragments are dispersed throughout the virtual landscape using mixed approaches of fixed and indeterminate elements to create pathways of sound\, sound pathways as desire lines (Bandt 2006)\, encouraging exploration and reflection. The result is a series of speculative sonic narratives that re-sound space and place through what Hernandez (2017) describes as “psycho-sonic cartography”. The work reconsiders electroacoustic soundscape in an interactive medium\, bringing together compositional\, cultural and environmental considerations and makes use of creative applications of game-audio technologies for non-gaming purposes. The work will be performed by the composer across a multichannel audio system to highlight the spatial character and timbral qualities of the work. \nAbout the artist\nJules Rawlinson (1969) is an audio-visual composer and working in solo and collaborative settings\, and Programme Director for Sound Design at The University of Edinburgh Recent outputs make innovative use of archival material and corpus-based aesthetics of transformation across interactives\, performances and fixed media works. \n  \nAtsushi Tadokoro: Live ‘Shō’ Coding – Algorithmic Improvisation of Aitake Harmonies\n“Live ‘Shō’ Coding” is an experimental performance that merges the ancient tradition of Japanese Gagaku with contemporary live coding. The title is a play on the homophone between the Japanese instrument “shō” (笙) and the English word “Show.” This pun encapsulates the work’s core intent: to reveal the internal logic of a millennium-old instrument through the transparent medium of real-time programming. \nThe shō is a mouth organ consisting of seventeen bamboo pipes. Unlike Western instruments that often prioritize melody\, the shō is primarily harmonic\, characterized by “aitake” (合竹)—six-note tone clusters that function as static blocks of timbre. Originating from the Chinese “sheng” of the Tang Dynasty\, the Japanese shō has remained structurally unchanged for over 1\,200 years. It serves as a rare instance of “frozen” historical sound\, preserved by the rigid rituals of court music. \nTechnically\, the performance is realized through TidalCycles and SuperCollider. The sound is not pre-recorded but generated via real-time synthesis. Crucially\, the system employs Pythagorean tuning rather than modern equal temperament to replicate the instrument’s pure resonance and distinct intervals. Within this digital environment\, “aitake” clusters are defined as algorithmic patterns\, enabling the performer to improvise with ancient harmonies using computational precision. \nThe musical narrative follows an evolutionary arc from the archaic to the modern. The piece begins with a faithful algorithmic reconstruction of traditional Gagaku aesthetics—static\, sustained\, and serene. As the code evolves\, the strict definitions of the “aitake” are deconstructed through stochastic functions\, rhythmic displacements\, and spectral shifts. Consequently\, the organic textures of bamboo dissolve into digital artifacts\, transforming sacred harmony into abstract soundscapes. \nUltimately\, “Live ‘Shō’ Coding” challenges our perception of time. It juxtaposes the cyclic\, non-linear time of Gagaku with the discrete\, clock-based time of the CPU. By subjecting ancient sounds to modern syntax\, the work fosters a dialogue where the “breath of the phoenix” is reimagined through the binary logic of the machine. \nAbout the artist\nAtsushi Tadokoro\nHe is a live coder and creative coder exploring the boundaries of sound and visual art. He serves as an associate professor at Maebashi Institute of Technology and a part-time lecturer at Tokyo University of the Arts and Keio University. \nBorn in 1972\, he creates musical works through algorithmic sound synthesis and performs live improvisations with sound and visuals using a laptop. In recent years\, he has also produced and internationally exhibited numerous audio-visual installation works. \nHis work has been selected for major international conferences\, including the International Computer Music Conference (ICMC) in 2025\, 2024\, 2015\, and 1996; the International Conference on Live Coding (ICLC) in 2025\, 2024\, 2020\, 2019\, 2016\, and 2015; and New Interfaces for Musical Expression (NIME) in 2016. \nHe teaches various courses on creative coding at the university level. His lecture materials\, publicly available on his website (https://yoppa.org/)\, serve as a valuable resource for numerous students and creators. \nHe is the author of several books\, including Beyond Interaction: A Practical Guide to openFrameworks for Creative Coding (BNN\, 2020)\, Performative Programming: The Art and Practice of Live Coding – Show Us Your Screens (BNN\, 2018)\, and An Introduction to Creative Coding with Processing: Creative Expression Through Code (Gijutsu-Hyohron\, 2017). \n  \nNicola Casetta: Quiet Catastrophe Unleashed\nQuiet Catastrophe Unleashed is a performance for solo live electronics based on an eight- channel dynamic feedback system. Informed by Stephen Wolfram’s notion that simple iterative rules can generate irreducible complexity\, the work investigates how minimal operations— modulated delays\, adaptive limiting\, nonlinear distortion\, and continuously evolving chaotic equations—produce sonic forms that cannot be predicted or reduced to their initial conditions. The system is activated by a single impulse and evolves through recursive transformations that amplify micro-instabilities into shifting textures and emergent structures. These processes resonate with Deleuze’s conception of becoming: sound as a field of continuous variation rather than a fixed object. The performer navigates this unstable environment in real time\, engaging with a machine whose behavior unfolds at the intersection of determinism and contingency. Quiet Catastrophe Unleashed operates on the edge of chaos\, where sonic order arises through the continual negotiation of instability. \nAbout the artist\nNicola Casetta is a computer musician\, live electronics performer\, and scholar. His work explores sound as a network of relationships—a complex\, interconnected phenomenon that unfolds in an immersive and inclusive way. Through live electronics\, he creates music that captures the essence of the here and now\, embracing spontaneity and the vitality of the moment. He uses sound as a medium to investigate new ways of interacting with both the environment and society\, creating spaces for reflection and transformation. His music has been perfomed at To listen To in Tourin (IT)\, SAG in Leicester (UK)\, CNMAT (Berkeley)\, Angelica Festival Bologna\, Festiva di Nuova Consonanza Roma (IT)\, Borealis in Bergen (NO)\, Festival DME in Lisbon (PT)\, Festival Zeit fur Neue Musik in Rockhenhausen (DE)\, Manifeste Ircam in Paris\, Ma/In in Matera (IT)\, 8th FKL Symposium(IT) \, NYCEMF\, ICMC in Athens (GR)\, XX CIM in Rome (IT)\, SoundKitchen (UK)\, Sweet Thunder Festival of Electro-Acoustic Music in San Francisco (US)\, UCSD Music – CPMC Theathre in San Diego (US) and Premio Phonologia in Milan among others. \n  \nJulian Green: Again\nAgain is a live electroacoustic performance structured as a stream of consciousness\, in which repeated physical gestures function as both material and form. The performer cycles through a limited set of recurring actions intended to “cradle” a fleeting\, beautiful moment; over time\, this repetition shifts from preservation toward compulsion\, foregrounding the tension between holding on and letting go. These gestural loops accumulate and cross thresholds that trigger new sonic layers\, including processed vocal statements\, musical textures\, and environmental sound events. Rather than presenting discrete movements\, the work unfolds through gradual intensification and release\, emphasizing how replay can simultaneously comfort and erode\, as memory morphs with each return. \nIn the latter portion of the performance\, a recorded spoken message introduces an explicit reflective frame\, calling for interpersonal awareness of desire and a move away from reliance on possessions in recognition of life’s ephemerality. Again uses repetition as a performative engine to examine attachment\, impermanence\, and the unstable fidelity of remembrance. \nProgram Notes: \npast lives Again. Lost\, but love lingers lackadaisically through lumbering leaps within another. Foregone are the chains that bind our sense of reason towards another hopeful realization into an unresolved calling. Gone are the worries of the mind that haunts our humanity to bind to desires towards our sense of self\, compressed within a fragment of our lifespan. Only to one day meet the people we cherished deeply\, degrading our memories\, morphing in and out of consciousness within every trickle of sorrow that sheds our being before returning to our \nAbout the artist\nJulian Green is a U.S.-based electroacoustic composer and performer focused on data-driven instruments and live electronics. He has participated in Hypercube Ensemble’s Cubelab workshop\, with works performed and recorded in the U.S. and internationally\, including Sonic Apparitions (Duino\, Italy). Notable works include Sound Waits\, Cherish the Space\, My Festering Synapses\, An Indeterminate Schism\, and We Don’t Unknow. His piece The Inconsistent Continuities was professionally recorded for Hypercube Ensemble and commissioned for the Kingler Electroacoustic Residency (KEAR) at Bowling Green State University. Recent projects include Breakthroughs (Wacom tablet)\, Again (GameTrak controller)\, and If We Could Forget It Gently Together: Vestige Series (custom 3D-printed gyro controller)\, realized at the University of Oregon. Green holds a BM in composition from Arkansas State University and an MM from Bowling Green State University\, and is pursuing a doctorate at the University of Oregon. Influences include Denis Smalley\, Michel Chion\, Trevor Wishart\, Hildegard Westerkamp\, Ryuichi Sakamoto\, and Elaine Lillios. \n  \nAaron einbond: Cosmologies 3\nCosmologies 3 situates the listener inside a virtual grand piano to experience its secret inner life. The piano interior\, recorded with a spherical microphone array\, is complemented by three-dimensional (3-D) field recordings of Paris’s Place Igor Stravinsky. These recordings are highlighted and underlined with computer synthesis using artificial intelligence (AI) to reproduce the spatial presence of acoustic instruments\, while the microcosm of the piano’s inner space expands larger-than-life. \nCosmologies 3 is part of a modular series of works that use AI to inform sound spatialization. The situated spatial presence of musical instruments has been well studied in the fields of acoustics and music perception research\, but so far has not been the focus of research on AI and music. Cosmologies seeks to “re-embody” recorded sound using data derived from natural acoustic phenomena in an immersive sonic environment where real and virtual sources blend seamlessly. Cosmologies 3 for Ambisonic fixed media may be performed on its own or directly following Cosmologies for piano and 3-D electronics\, with the fixed media work beginning as the live performer leaves the stage. Although the human–AI interaction in the fixed work is no longer live\, it remains as a trace of the work’s creation process\, refracting the human performer’s presence behind the spatial audio recordings (see Fig. 1). \nCosmologies is among the first works to connect audio descriptor analysis and corpus-based syn- thesis to 3-D spatialization using Higher-Order Ambisonics (HOA) and machine learning (ML). At the same time\, it is the first project connecting the computer programs Max\, Python\, and OM# (Bresson et al. 2017) with the associated packages Spat (Carpentier 2018) and Mubu (Schnell et al. 2009). These software tools are used to draw upon natural acoustic phenomena as source material for spatial sound derived from two sources: one is a 3-D microphone array\, the EM32 Eigenmike by mh acoustics (https://mhacoustics.com/products)\, a 32-channel array used to capture 3-D piano samples as well as ambient field recordings. The other source is generative spatial sound synthesis produced through ML of an existing large database of radiation measurements for acoustic instruments (Shabtai et al. 2017; Weinzierl et al. 2017). This database serves as a training set for ML models to control spatially rich 3-D patterns for electronic synthesis. These two sources of spatial sound are intentionally overlapped and fused so the listener cannot easily distinguish or segregate the sources. The aesthetic goal is to create a setting for curious and detailed listening\, where one may not discern the “sleight of hand” between the superposed 3-D spaces of the sample recordings and computer synthesis. \nAbout the artist\nAaron Einbond’s work explores the intersection of instrumental music\, field recording\, sound installation\, and interactive technology. He released portrait albums Cosmologies with the Riot Ensemble\, Without Words with Ensemble Dal Niente\, and Cities with Yarn/Wire and Matilde Meireles. His awards include a Giga-Hertz Förderpreis\, a Guggenheim Fellowship\, and artistic-research residencies at IRCAM and ZKM. He teaches music composition and technology at City St George’s\, University of London. \n  \n\n\n\nClaudia Robles Angel: AIKYAM\nAIKYAM is a real-time surround sound work for 1 performer and 5 to 6 participants (audience) inspired by Kuramoto’s mathematical model of the spontaneous order or synchronisation system in nature\, e.g. fireflies\, heart rates or humans clapping their hands together. The term AIKYAM is based on the Sanskrit word: ऐक्यम\, and it means unity or harmony. \nAbout the artist\nBorn in Bogotá (Colombia)\, living in Cologne (Germany). Composer\, sound and new media artist\, her work covers different aspects of visual and sound art\, extending from acousmatic and audio-visual compositions to interactive performances/installations using biomedical signals and AI (Artificial Intelligence).\nShe has been Artist-in-residence in several outstanding institutions around the globe. In 2022 was awarded with an honorary mention by the GIGA Hertz award at ZKM Center.\nHer work has been performed and exhibited worldwide e.g. at ZKM\, ISEA; KIBLA Centre Maribor\, CAMP Festival – 55 Venice Biennale Salon Suisse\, ICMC; New York City Electroacoustic Music Festival; NIME; STEIM; Harvestworks Digital Arts Center NYC\, Heroines of Sound Berlin; Audio Art Festival Cracow; MADATAC Madrid; Athens Digital Art Festival ADAF\, CMMAS Morelia; Beast FEaST Birmingham; ICST ZHdK Zurich; RE:SOUND Aalborg; Electric Spring Festival Huddersfield; AI Biennal Essen; at the Centre for International Light Art Unna and more recently at Acht Brücken Festival Cologne and at the Philharmonie Essen. \nwww.claudearobles.de \n\nVolunteers\nTechnical Director / Main Sound\nTade Lorenzen \nSound Assistant / Light\nBastian Weißenbach \nStage / Video\nIsay Ramirez \nProduction Manager\nJuliana Lüer \nProduction / Stage\nGianni Tamanini \n 
URL:https://icmc2026.ligeti-zentrum.de/event/club-concert-2c/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:12-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T220000
DTEND;TZID=Europe/Amsterdam:20260512T233000
DTSTAMP:20260624T030514
CREATED:20260421T092805Z
LAST-MODIFIED:20260511T101751Z
UID:10000150-1778623200-1778628600@icmc2026.ligeti-zentrum.de
SUMMARY:zl!ster Performance | MËSH Installation
DESCRIPTION:TBA \n 
URL:https://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
END:VCALENDAR