BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//ICMC HAMBURG 2026 - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://icmc2026.ligeti-zentrum.de
X-WR-CALDESC:Events for ICMC HAMBURG 2026
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:Europe/Amsterdam
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20250330T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20251026T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20260329T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20261025T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20270328T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20271031T010000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T090000
DTEND;TZID=Europe/Amsterdam:20260514T103000
DTSTAMP:20260616T052543
CREATED:20260422T134949Z
LAST-MODIFIED:20260511T160941Z
UID:10000220-1778749200-1778754600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 7b: Interactive Media I
DESCRIPTION:Session Chair: Mara Helmuth\n  \nPaper abstracts\nAdriano C. Monteiro and Rafaela B. Pires: “Exploring DIY Cassava-Starch Bioplastic Interfaces with EFT-Based Touch Sensing in an Interactive Sound Installation”\nThis paper reports the design\, implementation\, and preliminary validation of a tangible interface that combines electrical field tomography (EFT)\, support vector machines (SVM)\, and cassava-starch bioplastics for an interactive sound installation. The system addresses two main challenges: 1) creating low-cost\, large-area touch surfaces with flexible geometries\, and 2) integrating bio-degradable materials into electronic interfaces while preserving sufficient electrical and mechanical stability for real-time performance. It consists of bioplastic interfaces\, custom hardware for multiplexed current injection and voltage measurement\, and a software pipeline for signal conditioning and SVM-based touch classification. Results show that the system can reliably distinguish a vocabulary of touch gestures on irregular bioplastic objects\, while also revealing limitations related to long-term stability\, calibration\, and object-specific training. Finally\, the paper discusses its integration into De/Re:Generation\, a sound installation where bioplastic sculptures operate both as scenographic elements and as interactive surfaces within a vibro-acoustic environment inspired by the cicada life cycle.\nGuanjun Qin\, Yunxuan Jia and Neal Farwell: “Reimagining Athletic Gesture: Transforming Basketball Sound into Narrative Electroacoustic Music”\nThis paper presents FMVP\, an electroacoustic fixed-media composition that transforms the sounds of basketball into a narrative of doubt\, struggle\, and redemption. Built entirely from field recordings captured on an indoor court\, the work reimagines sport as a metaphor for resilience and creative endurance. Through granular time-stretching\, spectral transformation\, dynamic filtering\, and spatial motion\, physical gestures such as dribbling\, sliding\, and impact are translated into evolving sonic textures and large-scale form. Inspired by the career arc of NBA player Stephen Curry\, the composition explores how kinetic rhythms can be reshaped into emotional trajectories\, aligning with the conference theme of Innovation\, Translation\, Participation. Methodologically\, the project sits within artistic research\, using composition as a mode of inquiry into the relationship between embodied action and sound narrative. The paper discusses the conceptual framework\, sound-design process\, and structural strategies underpinning FMVP\, arguing that everyday athletic environments offer rich material for electroacoustic storytelling and for rethinking how listeners participate in narratives constructed purely through sound.\nSitong Wu and Jinshuo Feng: “Gestalt: A Symbiotic Framework for Real-Time Collaboration  between Performers and Mass Audiences”\nThis paper presents Gestalt\, a real-time co-creative audiovisual performance system for professional performers and large-scale audiences. To address participation barriers\, interaction latency\, and unequal creative agency in Networked Music Performance (NMP)\, Gestalt adopts a browser-based heterogeneous architecture: performers retain structural control via MediaPipe-based motion capture\, while 50 –200 audience members participate through a mobile web multi-touch interface. Centered on a mechanism termed “Translation\,” the system performs a dual reconstruction. On the audio side\, an activity-weighted aggregation algorithm transforms large volumes of discrete gestures into coherent musical textures. On the visual side\, audience touch inputs are streamed in real time to a physics-driven WebGL particle stage\, translating collective crowd activity into ordered audiovisual forms. Technically\, the web frontend connects to a Max/MSP audio engine via OSC (Open Sound Control)\, and to the visual stage via WebSocket. Benchmark tests and pilot workshops examine how the architecture can preserve performer-led form while enabling audience aesthetic agency. Gestalt is released as an open-source platform for future interactive media creation. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-7b-interactive-media/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T090000
DTEND;TZID=Europe/Amsterdam:20260514T103000
DTSTAMP:20260616T052543
CREATED:20260422T135320Z
LAST-MODIFIED:20260512T072400Z
UID:10000224-1778749200-1778754600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 7a: Signal Processing I
DESCRIPTION:Session Chair: Guilherme Coehlo\n  \nPaper abstracts\nNeal Anderson and Sanjay Majumder: “MBHD: A Modular Audio Playback and Manipulation System for Loop-Based Performance”\nThis paper outlines the development of MBHD (Modular Beat Handling Device)\, a real-time audio performance system using Cycling ’74 Max that connects the reliability of DJing with the expressiveness of live electronic composition. While DAWs provide reliable synchronization\, achieving a harmonically coherent alignment of loops from different library collections typically requires significant manual editing of metadata. MBHD addresses this challenge with a new\, lightweight naming convention based on filename-encoded musical attributes (tempo\, root note\, and instrument role)\, providing automatic harmonic coherence. This system is organized around four independent layers of musical content that can be reused and rerouted (drums\, bass\, harmony\, and melody); and utilizes real-time digital signal processing (DSP) to dynamically adjust the pitch and timing of each layer so as to align to a global key and tempo. In addition to the description of the system’s architecture\, we also describe the integration of the system with external environments (via Ableton Link) and the design of the user interface to allow for minimal latency during the performance process. Lastly\, we report results of evaluations (technical benchmark\, user study) of the MBHD\, which demonstrate how transparent systems using filename-driven architectures can be used to facilitate the use of loops for improvisation. \nThe Max patches for this project can be accessed at: phewsh.com/mbhd/max/. Additionally\, a browser-based companion application is available at: phewsh.com/mbhd/. \n  \nSam Pluta and Ted Moore: “The MMMAudio Computer Music Environment”\nWe introduce MMMAudio\, a new audio creative coding environment designed to close the gap between instrument building and low-level DSP development while reducing the maintenance burden typical of monolithic\, compiled systems. Contemporary computer music languages such as Max\, Pure Data\, and SuperCollider excel at graph-based instrument design but impose steep barriers when custom DSP is required\, pushing users into C/C++ plugin workflows with unfamiliar APIs\, build systems\, and cross-platform complexities. MMMAudio addresses these issues by centering its programming model on Mojo for high-performance DSP and seamless Python–Mojo interoperability for tooling\, AI\, and scientific libraries. In MMMAudio\, unit generators (UGens) are simple Mojo structs\, enabling users to write\, test\, and distribute new UGens without leaving their code editor or contending with external build pipe-lines. This design simultaneously encourages new DSP creation\, leverages Python’s mature ecosystem for machine learning and data processing\, and exploits Mojo’s performance features (e.g.\, SIMD) for fast\, real-time audio processing. We present the system’s architecture\, programming model\, and extension mechanisms.\nTian Cheng\, Tomoyasu Nakano and Masataka Goto: “Exploring Masked CE Losses to Enhance Word Offset Estimation in CTC-based Lyrics-to-Audio Alignment”\nLyrics-to-audio alignment is an important task for real-world applications such as karaoke systems. Despite alignment performance improved with the release of large datasets and the utility of advanced deep learning models\, accurate word offset estimation remains challenging.\nTo address this problem\, we extend our previously proposed masked cross-entropy (CE) loss by proposing new masks to enforce model predictions at masked frames with frame-wise phoneme labels derived from word-level annotations. We train a Convolutional Recurrent Neural Network (CRNN) by using both the masked CE loss and the Connectionist Temporal Classification (CTC) loss. By comparing the results obtained by using different masks in the masked CE loss\, we find that word offset estimation performance is improved by using masks which cover all silent frames. In addition\, we find that masks on word onset frames are essential for improving word onset estimation performance. We achieve comparable word onset estimation results and provide benchmark word offset estimation results for future research.\n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-7a-signal-processing-i/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T103000
DTEND;TZID=Europe/Amsterdam:20260514T123000
DTSTAMP:20260616T052543
CREATED:20260421T122130Z
LAST-MODIFIED:20260423T175115Z
UID:10000167-1778754600-1778761800@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Rob Canning: Executable Scores: Embedded Cue Semantics and Animated SVG Notation with Oscilla
DESCRIPTION:This workshop introduces Oscilla\, a browser-based framework for animated\, cue-driven graphic scores in which performance semantics are embedded directly into SVG notation. Rather than separating score\, control system\, and playback environment\, Oscilla treats the score as a single executable surface—authored visually in Inkscape and enacted in real time via a lightweight browser runtime.\nParticipants will explore how temporal organization\, gesture fields\, navigation\, OSC-driven control\, and media cues can be authored directly into drawings using a compact microsyntax.\nThe session combines conceptual framing\, live demonstration\, and hands-on authoring of small examples.\nTopics include: temporal articulation (pauses\, speed shaping\, countdowns)\, animated gestures (rotation\, scaling\, path-following)\, navigational structures (pages\, sections\, probabilistic traversal)\, OSC integration for hybrid acoustic-electronic performance\, and tight network synchronisation for coordinating scores across multiple devices.\nBecause Oscilla blurs the line between interactive score and controller\, it can also be used to build custom performance interfaces—opening possibilities for both notation-driven and control-surface-driven workflows.\n\n  \nRequirements\n\nNo specialist technical background required.\nParticipants should bring a laptop with:\nInkscape (free\, available at https://inkscape.org)\nSafari\, Chrome\, or Firefox for viewing scores\nHeadphones optional but useful for audio cue examples\n\nSource code and binaries are available here.\n\n\n\n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \n\nAbout the workshop facilitator\nRob Canning (Dublin 1974) is an composer\, improviser\, and creative technologist whose work explores animated notation\, improvisation\, and the dynamics of networked musical systems. He holds a PhD in composition from Goldsmiths\, University of London\, where his research examined distributed authorship in computer-aided music. A long-time advocate of Free and Open Source Software\, he develops Oscilla\, an open-source platform for animated graphic notation and networked performance.\n\n 
URL:https://icmc2026.ligeti-zentrum.de/event/workshop-rob-canning-executable-scores-embedded-cue-semantics-and-animated-svg-notation-with-oscilla/
LOCATION:Hamburg University of Technology\, Building H (H 0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T123000
DTSTAMP:20260616T052543
CREATED:20260415T141437Z
LAST-MODIFIED:20260511T161304Z
UID:10000092-1778756400-1778761800@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 8: Signal Processing II
DESCRIPTION:Session Chair: Kerry Hagan\n\nPaper abstracts\nAlexandre Francois: “Real-Time\, Low-Latency\, High Resolution Audio Spectral Analysis: Phase Matters”\nThis paper introduces an original approach to computing a spectral representation of audio signals\, with high temporal and frequency resolution and high amplitude accuracy\, in real-time and with low latency. Applying techniques from phase vocoders to make use of phase information\, a new tracking resonator model extends the original Resonate model while retaining its iterative formulation and computational efficiency. A bank composed of frequency tracking resonators constantly self-tunes to the contents of the input signal\, rendering the precise tuning of the resonators irrelevant\, as long as the bank offers an appropriate coverage of the frequency range of interest for the target application. Self-tuning banks form the basis for an analysis technique that produces\, in real-time\, for each input sample\, a list of uniquely identified and precisely tracked frequency components present in the input signal\, together with their correct amplitudes. High temporal and frequency resolution spectrograms illustrate the spectral analysis of real musical signals in a familiar format. The detailed representations produced can potentially improve the quality and accuracy of any traditional application. They also offer promising prospects for real-time\, low-latency applications such as accompaniment and improvisation systems. Encouraging initial synthesis experiments also motivate further investigation.\nRobert Esler: “Pd++: A C++ Library of Pure Data’s DSP Objects”\nPd++ is a real-time C++ audio synthesis library that implements Pure Data’s DSP (digital signal processing) objects as C++ classes\, making it usable with object-oriented programming languages like C++\, Java\, or C#. The library has been designed to follow similar logic and naming conventions of Pure Data. It includes bindings for Java which allows the library to work with the Processing development environment and C# providing a native code interface to the Unity game engine. Pd++ has also been extensively tested on all major operating systems including iOS and Android\, single board CPUs like the Raspberry Pi\, as well as C++ based Application Programming Inter- faces (APIs) such as Unreal Engine\, Wwise\, JUCE and FMOD. In this article the author presents how the library works in design\, practice and philosophy\, its perceived workflow as a design and educational tool\, as well as future developments for Pd++. \nJeremy Hyrkas: “Vibrato Matching for Modulation Control and Blending in Sound Mixtures”\nIn sound mixtures of more than one musical source\, different vibrato patterns act as a cue that multiple sources are present for both human listeners and source separation algorithms. Matching the vibrato patterns of the signals in the mixture reduces the perception of multiple sources\, particularly when the sources play in unison. This work introduces the vibrato matching algorithm\, which first suppresses vibrato in a target signal and then transfers vibrato from a source signal to the target. An existing vibrato suppression algorithm is combined with a new algorithm for vibrato transfer\, which imparts frequency modulation and amplitude modulation to the harmonics of the target signal\, and amplitude modulation onto the spectral envelope of the non-harmonic residual component. Examples demonstrate the algorithm’s utility as a vibrato control mechanism and as a tool for blending sound sources. Matching vibrato degrades the performance of source separation algorithms\, suggesting a similar degradation in listeners ability to detect the presence of multiple sources.\n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-signal-processing-ii/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260616T052543
CREATED:20260421T182814Z
LAST-MODIFIED:20260504T080608Z
UID:10000187-1778756400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Fixed Media | Program Overview\nMakuta\nFelipe Otondo \nMechanization\nYu-Cheng Huang \nSpazio di accumulazione\nLeo Cicala \nThe Lament of Prince Hamlet\nChen Mu Hsi \nThe Throat of the Earth\nYe Peng \nTime Crystal Structure II\nHe Jing \nTriangle\nRay Fields \nUndercurrents\nAntonio Scarcia \n蜜蜂之后\nLia Su \nSuwol\nSeongah Shin \nFMVP!\nGuanjun Qin \n  \nAbout the pieces & artists\nFelipe Otondo: Makuta\nMakuta brings together Afro-Cuban and Congolese rhythms with electronic synthesis and field recordings made in Kenya and England. Composed and produced at the Arts and Technology Lab at Universidad Austral de Chile\, the piece unfolds gradually through shifting rhythmic and textural layers\, exploring how different sound materials can coexist and evolve within the same sonic space. \nAbout the artist\nFelipe Otondo is a Chilean composer and sound artist working with spatial audio\, soundscapes and electronic music. He has held research and teaching positions at institutions including the Technical University of Denmark and Lancaster University. His works — from radio pieces to sound installations — have been presented in more than thirty countries. He is currently Professor at Universidad Austral de Chile and Director of the Arts and Technology Lab. More information: www.otondo.net and www.soundlapse.net \n  \nYu-Cheng Huang: Mechanization\n“Mechanization” is a fixed medium work. Its conception stems from my long-standing reflection on the changing nature of performative freedom throughout the history of music. Beginning in the Renaissance\, performers were able to freely add ornamentation and adjust accompaniment patterns; interpretation itself involved a high degree of improvisation and indeterminacy. With the advent of the Romantic period\, performance remained personal and expressive\, yet dependence on notated conventions gradually intensified. In contemporary music\, nearly every aspect of performance—gestural actions\, dynamic variation\, timbral control\, and even detailed playing techniques—is precisely prescribed through explicit notation. Performers increasingly function as exact executors rather than free re-creators\, as if they were simply carrying out a set of instructions. This leads me to ask: When performance can only be executed by following instructions\, do we still need performers at all? Are performers gradually becoming machine-like? \nAbout the artist\nYu-Cheng Huang\, born in Taipei in 2001\, is currently pursuing a master’s degree at the Graduate Institute of Music\, National Yang Ming Chiao Tung University\, with a focus on contemporary music and multimedia composition. His creative work spans piano\, string instruments\, electronic music\, and environmental sound recording\, and explores the relationship between music and everyday experience. His compositional style is diverse\, often integrating narrative elements\, poetic sensibilities\, and sensory memory to create distinctive listening experiences and evocative emotional spaces. \n  \nLeo Cicala: Spazio di accumulazione\nSpazio di accumulazione [9′ 40″] (2025-26) The piece is constructed through processes of progressive accumulation of musical material: simple\, repetitive and initially functional cells are added one after the other without anything ever really being eliminated. Each new element arises as a necessity\, but over time loses its original role\, becoming weight\, background noise\, clutter. The accumulation does not lead to development\, but rather to a saturation of the sound space\, in which quantity defines meaning. Music thus becomes a metaphor for the compulsive accumulation of contemporary society: the desire for possession generates a continuous stratification that suffocates emptiness\, but also the possibility of listening\, choice and silence. \nAbout the artist\nLeo Cicala\, 1970 Composer\, acusmatic performer\, live performer\, teacher. He studied Instrumentation for Band at the Tito Schipa music conservatory of Lecce and graduated magna cum laude in Electronic Music at the same Institution; He also a degree in Biology. He has performed on the acousmonium more than two hundred works from the classic and contemporary electroacustic repertoire\, In 2015 he published the handbook entitled “Acousmatic Interpretation Manual” for Salatino musical edition\, and a series of related video tutorials can also be found on the web (www.acusma.it). In 2014 he published the cd “Rust” by the Apulian label “Art & classic” “; has released the cd “Punto di Accunulazione” for the label “ Creative Sources Recordings”and he also composed the soundtrack for the short film “Io sono qui” directed by Pierluigi Ferrandini and “ Storia di Valentina” directed by Antonio Palumbo. He has set up in Bari the association “ACUSMA Theater of sound” that encourages sound arts of research promoting activities of teaching\, pedagogy\, and music production. Winning the first prize in electroacoustic composition “Bangor Dylan Thomas Prize” in the UK\, his compositions are performed in festivals in Italy\, France\, Belgium\, Japan\, United Kingdom\, Germany\, Argentina\, Cyprus and in the USA. \n  \nChen Mu Hsi: The Lament of Prince Hamlet\n“The Tragic Lament of Prince Hamlet” is a mixed work for flute\, pre-recorded sound\, and live electronics\, with a duration of approximately nine minutes. The piece was composed during a period of emotional depression\, in which a pervasive sense of melancholy and pain rendered creative activity particularly difficult. During this time\, the figure of Prince Hamlet from Shakespeare’s Hamlet emerged as a central source of inspiration. Hamlet’s psychological condition—shaped by betrayal\, the pursuit of truth\, and the confrontation with existential dilemmas—resonated deeply with the composer’s own inner conflicts. Structured in four sections\, the work integrates flute performance\, fixed electronic sound\, and real-time audio processing to articulate a sonic narrative of emotional tension and transformation. Through the exploration of timbre\, texture\, and gesture\, the piece seeks not only to depict the psychological depth of the tragic character\, but also to reflect and project the composer’s lived experience. \nAbout the artist\nMu-Hsi Chen was born in 1998 in Taichung\, Taiwan. She began studying piano in 2003 and started composing through self-study in 2016. She is currently pursuing a degree in Electronic Music at the Institute of Music\, National Yang Ming Chiao Tung University\, under the supervision of Professor Yu-Chung Tseng. Chen is deeply interested in exploring the relationship between sound and its underlying narratives and philosophies. Her work often reflects a sensitivity to emotional states and inner experiences\, seeking to connect musical expression with personal and psychological dimensions\, and to offer a space where listeners may find resonance\, reflection\, or emotional solace. Her works have been performed at ICMC 2023 (International Computer Music Conference) and WOCMAT 2022 (International Workshop on Computer Music and Audio Technology). \n  \nYe Peng: The Throat of the Earth\nThis work recreates a complete Mongolian shamanic ritual through electronic music. Following the “slow-medium-fast” progression of the ceremony\, the music begins with throat singing and sounds of nature\, builds a trance-like dance atmosphere with ritual drum rhythms and animal calls\, and culminates in an intense rhythmic climax?forming an auditory entreaty for divine blessing. By fusing traditional elements with modern electronic soundscapes\, it creates an immersive ritual experience. \nAbout the artist\nPeng Ye. Master’s candidate in Composition (Class of 2025)\, Wuhan Conservatory of Music Student Member of the Electronic Music Society\, Chinese Musicians Association Primary research areas: electronic music composition\, integration of electronic music with visual media creation. \n  \nHe Jing: Time Crystal Structure II\nTime Crystal Structure II is a computer music Fixed media by the core concept of time crystals. It aims to translate the abstract physical notion of “breaking time-translation symmetry and exhibiting a periodically repeating structure” into perceptible auditory illusions through digital sound construction.Drawing on algorithmic composition technology\, the work deconstructs and reconstructs the periodic features of natural soundscapes such as tides and pendulums\, generating sound units with slightly variable parameters to simulate the ground-state motion of time crystals. Furthermore\, this piece is the second installment in the Time Crystal Structure series. \nAbout the artist\nHe Jing\, June 1989- He has been residing in Wuhan City\, Hubei Province\, China now. He serves as a faculty member of the Art and Technology major\, Department of Composition\, Wuhan Conservatory of Music\, and also works as a Master’s Supervisor. Graduated from the Graduate School of Showa University of Music\, Japan\, he has long been deeply engaged in the interdisciplinary field of art and technology\, and is committed to advancing the teaching and creative practice of computer music. His main research areas include AI music\, interactive music\, algorithmic composition\, film scoring\, etc. He has presented his works at the International Computer Music Conference (ICMC) on numerous occasions. \n  \nRay Fields: Triangle\nTriangle is an electronic composition in one movement. It is a musical exploration of the frequency profile of a triangle. A sound file of a struck triangle was deconstructed digitally\, manipulated\, and then assembled and composed. \nAbout the artist\nRay Fields has composed music for orchestra\, chamber ensembles\, choir\, dance\, the stage\, and film. His works have premiered on-line and at international music festivals\, Imani Winds Chamber Music Festivals\, DC New Music Conferences\, the Clarice Smith Performing Arts Center\, MilkBoy ArtHouse\, the University of Illinois\, Prince George’s Community College\, Stevenson University\, and the Children’s Discovery Museum in Acton\, Massachusetts. His liturgical works have been included in worship services in Kensington\, Maryland and Pittsburgh\, Pennsylvania. In addition to composing\, Ray Fields writes about music for academic publications. His book-length analysis of Morton Feldman’s Piano and String Quartet was published in August 2022 by Rowman and Littlefield. He has also written a chapter for a collection of essays honoring Feldman’s centenary to be published in 2026. \n  \nAntonio Scarcia: Undercurrents\nThis fixed-media work is based on a compositional framework that foregrounds the interaction between sound materials and musical gestures. Materials are conceived as sound entities carrying latent structural relationships\, which may remain compositional implicit while becoming perceptually manifest through their audible effects. Gestures function as temporal processes that articulate these relationships and shape the listener’s perception. The work integrates concrete and synthetic\, tonic and non-pitched sound materials\, organized through strategies of contrast and balance. Gestural processes are formalized as parametric sequences generated via a computer algebra system\, with sound synthesis realized in Csound. Although produced using digital technologies\, the compositional approach aligns with the tape studio tradition\, emphasizing detailed post-processing in both the time and frequency domains as an integral part of the compositional process. \nAbout the artist\nAntonio Scarcia received formal training in Electronic Engineering at the University of Padua\, Signal Processing at the University of Bari\, and Electronic Music at the Conservatory of Bari\, where he studied under Francesco Scagliola. He held various teaching positions the Conservatory of Genoa from 2011 to 2021 and served as Lecturer in Electroacoustic Composition at the Conservatory of Salerno during the 2022–2023 academic year. His artistic production focuses primarily on acousmatic music and has been presented within the programs of major events\, including various editions of the NYCEMF in 2022\, 2021\, and 2019; ICMC in 2014\, 2013\, 2012\, 2010\, and 2007; the North Carolina Computer Music Festival in 2008; SMC in 2012\, 2010\, and 2009; the Mantis Festival in 2010; CIM in 2018\, 2016\, 2014\, 2012\, and 2010; EMuFest in 2013\, 2012\, 2011\, and 2010; SICMF in 2013; ICSC in 2013\, 2022 and 2024; and the Musica Nova Competition\, where he received honorary mentions in 2016 and 2013\, and first prize in 2011. \n  \nLia Su: 蜜蜂之后\nThis work uses bees as a conceptual model to explore the contemporary technological ecosystem.The sound materials are taken from recordings of flutes\, dizi(Chinese flute)\, and ocarinas\, preserving the acoustic characteristics of these instruments and placing them in an electronic environment inspired by swarm behavior\, cybernetic systems\, and speculative soundscapes. The innovation lies in the recontextualization of sound\, placing acoustic instruments within an artificial sound ecosystem. \nAbout the artist\nLia Su’s work frequently deals with the relationship between listening\, music and space. Working across sound\, music and installation to explore ideas surrounding cross-cultural and post-digital identity. Lia has exhibited\, performed\, and presented work across a range of artistic contexts\, including 798 Art Zone\, Beijing; National Centre for the Performing Arts\, Beijing; Tree Museum\, Beijing; West Kowloon Cultural District\, Hongkong; New Taipei City Art Center\, Taiwan; IKLECTIK\, London; 5th Base Gallery\, London; Huddersfield Contemporary Music Festival\, Huddersfield; Cafe OTO\, London\, Bristol New Music\, among others. Lia is currently a PhD Candidate in Musical Composition at the University of Bristol\, having previously studied at the University of the Arts London. \n  \nSeongah Shin: Suwol \nI became drawn to the beauty of Jeju\, South Korea\, a volcanic island known for its strong winds and constantly shifting natural soundscape. As I spent more time there\, I became increasingly aware that the sounds of nature often echo artificial\, human-made sounds. I immersed myself in the sky\, the air\, and the movements—and sounds—of wind\, birds\, and insects. Rather than separating nature and humanity\, I developed my work toward an integrated auditory world\, focusing on new sonic environments created through the blending of field-recorded natural sounds and computer-generated sounds. \nAbout the artist\nComposer Seongah Shin works in the fields of contemporary music\, music for the performing arts\, and electronic music. She earned a Bachelor of Music in composition from Chugye University for the Arts\, a Master of Music in electronic music composition from the Peabody Institute of the Johns Hopkins University\, an MFA in sound design from the University of Missouri–Kansas City\, and a DMA in composition. She has held a sound designer residency with the Missouri Repertory Theatre and an artist residency at EMPAC at RPI. She created the MixMediaImprov. series and presented ten solo creative music concerts. In addition to collaborative projects such as the Thin Line Project\, she co-founded the Asia Computer Music Project(AMCP) and served as director for Asia/Oceania of the International Computer Music Association(ICMA). She is currently a professor of composition at Keimyung University\, Daegu\, South Korea. \n  \nGuanjun Qin: FMVP!\nFMVP! is an electroacoustic composition built entirely from the sampled sounds of basketball — the bounce\, the squeak of shoes\, the swish of the net\, and the roar of the crowd. Through sound transformation and spatial movement\, the piece narrates the emotional journey of an athlete: from doubt and criticism to determination\, and finally to victory. Dedicated to basketball legend Stephen Curry\, FMVP captures the rhythm\, intensity\, and inner monologue of a player striving to redefine limits. Each percussive impact becomes a heartbeat; each layered resonance a moment of resilience. The composition explores how athletic struggle and artistic creation share the same pulse — persistence\, precision\, and belief. \nAbout the artist\nChampion (Guanjun) Qin is an award-winning composer\, producer\, and topliner\, currently pursuing a PhD in Music Composition at the University of Bristol\, fully funded by the China Scholarship Council (CSC). His works have been performed\, awarded\, or officially selected at major international music and sound art festivals\, including the Denny Awards (USA & China)\, YoungLione*ss Festival (Italy)\, Futura Festival (France)\, and the International Computer Music Conference (ICMC). Champion’s creative practice bridges electroacoustic composition and popular music production\, exploring the intersection of sound design\, cross-cultural aesthetics\, and narrative expression. He has collaborated with and composed music for renowned artists such as Jackson Wang\, a member of GOT7\, one of Asia’s most influential K-pop groups. His production work also extends to film and television\, including the acclaimed animated series GG BOND\, which drew over 50 million viewers in its first week of broadcast. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/listening-room-2-4/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260616T052543
CREATED:20260421T185520Z
LAST-MODIFIED:20260511T143240Z
UID:10000182-1778756400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Fixed Media | Program Overview\nMotes of Time\nYuming Sun \nEaves Verse\nShunhang Huang \nFulgore \nTakeyoshi Mori \nFusion of Horizons\nChi Wang \nIntertwine\nJohn Thompson \nNeon Reverie (ver. 2)\nWoon Seung Yeo and Ji Won Yoon \nStellar Vibrato\nXingle Zhang \nVibe Higher (ver. 3)\nJi Won Yoon and Woon Seung Yeo \nWaves\nBike Öner \nOf Clouds and Clocks\nTom Williams \nA little history of mobile music Vol. 1\nGenoël von Lilienstern \nMotif for Ono\nJingyu Luo \nSpectrestate \nJustyna Tobera \nStringDance: Ripples\nOuyang Mingshan \n  \nAbout the pieces & artists\nYuming Sun: Motes of Time\nAn experimental electronic work created for data visualization. Motes of Time translates the abstract flow of time into a textured world of digital decay and sonic particles. A synchronized study of sight and sound. \nAbout the artist\nDr. Sun Yuming is a composer\, music producer\, associate professor and master’s supervisor at the Central Conservatory of Music (CCOM). He studied under Professor Li Xiaobing\, Director of the Department of AI Music and Music Information Technology. Sun began his studies at CCOM in 2008\, where he was admitted to the graduate program with distinction and later pursued his Ph.D. in 2020. Upon graduating in 2023\, he joined the faculty. Sun has received numerous honors\, including the National Graduate Scholarship\, the China Telecom Scholarship\, and the Soong Ching Ling Foundation-Gucci Music Fund. He was also recognized as an Outstanding Graduate of Beijing and honored as an Outstanding Contributor to the 2022 Beijing Winter Olympics and Paralympics. His compositions have won first prizes in the 7th and 11th Musicacoustica-Beijing Composition Competitions and the Oskar Kolberg Electronic Music Composition Special Competition. Active in large-scale productions\, Sun has served as music director for various CCTV programs\, including Charity Night\, the Shining Names award ceremonies\, the Safe Travels special for National Traffic Safety Day\, and Landmarks of Chinese Civilization. His works are widely broadcast across major media platforms; notably\, his piece “The Ship” was featured on the hit show I Am a Singer in 2019. \n  \nShunhang Huang: Eaves Verse\nEaves Verse is an interactive audio-visual performance created with Media Pipe and AI-powered real-time image generation. It is centered around the cultural symbol of the eaves in traditional Chinese architecture. The performance begins with the creator’s intent and uses hand gestures as the interactive medium. Using AI technology for real-time image generation\, the performance presents a three-tiered progression: abstract concepts\, AI-constructed concrete visuals\, and an aesthetic realm where reality and illusion intertwine. Lingering melodies of Eastern resonance intertwine naturally with the cadence of spoken phrases\, and the texture of electronic rhythms resonates synchronously with interactive movements. This allows traditional sonic rhythms to flow within a contemporary interactive context\, evoking an Eastern auditory essence where reality and illusion merge. In this work\, AI transcends its role as a technical tool to become a “symbiotic partner” attuned to the creator’s intent. AI generates visuals in real time in response to gestures\, transforming thoughts into tangible forms. Through this novel interactive format\, it reconstructs contemporary expressions of traditional aesthetics\, ultimately crafting an audiovisual experience that embodies Eastern philosophy’s interdependence of the tangible and intangible. \nAbout the artist\nShunhang Huang\, a 2023 undergraduate student in the Department of Music Engineering at Zhejiang Conservatory of Music\, specializes in Art and Technology with a focus on interactive music\, data-driven instruments\, and real-time audiovisual creation. His works have received awards at the China College Students Computer Design Competition\, Huichuang Youth Competition\, and Danny Awards International Electronic Music Competition. Multiple interactive audiovisual installations created by him have been exhibited at the Global Digital Trade Expo\, World Internet Conference\, National Conference on Sound and Music Technology\, and Hangzhou International Music Performance Industry Expo. \n  \nTakeyoshi Mori: Fulgore \nThe initial inspiration for this work came from a brief\, ten-second video fragment capturing the ripples formed by raindrops falling onto a glass ceiling\, shimmering and flickering like a luminous mosaic. The subtle yet complex expressions of light observed in this phenomenon became the point of departure from which the overall concept of the work gradually emerged. In this piece\, video materials drawn from everyday scenes and natural landscapes are used. By enhancing their chromatic contrasts\, the work seeks to reveal the rich diversity of “modes of light” that exist within our daily lives but often go unnoticed\, and to encourage a heightened awareness of the perceptual and emotional dimensions of light. The title\, Fulgore\, is derived from the Latin word meaning “radiant brilliance” or “that which shines brightly.” The sonic component of the work is constructed through the multilayered deployment of diverse pulse-based temporal structures and sustained\, drone-like spectral layers. Although the musical materials themselves are relatively simple\, the intention is to create an acoustic space that complements the visual concept and resonates with the shifting expressions of light. The original version of the piece was produced in a 7.1.4-channel immersive audio format\, further expanding the spatial dimension of the work and integrating spatial motion as an integral compositional parameter. \nAbout the artist\nTakeyoshi Mori. Composer\, sound designer\, and researcher in electroacoustic music. His works include multichannel sound compositions\, live electronics\, and visual music\, and have been presented at numerous international music festivals and research-oriented events. In recent years\, he has been actively engaged in international educational activities\, including inter-college exchange concerts in East Asia\, serving as a jury member for international competitions\, and organizing workshops and lectures. He is currently Director of the Laboratory of Advanced Music Production and Professor and Co-director in the Music Design Course at Senzoku Gakuen College of Music. \n  \nChi Wang: Fusion of Horizons\nFusion of Horizons in Hans-Georg Gadamer’s philosophical framework involves merging different frames of understanding to achieve a deeper comprehension. Frames of understanding are conceptual perspectives that shape how we interpret and make sense of information\, providing context for our experiences\, observations\, and data. In this composition\, the performer utilizes the Nintendo Ring-Con with a Joy-Con as a symbolic frame\, guiding us through various segments of visual and sonic narratives. This instrument not only serves as a literal tool but also represents a metaphorical frame through which different perspectives and interpretations are explored. Through its use\, the performance embodies the process of merging diverse frames of reference\, reflecting the idea of achieving a richer\, more integrated understanding. \nAbout the artist\nChi Wang is a composer and performer of electroacoustic music whose work explores sound design\, data-driven instrument creation\, composition\, and performance. Her music has been presented internationally at venues and conferences including the International Computer Music Conference\, New Interfaces for Musical Expression\, Musicacoustica-Beijing\, SEAMUS\, NYCEMF\, Kyma International Sound Symposia\, and Electronic Music Midwest. Her works have received numerous honors\, including selections for SEAMUS CDs\, Best Composition from the Americas (ICMC)\, the Pauline Oliveros New Genre Prize (IAWM)\, Prix CIME\, an Award of Distinction from MA/IN Festival\, and finalist recognition at the Guthman Musical Instrument Competition. Chi has served as a judge for major international electronic music competitions and is an active translator of electronic music texts. She holds a D.M.A. from the University of Oregon and is currently Associate Professor of Music (Electronic and Computer Music) at the Indiana University Jacobs School of Music. \n  \nJohn Thompson: Intertwine\nIntertwine is an audiovisual work that features tight coupling of the audio and visual elements. It draws inspiration from Lance Putnam’s “Sphase” from 2007\, which examines relationships of timbre to visual design. With a strong focus on pulse and rhythm\, the work gives sonic nods to Norman McLaren’s visual music works of the 1940’s. Intertwine draws inspiration from Lance Putnam’s “S Phase” from 2007. In this work\, Putnam is directly driving the visual material from the sonic material using 3D Lissajous curves\, where the amplitudes of audio signals are used to inform the positions of (x\,y\,z) vertices in a virtual space. In the documentation of “S Phase”\, Putnam supplies a diagram of the process. In the experimentation stage of the work “Intertwine”\, the process was reconstructed\, minus a few elements that treat the sound (detoning\, chorusing). As the work progressed\, the sound sources expanded to include concrete elements and drum machine. The Strudel live coding environment was used to pattern the drum machine. Numerous performance parameters of the drum machine were exposed for real time control along with parameters of the live coding environment and the audiovisual system itself. The controls were consolidated to a single controller allowing for interactive real time performance. The system can be performed live and can yield many different results. What is presented here is an edited recording of a performance. The form of the work looks to balance free-flowing and repetitious elements\, as well as sections of varying tempos and densities. \nAbout the artist\nJohn Thompson‘s music uses sound and image as a vehicle for expressing the beauty and complexity of the world. His compositions over the last decade have focused on audiovisual works and works for instrument and electronics. John is Professor of Music and Head of the Music Technology Program at the Gretsch School of Music at Georgia Southern University. He is an enthusiastic educator who has had the pleasure of sharing his passion for music and technology with students for almost two decades. He is dedicated to helping students develop their own creative voices and encouraging them to deeply consider the intersection of technology and music. \n  \nWoon Seung Yeo and Ji Won Yoon: Neon Reverie (ver. 2)\nNeon Reverie (ver. 2) is an audiovisual exploration of the composer’s old memories. More specifically\, it was conceived based on the story of “walking through the streets of the past bathed in neon light\,” aiming to musically present a short journey that captures reflections on the passage of time\, the contrast between past and present\, the fragility of existence\, the vague boundaries between reality and delusion\, and raw emotions to evoke introspection and wonder. The piece starts with human footsteps\, representing the imaginary stroll through the memory under neon lights. This intro is followed by a variety of sonic elements that symbolize fragments of memories related to nostalgic moments gone forever. In addition\, the rhythmic patterns weave an underlying emotional thread throughout the piece. Visuals of the piece act as a counterpart to the music\, carefully composed to create a dialogue between auditory and visual domains. Regarding the cinematography\, one of the most noticeable aspects is the revolving movement of numerous concentric\, dotted rings that correspond to the rhythmic progression. In addition\, the overall color scheme is neon-inspired to match the composer’s original idea of neon lights. Meticulously chosen visual effects are also applied to evoke the hazy\, unclear feelings aroused by the sonic texture of the music. \nAbout the artists\nMusic: Ji Won Yoon (composer) is active as a composer of both acoustic and electric music. She is interested in artistic applications and realizations of various computer music technologies\, emphasizing multi-modality with sound at the center. She earned her B.A. and M.A. degrees in Music (Composition) from Yonsei University\, completed doctoral courses in Computer Music Composition at Dongguk University\, and studied at the Center for Computer Research in Music and Acoustics (CCRMA)\, Stanford University as a visiting researcher. Currently she is an assistant professor at the Department of Applied Music and Sound\, Keimyung University. \nVisuals: Woon Seung Yeo (visual artist) is a bassist\, media artist\, and computer music researcher. He is a professor at Ewha Womans University\, Seoul\, Korea\, and leads the Audio and Interactive Media (AIM) Lab. Dr. Yeo has received B.S. and M.S. degrees in Electrical Engineering from Seoul National University\, M.S. in Media Arts and Technology from University of California at Santa Barbara\, and M.A. and Ph.D. in Music from Stanford University. His research interests include audiovisual art\, cross-modal display\, musical interfaces\, mobile media\, and audio DSP. Results of his research are commonly shared by exhibitions and performances in the public interest. \n  \nXingle Zhang: Stellar Vibrato\nThis fixed-media work is inspired by the Hun Tian (“Celestial Sphere”) cosmology of Eastern Han astronomer Zhang Heng. In his vision\, the universe forms a resonant whole in which celestial motion and earthly life subtly correspond. Combining algorithmic sound synthesis with a particle-based visual system in Max/MSP\, the piece evokes a meditative encounter with ancient reflections on cosmic order. It positions audiovisual media as a bridge between eras\, allowing contemporary listeners to resonate with a millennia-old desire to understand the universe—a pursuit whose echoes transcend time. \nAbout the artist\nXingle Zhang (b. November 27\, 2000) is a graduate student in computer music composition at the Wuhan Conservatory of Music. \n  \nJi Won Yoon and Woon Seung Yeo: Vibe Higher (ver. 3)\nMagnetic resonance imaging (MRI) devices produce unique sounds during examinations. Usually considered as unwanted noise\, almost every MRI subject wears ear protection gear to minimize discomfort. However\, despite the effort\, it is virtually impossible not to hear it\, as it is too loud for most people to endure. “Vibe Higher (ver. 3)” began with the composer’s interest in the timbre and specific rhythmic patterns of typical MRI sounds\, which later led to an understanding of MRI equipment’s working mechanism. Then\, by imagining what happens inside the device through recognizable\, step-by-step changes in the sonic (primarily rhythmic) elements\, the composer gives musical meaning to the device’s internal process. In addition\, MRI conceptually involves a sensory transfer process that obtains images from transcribing reflected magnetic waves; this itself provides an ideal metaphor for an audiovisual piece. For the music of this piece\, sounds generated during the operation of various MRI machines were collected\, processed using digital audio effects such as pitch shifting\, time stretching\, and reverb\, and then utilized as its sonic material. While MRI sounds generally have a similar tone and pattern at a certain level\, we can hardly say that every device’s sound is entirely the same; this provides subtle but significant variety to the song’s sonic texture. To create the visuals\, we first used Processing to generate multiple versions of raw clips\, then combined selected segments to match their sonic counterparts. Combinations of simple figures\, such as triangles or squares\, are repeatedly arranged in a tile pattern to visually express the mechanical\, standardized feeling of sound\, presenting a kaleidoscopic layout. As the music progresses\, the shape of each tile continuously morphs\, and the overall visual composition and color scheme transform to convey the corresponding sonic mood into the optical domain. In addition\, it features a variety of visual filters that not only evoke the piece’s sonic impression in the visual domain but also create an atmosphere reminiscent of early-20th-century abstract films. \nAbout the artists\nMusic: Ji Won Yoon (composer) is active as a composer of both acoustic and electric music. She is interested in artistic applications and realizations of various computer music technologies\, emphasizing multi-modality with sound at the center. She earned her B.A. and M.A. degrees in Music (Composition) from Yonsei University\, completed doctoral courses in Computer Music Composition at Dongguk University\, and studied at the Center for Computer Research in Music and Acoustics (CCRMA)\, Stanford University as a visiting researcher. Currently she is an assistant professor at the Department of Applied Music and Sound\, Keimyung University. \nVisuals: Woon Seung Yeo (visual artist) is a bassist\, media artist\, and computer music researcher. He is a professor at Ewha Womans University\, Seoul\, Korea\, and leads the Audio and Interactive Media (AIM) Lab. Dr. Yeo has received B.S. and M.S. degrees in Electrical Engineering from Seoul National University\, M.S. in Media Arts and Technology from University of California at Santa Barbara\, and M.A. and Ph.D. in Music from Stanford University. His research interests include audiovisual art\, cross-modal display\, musical interfaces\, mobile media\, and audio DSP. Results of his research are commonly shared by exhibitions and performances in the public interest. \n  \nBike Öner: Waves\nWaves is built on the dialectic of compression and release across electronic processing\, spatialization\, and form. Inspired by the physical behavior of waves\, the piece reflects cycles of compression and rarefaction that accumulate into the ocean itself. Granular processing\, time-stretching\, and spectral diffusion of the cello create dense zones of tension that abruptly dissolve into spatial release. The form mirrors this cycle\, as acoustic and electronic layers interact to shape a dynamic\, living sonic space. \nAbout the artist\nBike Öner is a Turkish composer and cellist from Istanbul\, working in acoustic and electroacoustic music. Her work creates mixed-reality soundscapes that combine Eastern and Western tuning systems\, diverse timbres\, and cross-cultural textures\, exploring proximity\, memory\, transformation\, and emotional co-presence in space. She studied cello at UdK Berlin and Istanbul University State Conservatory\, earned an MM in Composition from ITU MIAM in 2022\, and is pursuing a DMA at UT Austin\, where she teaches in EEMS. \n  \nTom Williams: Of Clouds and Clocks\nThis acousmatic composition explores the conceptual tension between orderly determinism and the irregular\, indeterminate realm of ‘clouds\,’ drawing on the philosopher Karl Popper’s metaphor of ‘clouds and clocks’ and its musical reimagining in Ligeti’s ‘Clocks and Clouds’ (1973). Translation operates as a guiding principle—moving between philosophical constructs and sonic experience\, and transforming the mechanical precision of a clock into diffuse\, spatially articulated sound structures. The work unfolds in a single movement articulated in two contrasting parts: an opening section dominated by cloud-like textures—formed through processes of granulation and spectral diffusion—followed by a second part where clock-derived materials assert greater clarity and rhythmic presence. The town clock in New Bern\, North Carolina\, provides a recognisable point of reference within a sound world otherwise shaped by obscured metallic and environmental resonances\, their identities dissolved into atmospheric ambiguity. Through this interplay\, the piece proposes an experiential continuum where temporal precision and sonic indeterminacy coexist\, foregrounding the creative potential of imperfect translation. \nAbout the artist\nTom Williams is a composer whose work spans both acoustic and electroacoustic music. His compositions have been performed internationally\, most recently at ICMC2025 Boston\, and NYCEMF2025. He has received awards including the Italian music medal “Città di Udine”\, British Composers’ nomination in Sound Art\, and his acousmatic piece “Piano Trace” received a special prize at the 4th Ise-Shima International Composition Competition. He has collaborated with renowned musicians such as New York cellist Madeleine Shapiro\, soprano Juliana Janes Yaffé\, bass clarinettist Sarah Watts\, percussionist Thierry Miroglio\, and Orchestra of the Swan. He has a doctorate in music composition from Boston University. Currently\, he is course director for the MA programme in music production at Coventry University. \n  \nGenoël von Lilienstern: A little history of mobile music Vol. 1\nThe piece engages with the complex relationship between humans\, art\, and artificial intelligence. Conceived as a transhumanist comedy\, it is created using generative video techniques and reflects on how human imagination and technological\, standardized ways of narrating intersect in contemporary artistic production. The work experiments with the interplay between image and sound\, questioning how meaning emerges from their shifting relations. Sound is not treated as a secondary element\, but as an equal partner to the visual\, unfolding within the cinematic 7.1 surround space. This spatial setup is understood as an electroacoustic laboratory\, where perception\, technology\, and narration are continuously reconfigured. Through humor and speculation\, the piece invites audiences to question AI-based and -related storytelling. \nAbout the artist\nGenoël von Lilienstern (b. 1979) is a composer of instrumental and electronic music. Former head of the Studio for Electroacoustic Music at the AdK Berlin and a doctoral candidate in multimedia composition at the HfMT. Performances by renowned ensembles such as Ensemble Intercontemporain and SWR Orchestra. Fellow of Villa Aurora and the Cité des Arts (Paris). Co-founder of the ktonal group for AI-related audio generation\, and co-curator of the Untwelving Festival for xenharmonic music\, Munich. \n  \nJingyu Luo: Motif for Ono\nThis is an analysis of a creative project using bellplay~. I utilized its transcribe()\, pitchmelodia()\, query()\, larm()\, buildcorpus()\, samplebpf()\, pitchmelodia() functions\, and soon\, processed the audio using mathematical logic to use it as the original material for music creation. The philosophical methodology of Motif for Ono is based on YokoOno’s  “Discourse” form\, combining power and knowledge. Jingyu Luo’s video music piece “Motif for Ono” performs at three music festivals\, namely EMM 2026\, MOXsonic2026\, and NYCEMF 2026\, as well as at three international or national electronic music conferences\, including ICMC 2026\, SEAMUS 2026\, and CCF 2025. \nAbout the artist\nJingyu Luo is currently pursuing a Doctor of Musical Arts (DMA) in composition at the College-Conservatory of Music (CCM) of the University of Cincinnati. He has studied with Mara Helmuth and Michael Fiday. Previously\, he obtained a Master of Music (MM) in composition from the Hartt School of Music. He graduated from the Department of Music at Shandong Normal University with a bachelor’s degree in musicology. He composes for concert performances\, theatrical soundtracks\, film and television commercials\, and large-scale public events. Additionally\, he has been involved in the music planning and execution of large-scale cultural events in China\, such as the “Beyond” music festival and the National Day celebration for ten thousand people. His artistic achievements have been recognized. In 2024\, he won an award in the remix category of the Guangdong-Hong Kong-Macao Modern Music Performance. The same year\, his arrangement work was shortlisted for the final of the 38th “Jiangnanhua” Singing Competition in Ma’anshan City. In 2018\, he won the bronze medal in the “Banjo Band” Competition.  \n  \nJustyna Tobera: Spectrestate \nThe piece Spectrestate was created as a reflection on my personal experience of double vision\, a consequence of years of inadequate treatment of my eyesight. My eyes simultaneously register two images\, but my brain cannot merge them into a coherent perception. Every second\, I must decide which image to trust\, reconstructing reality in a way that is invisible to most people. This experience makes my body and brain constantly negotiate their relationship — movement\, gestures\, and reactions must be consciously synchronized with the image my brain cannot automatically integrate. In Spectrestate\, I translate this subjective perception into the language of sound and image. Every gesture\, sonic texture\, and visual layer reflects the instability and multilayered nature of my perception. The audiovisual composition becomes a space where sound and image coexist and transform each other\, allowing the audience to experience a f ractured reality in a direct and sensory way. The work is both a personal study of perception and a philosophical reflection on the nature of seeing and sensing. The questions I pose are: Can the eye be a reliable witness? How does the body interact with the brain when sensory signals conflict? How can we experience a reality that is layered\, unstable\, and yet generative? Spectrestate invites the audience into a space where audiovisual reality is fluid\, shattered and dynamic. Sound and image become tools for reflection\, enabling an exploration of subjective and multidimensional perception.  \nAbout the artist\nJustyna Tobera is a composer and performer working at the intersection of sound\, movement\, and immersive media. Her practice explores the relationships between the body\, space\, and technology\, treating sound as a tactile and embodied experience. She works with live electronics\, interactive systems\, and creative coding\, focusing on how gesture and movement shape sound.\nShe is currently an intern at the Electroacoustic Studio at IEM Graz. Her works have been presented at contemporary music festivals in Poland and internationally\, including in the United States\, Slovenia\, Austria\, Denmark\, Italy\, Lithuania\, and Hungary. Her current research focuses on speculative approaches to sound and technology. \n  \nOuyang Mingshan: StringDance: Ripples\nStringDance: Ripples is an interactive audiovisual work for pipa and live electronics that explores the resonance between instrumental gesture\, sound processing\, and real-time visual transformation. Inspired by the tactile imagery and sonic metaphors of Bai Juyi’s poem The Song of the Pipa Player\, the work translates poetic descriptions of motion\, density\, and contrast into a contemporary audiovisual language. The pipa performance serves as the primary sonic material. Its vibrations\, resonances\, and transient articulations are analyzed in real time and mapped onto a projected visual architecture structured around the metaphor of the string. A four-string visual system corresponds to distinct frequency bands of the instrument\, each exhibiting its own frequency-dependent motion behavior. All strings share a unified monochromatic luminance palette\, while brightness remains fixed according to their spectral roles\, allowing motion—rather than color—to articulate differences between low-frequency resonance and high-frequency detail. Audio features shape the visual behavior through a tightly coupled mapping system: amplitude controls oscillation range\, frequency determines cycle density and forward motion\, and spectral distribution defines the relative spatial presence of each visual string. This approach renders sound as visible energy\, emphasizing waveform motion and temporal flow rather than representational imagery. The electronic layer extends the acoustic material through real-time processing techniques including granulation\, transient enhancement\, spectral diffusion\, and temporal extension. These processes evoke poetic imagery—rushing rain\, falling pearls\, gliding birdsong\, constrained springs\, and moments of rupture—while a stretched and diffused poetic recitation forms a non-semantic textual ambience. The work unfolds in five sections\, each corresponding to a poetic line and articulated through distinct sonic and visual behaviors. Through the integration of audio-analysis–driven visuals\, live electronic processing\, and poetic reference\, StringDance: Ripples invites the audience to experience the pipa’s internal energy as both audible and visible motion. \nAbout the artist\nOuyang Mingshan is a composer and electronic music artist working with electroacoustic music and interactive audiovisual performance. She received a B.A. in Music Design and Production from the Shanghai Conservatory of Music and an M.A. in Electronic Music Composition from Hanyang University\, and is currently pursuing a Ph.D. in Electronic Music Composition at Hanyang University. Alongside her artistic practice\, she has worked as a composer and producer in the game industry. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/listening-room-1-4/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260616T052543
CREATED:20260421T095113Z
LAST-MODIFIED:20260421T095143Z
UID:10000136-1778756400-1778781600@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-4/
LOCATION:Hamburg University of Technology\, Building A (Foyer)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260616T052543
CREATED:20260421T095608Z
LAST-MODIFIED:20260508T114747Z
UID:10000145-1778756400-1778781600@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-4/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I (A 1.27)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260616T052543
CREATED:20260421T100042Z
LAST-MODIFIED:20260423T171644Z
UID:10000138-1778756400-1778781600@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-4/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II (A 2.34)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260616T052543
CREATED:20260421T191005Z
LAST-MODIFIED:20260514T091959Z
UID:10000189-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Pasquale Savignano: "SURROUNDINGS"
DESCRIPTION:SURROUNDINGS is a site-specific sound installation that transforms walking\, listening\, and spatial memory into a continuously unfolding sonic environment. The work is built from GPS-tracked field recordings captured through attentive movement in and around the exhibition site. These recordings are not presented as documents of place\, but as living material that is reactivated\, displaced\, and rewoven within the space itself.\nFour loudspeakers are distributed across the site\, defining a navigable field rather than a fixed listening position. Sound moves between them following the original trajectories of the recorded walks\, scaled and reoriented to fit the architecture or landscape of the installation. The visitor’s experience emerges from this superposition of paths: multiple sonic traces coexist\, intersect\, expand\, and dissolve\, producing a dynamic impression of the surroundings rather than a literal representation.\nThe installation focuses primarily on keynote sounds – the persistent acoustic textures that shape everyday environments – rather than on spectacular or foregrounded events. Through subtle processing derived from convolution\, filtering\, and granular techniques\, these sounds are stretched and smoothed\, allowing their timbral essence to surface while remaining closely tied to their original context. At times\, lightly processed documentary sounds emerge\, blurring the boundary between the audible present and the remembered past.\nListening unfolds through movement. Visitors are free to walk\, pause\, or circle the space\, allowing their perception to shift between the installation\, the actual soundscape\, and their own internal listening. The work does not impose a narrative or a fixed duration; instead\, it offers a continuous temporal flow that mirrors the rhythms of walking and environmental change.\nVisually\, the installation remains restrained and functional. Loudspeakers and cabling are integrated into the space in a manner that suggests infrastructure rather than spectacle\, reinforcing the idea of sound as an environmental layer rather than an object. The result is a non-disruptive intervention that operates near the threshold of audibility\, encouraging a heightened awareness of place.\nSURROUNDINGS proposes listening as a form of situated knowledge: an embodied practice through which space is not only perceived\, but actively composed. \nSurroundings uses Snappi speakers: a low cost wireless multichannel system developed by Marcus Weseloh and Jacob Sello at the ligeti center‘s Innolab. \nAbout the artist\nPasquale Savignano (1/5/1994) is a sound artist and composer working with field recordings and digital sound processing to explore the boundaries of physical and sonic space in various fields: electroacoustic music\, improvisation\, video art\, sound and multimedia installations. His research moves mainly between the flux of\nrelationships and interferences in the soundscape. His works have been presented internationally in galleries\, public spaces and festivals\, such as Angelica International Music Festival\, Pulsar Festival\, Echoes Around Me\, Festival di Nuova Consonanza\, Tempo Reale Festival\, Xing\, Archivio Aperto\, ArtCity\, Hyperlocal Festival\, Experimance Festival\, ICMC\, ToListenTo\, and others. He has collaborated and performed with artists such as Alvin Curran\, Francesco Giomi\, Elio Martusciello\, Maria Hassabi\, Elvin Brandhi\, Jacopo Benassi\, Marcello Maloberti\, Daniela Cattivelli\, Alessandro Bosetti\, Muna Mussie\, Francesco Cavaliere and many\nothers. He is currently pursuing a PhD in Sound&Music Computing and Cultural Heritage at Conservatorio di Musica G. Verdi di Torino and collaborates with Xing (Bologna – IT) and Marcello Maloberti Studio (Milano – IT). \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-pasquale-savignano-surroundings-4/
LOCATION:Hamburg University of Technology\, Outdoor Area I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260616T052543
CREATED:20260421T191718Z
LAST-MODIFIED:20260427T091503Z
UID:10000194-1778756400-1778781600@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-4/
LOCATION:Hamburg University of Technology\, Outdoor Area II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260616T052543
CREATED:20260421T192335Z
LAST-MODIFIED:20260511T143526Z
UID:10000200-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Leon Eckard: "Urban Metabolism: der Mond"
DESCRIPTION:Urban Metabolism: Der Mond is a cybernetic performance and sound installation that recontextualizes the sociological framework of Urban Metabolism into the domain of electroacoustic improvisation. The work reclaims a discarded industrial object in the form of a rusted metal plate found on the streets of Berlin transforming it from linear urban waste into a resonant generative feedback system. The instrument exploits mode coupling and structural fatigue to create nonlinear acoustic interferences governed by a custom auto mutation algorithm based on cybernetic homeostasis. \nAbout the Artist\nLeon Eckard is a German media artist\, guitarist\, and composer whose work spans interactive installations\, self-built instruments\, and live performances. Using open-source software\, custom electronics\, and found objects\, he explores the intersection of natural and artificial processes\, focusing on emergence and complexity. Integrating generative music\, improvisation\, and composition\, he has presented his work internationally\, including at Anton Bruckner Privatuniversität Linz\, New Now Festival\, NIME Conference\, Goethe-Institut Tokyo\, Morphine Raum Berlin and the Kochi-Muziris Biennale 2026. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/installation-leon-eckard-urban-metabolism-der-mond/
LOCATION:Hamburg University of Technology\, Building N (Foyer)\, Eißendorfer Straße 40\, Hamburg\, 21073\, Germany
CATEGORIES:14-05
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T120000
DTEND;TZID=Europe/Amsterdam:20260514T140000
DTSTAMP:20260616T052543
CREATED:20260415T122311Z
LAST-MODIFIED:20260417T115252Z
UID:10000122-1778760000-1778767200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Rehearsal & Concert Visit for Families
DESCRIPTION:Photo: Max Henschel\n  \nWhat does contemporary music sound like? What happens during the rehearsals? And what challenges might occur? We’ll look into these questions during rehearsal and concert visit for families.  \nFor families with children aged 7+\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-rehearsal-concert-visit-for-families/
LOCATION:Hamburg University of Technology (TUHH)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T123000
DTEND;TZID=Europe/Amsterdam:20260514T133000
DTSTAMP:20260616T052543
CREATED:20260423T164652Z
LAST-MODIFIED:20260508T135636Z
UID:10000229-1778761800-1778765400@icmc2026.ligeti-zentrum.de
SUMMARY:ICMA General Meeting
DESCRIPTION:TBA
URL:https://icmc2026.ligeti-zentrum.de/event/icma-general-meeting/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,ICMA
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T133000
DTEND;TZID=Europe/Amsterdam:20260514T150000
DTSTAMP:20260616T052543
CREATED:20260421T162627Z
LAST-MODIFIED:20260514T103041Z
UID:10000093-1778765400-1778770800@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 4A
DESCRIPTION:Concert 4A marks a special moment of collaboration between Hamburg’s local music scene and international composers. A particular highlight are two world premieres written especially for the renowned Hamburg-based double bassist John Eckhardt. Known for his explorations at the boundaries between new music and sound art\, Eckhardt here pushes the sonic extremes of his instrument in dialogue with the computer.\nAlongside the focus on the double bass\, the audience can expect a journey ranging from “electroacoustic romanticism” to AI-driven violin improvisations. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nX6 – Hexaphonic Spatialized Guitar\nFrancesco Perissi and Giovanni Magaglio \nThe Water lily in the blaze\nNatsuki Kambe\nDouble bass: John Eckhardt \nconfim\, assim\, sem fim\nRodrigo Pascale\nDouble bass: John Eckhardt \nThe Week\nHenrik von Coler \nEmpress Luo\nYao Hsiao \nResonant Thresholds\nCecilia Suhr \n\n\n  \nAbout the pieces & artists\nFrancesco Perissi and Giovanni Magaglio: X6 – Hexaphonic Spatialized Guitar\n\nThe “X6 – Hexaphonic Spatialized Guitar” project is about an augmented electric guitar designed for 6.1 channel spatialization. With the X6 setup and a special breakout cable\, it is possible to manage the sound from a hexaphonic pickup\, which separates the guitar signal into six independent channels\, one for each string. These signals are sent to a computer\, where Max/MSP processes them in real time with filters\, loops\, sound manipulation\, and spatial projection. The first version of the project had a fixed structure controlled by a sequencer that automated the filters. In the latest version\, a flexible multi-channel filter matrix has been added\, together with inputs for voice\, electronic instruments\, and samples. This makes the performance more open and improvisational\, allowing for control over time\, sound layering\, spatial gestures\, and vocal or electronic transformations. The idea is to build a self-made hyper-instrument where the performer and the algorithms influence each other\, creating electroacoustic music distributed in space and combining different musical practices. The newest patch\, version 20\, also uses artificial intelligence. With machine learning tools (FluCoMa)\, the system can recognize instrumental gestures and automatically change filter settings. With neural synthesis (RAVE)\, it can modify the sound of each string by acting on the latent spaces of the model\, producing deep timbral changes. The project also includes an interactive audio-visual part made with software TouchDesigner\, where the screen is divided into six sections that represent the six guitar strings. The visuals are generated with AI using prompts inspired by Renaissance painting\, but mixed with modern themes such as social distortion\, bias\, and the perceptual effects of today’s hyper-technological world. Overall\, the concept points to a kind of “second Renaissance.” It suggests that we are living in a new era in which imagination is shaped not by traditional art forms or systems of patronage\, but by digital technology. This new technè inaugurates unprecedented creative possibilities\, while also raising ethical\, cognitive\, and epistemological questions that we are only beginning to grasp. \nAbout the artists\nFrancesco Perissi is a composer\, guitarist\, and sound engineer based in Florence. He teaches Computer Music at the “Maderna Lettimi” Conservatory in Cesena and is the creator of the “X6” project for hexaphonic spatialized guitar\, as well as the founder of “match”\, a meeting dedicated to electroacoustic improvisation. His research explores the expressive potential of technology in music\, with a focus on the relationship between instruments and sound spatialization. Using interactive devices\, multichannel systems\, and real-time processing\, he creates works for electronic music\, installations\, and live performance\, blending contemporary languages with avant-pop influences and emphasizing the relationship between body\, gesture\, and space.\nGiovanni Magaglio is a sound and visual artist whose work centers on concrete sound\, timbral transformation\, and the perception of acoustic space. He creates layered soundscapes that invite immersive and active listening. He teaches Multimedia at the Conservatory of Florence and works across installations\, theater\, and audiovisual productions for short and feature films. His practice investigates the interplay between image\, sound\, and perceptual space\, shaping sensory environments where reality and representation intersect.\n\nGiovanni Magaglio\n  \n\nNatsuki Kambe: The Water lily in the blaze \nThis work for double bass and live computer electronics explores the wide range and rich timbral possibilities of the instrument through real-time signal processing in Max. Combining the powerful energy of the low register with the delicate beauty of flageolet harmonics in the high register\, the piece evokes the poetic image of water lilies glowing in a blazing sunset. This work was composed to explore the wide range and rich timbral possibilities of the contrabass. In addition to the instrument’s inherent variety of tone colors\, the composer further expands its sonic potential through live electronics. The low register conveys a powerful\, flame-like energy\, while the high register\, produced through flageolet harmonics\, possesses a delicate beauty reminiscent of water lilies. These contrasting elements are brought together into a single poetic image: a burning sunset reflected on a pond\, with water lilies blooming in its shadow.\nFor the electronic component\, the composer used TRLib\, a Max object library for the realization of interactive computer music developed by Takayuki Rai. Throughout the piece\, grbFM\, which realizes granular sampling techniques in real time\, is employed extensively: in the low register\, it generates noise-based textures\, including quarter-tone inflections\, while in the high register\, it creates chordal sonorities inspired by the Japanese traditional wind instrument shō.\nAbout the artists\nNatsuki Kambe was born in 2004 in Yokohama\, Japan. They began studying piano at the age of five and started composition studies with Kazuo Mise at the age of fifteen. In 2020\, she graduated from the Music Department of Toho Girls’ High School.\nIn the same year\, they entered Toho Gakuen College of Music as a composition major and are currently a third-year student (as of January 2026). Since April 2024\, she has been studying computer music under Takayuki Rai. \nDouble bass: John Eckhardt \n  \nRodrigo Pascale: confim\, assim\, sem fim\n“confim\, assim\, sem fim” was composed in 2024 during the Laboratorio de Composición Mixta of Resonancias Iberoamericanas. It is dedicated to the Festival Expresiones Contemporáneas and to Francisco. This composition explores the concept of infinity within limited systems.\nThe pre-compositional research involved extensive explorations of harmonies based on mathematical ratios. I established a structure featuring 15 harmonies\, beginning with two frequencies at a ratio of 16/15. Each subsequent harmony added a new frequency derived from the initial ratio\, multiplied by a series of ratios following the sequence [16/15\, 15/14\, 14/13\, 13/12\, 12/11\, 11/10\, 10/9\, 9/8\, 8/7\, 7/6\, 6/5\, 5/4\, 4/3\, 3/2\, 2/1]. Notably\, some harmonies—including the second—utilized this sequence in reverse. For instance\, the ratio [15/14] was employed as the foundation for the first two frequencies\, while the third harmony emerged from multiplying [15/14] by [16/15]\, yielding [8/7].\nThe forward sequence often led to more dissonant harmonies\, while the backward sequence inclined towards consonance\, and I frequently juxtaposed the two. An exception occurred between harmonies 13 and 14\, where both utilized forward sequences to create heightened tension\, concluding in a consonant 15th harmony. The sequence employs a set of regressive numbers\, each divided by its preceding integer. This approach allows for the potential to extend beyond 2/1 to 1/0\, thus engaging with a well-known mathematical problem. As the results of division increase when the denominator decreases\, division by zero is said to “tend to infinity.”\nIn this exploration\, I realized that the logical conclusion of the composition was to approach infinity musically. However\, I confronted the challenge that the double bass can only produce a finite range of sounds\, and that the human hearing spans approximately from 20 Hz to 20 kHz. Faced with this problem\, I sought solutions that transcended the confines of the system itself. This led me to investigate how the limitations of our auditory perception could be brought to the forefront\, creating illusions of seemingly ever-rising glissandi and of rhythm turning to pitch. The transformation of percussive sounds into frequencies and the use of Shepard tones played a crucial role in this composition.\nconfim\, assim\, sem fim delves into the boundaries of auditory perception\, aiming to investigate the concept of infinity within limited systems. This composition begins with a sequence of harmonies\, where subtle facets of infinty aer explored through the techniques of the double bass. In its culminating section\, the work unveils the full potential of this exploration by incorporating exceptionally high frequencies and an enduring reverberation\, creating an immersive sonic landscape that invites listeners to experience the infinity within these media. \nAbout the artists\nRodrigo Pascale (b. 1996) is an internationally awarded Brazilian composer whose works have been performed worldwide by leading ensembles including JACK Quartet\, ICE\, MCME\, Splinter Reeds\, loadbang\, Hypercube\, Hinge\, and Sound Icon. A Prix CIME 2025 recipient and Gaudeamus Award 2026 Finalist\, he is pursuing a DMA at Peabody and has studied with Haas\, Kampela\, Fineberg\, Wubbels\, and Hersch. \nDouble bass: John Eckhardt \n  \nHenrik von Coler: The Week\nOne Week is an acousmatic composition that integrates a staged reading in live performance. Drawing on an introspective autobiographical text\, it reflects on emotional states and personal experiences during periods of transition and uncertainty. The work may be understood as a form of Electroacoustic Romanticism: in line with the 2026 ICMC theme\, One Week translates romantic ideas into the language of electroacoustic music. In doing so\, it explores a balance between technological investigation and personal expressivity. At the same time\, the piece seeks to reach a broader range of listeners by foregrounding emotional engagement and incorporating a contemporary text that resonates with present-day cultural contexts. \nThe tape part of One Week is constructed from autobiographical field recordings combined with analog signal processing and experimental sound synthesis. In addition to conventional contemporary techniques\, the production draws on echo chambers\, analog and digital tape machines\, and vintage synthesizers and effects units. This process produces dense\, noisy\, and organic timbres and textures while consciously engaging with recognizable tropes of acousmatic music. During performance\, the tape part is live-diffused by the composer. Delivered in Ambisonics (up to seventh order)\, the work can be realized on a wide range of spatial sound systems\, in both 2D and 3D configurations. \nThe staged reading is performed by a musician and multimedia artist zl!ster\, who collaborated closely with the composer to refine the original text for performance. Through this revision\, the text is reshaped for the present moment while remaining anchored in the work’s autobiographical framework. \nAbout the artist\nPerformer: zl!ster is a Panamanian-American artist based out of Atlanta\, Georgia. His music embodies self-exploration through misinterpretations and exaggerations of real life. At times\, his work is a direct reflection of self; at others\, it is distorted\, shaped more by perception than reality. Rooted in curiosity and at times bravado\, his music lives in the realms of alternative rap and indie rock. \nComposer: Henrik 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  \nYao Hsiao: Empress Luo\nEmpress Luo is a mixed-media electroacoustic composition inspired by the historical and literary figure Zhen Mi\, whose image is intertwined with the Luo River Goddess depicted in Cao Zhi’s poetic work Ode to the Nymph of the Luo River. Drawing from Peking opera traditions associated with this narrative\, the piece explores themes of political power\, gendered violence\, and silenced agency through an integration of live voice\, processed sound\, and gestural control.\nThe work incorporates melodic and expressive references to the Peking opera Ode to the Nymph of the Luo River\, particularly scenes associated with the guqin and the lament Eighteen Songs of a Nomad Flute\, historically attributed to Cai Wenji. These materials are recontextualized within an electroacoustic framework to highlight parallels between women whose lives were shaped by forced displacement\, marriage\, and warfare.\nA Wacom tablet is employed as a gestural controller\, functioning both as a performative interface and as a symbolic extension of the protagonist’s corporeal presence. Through touch-based interaction\, the performer shapes selected sonic parameters in real time\, evoking both the physical posture of guqin performance and the imagined divine authority of the Luo River Goddess. This interface mediates control between the performer and the system\, reflecting fluctuating degrees of autonomy and constraint.\nThe sonic structure combines live vocal performance with pre-recorded and live-triggered audio materials. At times\, the voice assumes a dominant role; at others\, it is fragmented\, processed\, or submerged within the playback system. This dynamic relationship mirrors the tension between personal expression and externally imposed forces\, suggesting a trajectory from presence and agency toward erasure.\nTextual fragments drawn from classical Chinese poetry appear within the work\, referencing fraternal conflict\, political rivalry\, and lamentation. Through the interaction of voice\, gesture\, and electronic sound\, Empress Luo reflects on historical narratives of loss and power while reimagining them within a contemporary performance context. \nAbout the artist\nYao Hsiao is a performer-composer and voice artist from Taiwan\, specializing in music\, theater\, and multimedia art. They are the First Prize winner of the 2025 SEAMUS Student Commission Competition for Daiyu\, and a finalist in the 2024 Sweetwater/SEAMUS Student Commission Competition for Consort Yu. Hsiao has performed at international festivals including NIME\, SEAMUS\, ICMC\, NYCEMF\, MOXsonic\, EMM\, SPLICE\, CampGround\, and Click Fest.\nThey hold a Master of Music in Composition from Indiana University and are pursuing a Ph.D. in Data-driven Music Performance and Composition at the University of Oregon under Jeffrey Stolet\, where they also serve as a Graduate Employee.\nInspired by literature—from Western poetry to Chinese verse and Japanese haikus—Hsiao creates interdisciplinary works that blend traditional vocal techniques\, Peking and Yue Opera\, and Chinese dance with live electronics\, reflecting their cross-cultural and technological vision. \n  \nCecilia Suhr: Resonant Thresholds\nResonant Thresholds explores the liminal space between human expression and technologically mediated sound. Structured around a fixed audio score\, the work unfolds as a slowly transforming audiovisual environment in which live violin performance interacts with real-time electronic processing. Noise\, resonance\, and breath-like textures blur distinctions between acoustic intimacy and digital vastness\, allowing the materiality of sound to become porous and unstable. Through structured live comprovisation (composed improvisation)\, the performer actively shapes the unfolding sonic landscape\, while the processed audio simultaneously generates an evolving visual score that functions as a symbolic translation of sound. The work invites listeners to inhabit a threshold between perception and imagination\, where meaning emerges through the continuous negotiation between composed structure\, live performance\, and technological extension. \nAbout the artist\nCecilia Suhr is an award-winning intermedia artist\, multimedia composer\, researcher\, author\, and multi-instrumentalist (violin\, cello\, voice\, piano\, bamboo flute). Her honors include the Pauline Oliveros Award (IAWM)\, a MacArthur Foundation DML Grant\, the American Prize (Honorable Mention)\, Global Music Awards\, Best of Competition from BEA\, among other distinctions. Her work has been presented at ICMC\, SEAMUS\, NYCEMF\, EMM\, SCI\, ACMC\, Mise-En\, MoXsonic\, and many more. She is a Full Professor at Miami University Regionals. \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-4a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T153000
DTEND;TZID=Europe/Amsterdam:20260514T160000
DTSTAMP:20260616T052543
CREATED:20260421T143705Z
LAST-MODIFIED:20260421T143727Z
UID:10000094-1778772600-1778774400@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Psyche Loui: Scales for Predictions\, Creativity\, and Music-Based Interventions
DESCRIPTION:  \nMusic unites listeners through shared predictions and reward. At the heart of this process is the musical scale—a designed object that quantizes pitch into structures capable of generating and fulfilling expectation. A survey of the world’s scales reveals five core design features and a single overarching dimension of enculturation\, ranging from deeply familiar tonal systems to entirely novel sonic environments. The Bohlen-Pierce (BP) scale occupies a unique position in this multidimensional space: combining a non-octave equivalence interval with near-zero enculturation\, it sits at the intersection where the need for rigorous enculturation research is most acute. Harnessing the capacity of the BP scale to generate genuinely new predictions\, this talk presents behavioral and neuroscience findings from the MIND Laboratory examining how children and adults across different countries acquire musical structure from an unfamiliar system. Results illuminate the developmental trajectory of statistical learning\, the neural signatures of prediction error\, and the timescales over which aesthetic preferences emerge from exposure. Beyond perception\, the BP scale serves as a test bed for studying creative cognition\, enabling novel assessments of musical improvisation and imagination. The talk closes by connecting these findings to clinical applications\, considering how principles of enculturation and prediction inform optimal dosage design for music-based interventions targeting cognition and brain health.   \n  \nPsyche Loui\nPsyche Loui is Associate Professor of Music and Psychology at Northeastern University\, where she directs the MIND (Music\, Imaging\, and Neural Dynamics) Lab and serves as Associate Dean of Research in the College of Arts\, Media and Design and Associate Director of the Institute for Cognitive and Brain Health. She brings a unique perspective to music research as both a neuroscientist and performing violinist\, bridging experimental rigor with artistic practice. Loui’s research explores how the brain learns\, processes\, and creates music\, with particular emphasis on using artificial musical systems as controlled laboratories for understanding neural mechanisms. Her pioneering work with the Bohlen-Pierce scale—a microtonal system based on the tritave rather than the octave—demonstrates how novel tuning systems can reveal fundamental principles of musical learning\, prediction\, and pleasure. By creating controlled compositional experiments that exist outside of Western tonal traditions\, she illuminates how brains adapt to unfamiliar sonic worlds and what this reveals about music cognition more broadly. Loui directs the MIND Lab (Music\, Imaging\, and Neural Dynamics laboratory) which combines cutting-edge neuroscience methods (fMRI\, EEG\, diffusion tensor imaging) with computational approaches including machine learning and natural language processing to decode musical experience. Recent work investigates how people generate mental imagery in response to music\, revealing that seemingly idiosyncratic imaginings are often broadly shared across listeners. She has developed novel computational tools to analyze free-response descriptions of music listening\, enabling robust empirical study of subjective experiences previously considered intractable. Loui’s research extends from fundamental discovery to clinical translation. Her work on gamma-enhanced music interventions for Alzheimer’s disease leverages technological advances in sound synthesis to create therapeutic applications\, supported by multiple NIH grants. She has secured over $6 million in external funding\, including an NSF CAREER award for her work on artificial musical systems. \nLoui plays violin in Boston’s Longwood Symphony Orchestra\, advises the Boston Landmarks Orchestra\, and plays banjo and mandolin in a chamber music/indie rock ensemble. She is also author of the forthcoming book Strange Scales: How Novel Music Reveals the Secrets of the Predictive Brain (MIT Press) and co-editor of Science-Music Borderlands (MIT Press\, 2023)\, which won the Ruth A. Solie Award from the American Musicological Society. Her work has appeared in leading journals including Psychological Science\, Journal of Neuroscience\, NeuroImage\, and Cognition\, and has been featured in The New Yorker\, New York Times\, BBC\, and NPR. \nLoui serves as President-Elect of the Society for Music Perception and Cognition and Associate Editor of Cognition. She holds a PhD in Psychology from UC Berkeley and dual bachelor’s degrees in Psychology and Music from Duke University. \nMore about Psyche Loui here. \n  \n  \n 
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-psyche-loui-scales-for-predictions-creativity-and-music-based-interventions/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T160000
DTEND;TZID=Europe/Amsterdam:20260514T170000
DTSTAMP:20260616T052543
CREATED:20260415T142150Z
LAST-MODIFIED:20260511T161549Z
UID:10000098-1778774400-1778778000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 9: Music & Health
DESCRIPTION:Paper abstracts \nYunze Mu\, Lorna Segall and Zhixin Xu: “Acoustic Interactive Sand Tray Therapy System: An Em-bodied Interface for Multisensory Sound Interaction”\nFoundational work in computer music and gestural interface design has emphasized embodied and tangible interaction as a central component of expressive musical systems [1\, 2]. This paper introduces the Acoustic Interactive Sand Tray System\, an innovative interface that translates the continuous physical manipulation of sand into real-time auditory feedback. Utilizing an overhead depth-sensing camera and the YOLO v11 object detection model\, the system captures complex surface geometries and identifies physical artifacts within the tray. We ex-tract perceptually salient features\, such as surface flat-ness and regional elevation\, which are transmitted via OSC to a hybrid sound engine implemented in Max/MSP\, Unity\, and RTcmix (RTcmix and WebRTcmix). While the system supports interdisciplinary applications\, this paper focuses on its technical architecture\, specifically the sensing pipeline and the many-to-many mapping strategies that link material deformation to sound synthesis. By prioritizing material affordances over symbolic control\, the system facilitates exploratory\, low-cognitive-load engagement\, allowing users to intuitively shape ”sound worlds” through tactile interaction. The Acoustic Interactive Sand Tray System contributes a robust framework for material-based sound control\, demonstrating the potential for non-rigid\, natural inter-faces to foster immersive and embodied musical experiences. \n\n  \nSophie Rose: “CALM: Translating Somatic Experience into Compositional Structure as a Trauma-Informed Methodology”\nCALM is a performance work and compositional system that translates bilateral\, body-focused movement into sound behaviour and spatial form. Drawing on trauma-informed movement practices\, the work treats somatic engagement as a generative compositional constraint rather than a representational or expressive metaphor. CALM deliberately subverts common assumptions that stillness and meditative movement are inherently calming. Instead\, it externalizes bodily instability\, fragmentation\, and heightened internal noise that can arise for some trauma survivors during periods of stillness. Using wearable gestural interfaces\, spatial audio\, and voice-based synthesis\, CALM maps movement rate\, bilateral coordination\, and physical effort to sonic density\, timbre\, and spatial distribution. Musical structure emerges through sustained bodily negotiation\, constraint\, and breakdown rather than through virtuosic control or symbolic gesture. The paper positions CALM as a practice-based methodological framework for translating somatic experience into sound behaviour\, contributing to research in embodied computer music\, trauma-informed creative practice\, and participatory listening contexts.\n\n\n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-9-music-health/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T160000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260616T052543
CREATED:20260421T112429Z
LAST-MODIFIED:20260423T174523Z
UID:10000160-1778774400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Robert Cole Rizzi: The Art of Listening – To Hamburg. A Participatory Soundwalk Workshop
DESCRIPTION:How does the world sound when we truly listen? In this participatory workshop\, participants explore their sonic environment through attentive listening\, simple drawing\, poetry\, and playful composition — no musical experience required. \nThe workshop begins with a guided soundwalk\, where participants listen closely to everyday sounds while also making small line drawings based on visual details in the environment\, such as skylines\, patterns\, trees\, or bushes. Back indoors\, the listening experiences are transformed into short poetic texts\, and the drawings are translated into music using mechanical music boxes.\nThe workshop offers an accessible and hands-on introduction to sound-based creativity\, showing how artistic processes can emerge from listening\, observation\, and simple materials. Developed over more than ten years at the Danish National Academy of Music (SDMK)\, the format has been tested with a wide range of participants\, from schoolchildren to professional artists. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitator\nRobert Cole Rizzi is an assistant professor at the Danish National Academy of Music (SDMK) in Esbjerg\, where he teaches electronic music and sound art. His work focuses on making creative sound practice accessible to everyone\, developing pedagogical methods that welcome participants without requiring musical or technical prerequisites.\nAs a practicing artist working with sound\, visual art\, and experimental music technology\, Robert collaborates internationally with institutions such as the Prince Claus Conservatoire in the Netherlands\, and the Technische- and Musikhochschule in Lübeck. His artistic research explores how nature’s movements and traces can become sources for audiovisual composition\, using techniques from field recording to biodata sonification.\nRobert has spent the past decade developing and refining the “Impression – Imprint – Expression” methodology presented in this workshop. It has been successfully implemented with primary school students\, conservatory composition students\, public library visitors\, and museum participants across Denmark. His approach demonstrates that everyone can engage meaningfully with sound art when given accessible tools and encouragement to experiment. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/workshop-robert-cole-rizzi-art-listening-hamburg-soundwalk/
LOCATION:Hamburg University of Technology\, Building H (H 0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T170000
DTEND;TZID=Europe/Amsterdam:20260514T183000
DTSTAMP:20260616T052543
CREATED:20260421T133619Z
LAST-MODIFIED:20260511T093119Z
UID:10000095-1778778000-1778783400@icmc2026.ligeti-zentrum.de
SUMMARY:Panel: Music\, Technology and the Mind
DESCRIPTION:Panelists\nLars Rye Bertelsen \nPia Preißler \nGoran Lazarevic \nMiriam Akkermann \nLi Zhong \nLi Xiaobing \nModeration: Eckhard Weymann \n  \nAbout the panelists & their perspectives\nLars Rye Bertelsen: MusicStar\nLars Rye Bertelsen will present on the MusicStar app. as a technology for health. The background\, thoughts and visions for its development will be presented\, along with an overview of its use and distribution worldwide. The app has been in use as a personal coping-strategy both clinically for patients during admittance and after dismissal from hospital\, in refugee rehabilitation and several quality studies ad research projects\, and it is also available for private use. \nAbout the panelist\nLars Rye Bertelsen began his music therapy training at Aalborg University in the program’s first cohort in 1982. He has since worked as a private music therapy clinician since 1987 and later established a private music therapy clinic in 1999 with three colleagues. From 2004 to 2024\, he held a part-time position at the music therapy research clinic at Aalborg University Hospital – Psychiatry\, where he conducted both clinical work and research in music therapy and music medicine. Bertelsen is co-inventor of the MusicStar app and specializes in designing playlists for arousal regulation. He earned his PhD in music therapy at Aalborg University in 2025. Moreover\, he is a certified Bonny Method GIM therapist and a fellow of the European Association for Music and Imagery (EAMI). \n  \nPia Preißler and Goran Lazarevic: The Healing Soundscapes\nWe will be presenting our work and the most recent developments in the Healing Soundscapes project – an interdisciplinary project at the intersection of music therapy\, psychology\, composition\, and technology\, where each of these branches is simultaneously supporting and enhancing the others. The project integrates scientific research\, artistic practice\, and AI-driven tools to create “neutral” sound environments for clinical spaces – blending seemlesly into the existing environement and at the same time enriching it in ways that promote the well-being of persons experiencing it. Moving beyond purely functional audio\, we explore how complex\, artful sound can resonate across individual preferences in a genre-agnostic way\, offering new listening experiences for patients and staff\, and redefining the role of music outside the concert hall. \nAbout the panelists\nDr. Pia Preißler is a qualified music therapist\, psycho-oncologist and research fellow at the University Medical Center Hamburg-Eppendorf (UKE)\, and a lecturer at the University of Music and Drama in Hamburg (HfMT). Her work combines clinical practice with research\, as in the ‘Healing Soundscapes’ project\, which she has been leading since 2023 within the context of the ligeti center. Here\, sound installations are implemented in waiting and work areas within the hospital and their effects are studied. \nGoran Lazarevic is a Hamburg-based improviser\, composer\, accordionist and researcher. His main interests lie in the fields of live electronics\, microtonal music\, free improvisation and computer music\, as well as brain-computer-music interfaces (BCMI) and cognitive science. Goran Lazarević works as a project coordinator for the Hamburg Open Online University (HOOU) at the University of Music and Drama in Hamburg (HfMT) and has been a part of the ‘Healing Soundscapes’ project group since 2016. \n  \nMiriam Akkermann: “music as sleep aid – between expectation and personalization”\nListening to music can have strong effects on humans\, which can be traced in both subjective reactions and changes in the brain’s neurophysiology. One area that draws on these effects is the use of music to promote relaxation and help people to fall asleep. While positive effects could be already shown in people suffering from e.g. insomnia and dementia\, also healthy adults are using more and more music as a non-pharmaceutical sleep aid to increase individual well-being. Situated at the intersection of music research\, psychology\, neuroscience\, cognitive science\, and computer science\, the research on the effects of music on sleep unfolds as a highly interdisciplinary research field. In our project\, we are particularly interested in the relation between more general effects and individual preferences for music as well as the role of expectation towards the effect of specific sounds or musics. Hereby\, we explore approaches such as the personalization of the music using generative music as well as the associations evoked by technically mediated (audible) space in music productions. \nAbout the panelist\nMiriam Akkermann is musicologist and sound artist. Her research areas include music of the 20th and 21st century\, computer music/music technology\, musical performance practices\, archiving music in the digital age\, as well as the effect of music on sleep. She received a PhD in musicology from the Berlin University of the Arts\, and completed her habilitation at Bayreuth University. As a musician and sound artist\, she performs with flute and live electronic\, and creates compositions and sound installations\, that have been shown at concerts\, festivals and exhibitions\, in Europe\, North America\, and Asia. \nFrom 2024-2026\, she held the Ernst-von-Siemens Musikstiftungsprofessur at FU Berlin\, in March 2026\, she took over the professorship for systematic musicology at TU Dortmund. \n  \nLi Zhong \nLi Zhong’s speech highlights the growing role of music in promoting holistic health\, including emotional\, cognitive\, and social well-being. He underscores China’s efforts under the “Healthy China” strategy to advance interdisciplinary collaboration across music\, technology\, medicine\, and psychology. The Central Conservatory of Music is presented as a key driver in this field\, actively leading cross-disciplinary research and innovation in areas such as music neuroscience and artificial intelligence\, and expanding the role of music in public health. The speech calls for stronger international cooperation to further advance this field and contribute to global well-being. \nAbout the panelist\nLi Zhong was born in September\, 1972 in Shuozhou\, Shanxi province\, Han nationality. Started working in July 1995\, he achieved the Master of Laws degree. Being the Master’s Supervisor in the major of  Intercultural Communication and Language Broadcasting at the Communication University of China and the associate research fellow\, he has been the Vice Chairman of the University Council of the Communication University of China and is the Vice Chairman of the University Council of the Central Conservatory of Music presently.\nHe is the supervisor of the 11th Council of the Party Building Research Association for Universities in Beijing; Vice President of the first Party Building Research Association for Radio and Television of China Federation of Radio and Television Social Organizations; Member of the 9th Council of the Ideological and Political Education Branch of Chinese Association of Higher Education.\nFrom April to July 2009\, he visited the University of Reading in the UK to conduct research primarily in student affairs management and educational development. He has been dedicated to systematic research in the fields of cross-cultural communication and language dissemination\, focusing on cultural interaction mechanisms within a globalized context. He explores collaborative training models for international talents in response to the needs for enhanced international communication efficacy\, continually promoting the integration of academic development with practical demands. His achievements are significant both in theoretical innovation and practical application. \n  \nLi Xiaobing: “Artificial Intelligence\, Artistic Intelligence @ Machinism”\nThis presentation takes the dialectical relationship between two forms of “AI”—Artificial Intelligence and Artistic Intelligence—as its point of departure\, proposing and elaborating the conceptual framework of “Machinism.” From the interdisciplinary perspective of science\, technology\, and art\, it reconsiders the subject structure of artistic creation and the mechanisms of meaning generation in the age of artificial intelligence. Here\, “Machinism” is not a doctrinal theory about machines\, but rather a conceptual framework for understanding the reconfiguration of subject relations in human–machine collaborative creation.\nMachinism points toward two dimensions: first\, within the framework of human values and ethics\, intelligent systems are incorporated into processes of meaning production\, shifting art from “subjective expression” toward “human–machine co-generation”; second\, as a philosophical extension\, when intelligent systems develop more complex cognitive structures\, artistic creation may evolve into a generative field involving multiple subjects\, thereby opening new possibilities for understanding the “creative subject.” \nIn the future of Artificial Intelligence\, Artistic Intelligence @ Machinism\, where will human art go? \nAbout the panelist\nLi Xiaobing is Professor and Doctoral Supervisor at the Central Conservatory of Music\, Director of the Department of Music Artificial Intelligence\, National Leading Talent in Philosophy and Social Sciences\, recipient of the Central Propaganda Department’s “Four Kinds of Talents” award\, expert entitled to special government allowances\, Principal Investigator of major national social science projects\, the Chair of the China Computer Federation (CCF) Computational Art Branch\, the Chair of the Chinese Association for Artificial Intelligence (CAAI) Art and Artificial Intelligence Commission. He also leads the “National Huang Danian-style Faculty Team” in higher education.\nA Doctor of Composition\, Li Xiaobing graduated from the Composition Department of the Central Conservatory of Music\, where he studied under the renowned composer Professor Wu Zuqiang\, Honorary President of the Chinese Musicians Association and the Central Conservatory of Music. His musical creations span almost all genres\, with works enjoying wide popularity and significant influence. He has been honored with numerous domestic and international awards\, including the Golden Bell Award\, the Wenhua Grand Prize\, the Wenhua Composition Award\, first prizes in national opera and dance drama competitions\, and the “Five One Project” Award from the Central Propaganda Department.
URL:https://icmc2026.ligeti-zentrum.de/event/panel-music-technology-and-the-mind/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Panel
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T180000
DTEND;TZID=Europe/Amsterdam:20260514T190000
DTSTAMP:20260616T052543
CREATED:20260415T122709Z
LAST-MODIFIED:20260421T201118Z
UID:10000123-1778781600-1778785200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Radioballett | Körperfunkkollektiv: "Fragment"
DESCRIPTION:Photo: Felix Konerding\n  \nRadioballett is an interactive performance that draws you into another world through wireless headphones\, where you and other participants can actively shape the space together.  \nThe piece “Fragment” explores the boundaries between private and public life through human experiences in both real and virtual worlds. It invites everyone to reflect on the balance between digital and “offline” existence and to engage with the interplay between social interaction and online networks. \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-radioballet-korperfunkkollektiv-fragment/
LOCATION:Town Hall Square Harburg\, Harburger Rathausplatz 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260616T052543
CREATED:20260421T163025Z
LAST-MODIFIED:20260513T090720Z
UID:10000096-1778785200-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 4B
DESCRIPTION:Concert 4B presents the full range of contemporary computer music in a chamber ensemble setting. Ensemble 404—Hamburg’s specialists in new music—navigates a program that spans highly spatialized sound worlds to audiovisual metamorphoses.\nExperience how physical instruments meet the precision of algorithms\, creating new hybrid identities in the process. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nUnforeseen Metamorphic\nJoshua Rodenberg and Fumiaki Odajima \nKryptobioza\nLidia Zielinska \nTide\, breath\nZihan Wang \nEverybody Loves Me\nHoward Kenty \nIntermission – 15 mins \nPresent-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nNaotoshi Osaka \nComing and Vanishing \nYixuan Zhao \nZusammenspiel I\nJavier Alejandro Garavaglia \nVesscape\nDanni Zhao and Congren Dai \n  \nMusicians\nEnsemble 404 \nFlute: Giusy Panzanaro \nRecorder: Karolina Mydlářová \nClarinet: Yuriy Nepomnyashchyy \nBassoon: Rodrigo Rodrigues \nPercussions: Vitalia Agrba \nPiano: Valentina Donato \nViolin: Wakako Matsubara \nViola: Malte Buschenlange\, Zeynep Sertoğlu \nCello: Antonio Lo Curto \nDouble bass: Ricardo Silva \n  \nAbout the pieces & artists\nJoshua Rodenberg and Fumiaki Odajima: Unforeseen Metamorphic\nA seven minute acousmatic performance explores perception as a field where sound becomes a medium of transformation. The work begins with pure sine waves tuned in just intonation\, forming a low intensity sonic layer that permeates the space rather than occupying the foreground. Slow modulation and close interval relationships generate micro beating and phase drift\, unfolding at the threshold of audibility and drawing attention to subtle shifts in listening.\nWithin this continuous membrane\, a second live system of modular synthesis enters as an autonomous partner. Instead of accompanying the sine field\, it negotiates with it\, introducing pulses\, harmonics\, and timbral pressure that can align\, destabilize\, or dissolve. The piece is shaped by interference\, emergent resonance\, and the physical behavior of sound in the room\, producing a shared acoustic field that changes moment to moment. \nAbout the artists\nJoshua Rodenberg is a sound and video artist based in Doha\, Qatar\, where he is Head of the Innovative Media Studios and Associate Professor at Virginia Commonwealth University School of the Arts in Qatar. His practice connects art\, technology\, and environmental research\, translating natural oscillations and field data into live sonic and visual performance. In 2024 he received the VCU Quest Research Grant and participated in the Arctic Circle Artist Residency in Svalbard. His work has been presented internationally\, including the International Computer Music Conference in Boston\, Haus 1 in Berlin\, and EAI ArtsIT 2025 in Dubai. \nFumiaki Odajima is a Tokyo and Amami based artist working with multichannel pure sine waves\, just intonation\, and long timescale transformations to shape perceptual listening environments. He holds a BFA from The Ohio State University and an MFA from Virginia Commonwealth University. Recent projects focus on large scale sine wave diffusion\, exploring interference\, micro beating\, and sound as material at sensory thresholds. Selected performances include Synthesis at ART SPACE BAR BUENA in 2024 and Re:Synthesis at Safi Heimlichkeit Nikai in 2024\, and he released Icecream Daydreaming in 2020 with the improvisational unit kani kani club. \n  \nLidia Zielinska: Kryptobioza\nCryptobiosis is a reversible\, temporary state of extreme reduction in life activities of a composer\, as a response to unfavourable environmental conditions. \nAbout the artist\nLidia Zielinska (*1953) – Polish composer\, professor-emeritus of composition and director of the Electroacoustic Music Studio at the Poznan Academy of Music; numerous awards for orchestral\, multimedial\, electroacoustic works; books\, papers\, guest lectures\, summer courses in Europe\, both Americas\, Asia\, New Zealand; vice-president of the Polish Society for Electroacoustic Music. \n  \nZihan Wang: Tide\, breath\nThis work integrates spatialised fixed-media electronic music with semi-improvised acoustic instrumental performance. Animated scores and sound scores are employed to guide performers and to synchronise their actions with the electronic sections. The compositional focus is spatial counterpoint which extending the interplay of traditional contrapuntal voice relationships into three-dimensional space. This approach generates perceptible parallels\, interweaving\, imitation\, and conflict between instrumental and electronic elements through the parameters of position\, distance\, diffusion\, and timbre. Spatial attributes therefore function as primary compositional parameters rather than post-production effects.\nThe work is inspired by reflections on the macro and micro-structures of two kinds of sound: human crowds and natural environments. Through extensive field recording\, I observed a shared underlying principle: both soundscapes arise from the continuous accumulation and interaction of innumerable micro-sonic events\, producing macro-level shifts in energy\, fluctuations in density\, and emergent directional tendencies. For example\, footsteps\, conversations\, breathing\, and whispers in a crowd collectively form an ever-shifting granular timbre. Similarly\, natural sounds such as rain\, wind\, rivers\, and flocks of birds can exhibit comparable behaviours. This work seeks to establish a perceptual and structural connection between these two sound worlds through electronic composition. \nAbout the artist\nZihan Wang 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). \n  \nHoward Kenty: Everybody Loves Me\nThis piece was written in 2017 and performed regularly through his first administration. The view backward in 2026 is very different\, considering all that’s transpired and our current state. I’ve wrestled with the benefits and meaning of performing the piece in 2026; can it elucidate\, change anyone’s mind\, serve as a cathartic repudiation\, or something else?\nUltimately\, it feels right to bring it back now. So let us use his own words to reveal a progression of behavior and influence that begins with deep insecurity\, an insatiable need for validation\, and an extreme sense of entitlement\, untempered by want. Let us trace this through to the fear\, intolerance\, and violence that the speaker stokes in many of his followers. Where does this path ultimately end?\nThe salient question for me is how to expose this inherent toxicity to those who don’t immediately recognize it; his power lies in exciting latent fear. When we each enter this type of exploration\, what deep-rooted fears of Other might we find that we harbor within ourselves? Crucially\, how do we deal with them in our actual interactions?\nThis piece attempts these challenges by taking his quotations as its compositional seeds\, adapting their contours\, cadences\, and words directly into pitches\, rhythms\, and text\, implementing and re-arranging them to form the entirety of the work. While the audience’s challenge is reflection and considered action\, the performer’s is simultaneously more difficult and potentially more alluring; they must possess themself entirely of this visceral\, uninhibited id\, becoming pure reactive malice\, discord\, and excitation\, unencumbered by contemplation or morality. It’s a remarkably seductive path for everyone\, regardless of philosophy.\nBurdens of persuasion this tremendous are perhaps impossible for this piece; maybe another desperate scream of absurdity and horror is the only thing realized. Nevertheless\, I believe it is a profound moral obligation for each of us to consider these questions and to act on our considerations\, deliberately.\nThis piece was composed while in residence at the Aaron Copland House\, from July through August\, 2017. Great thanks go to the Copland House organization and the premiere performer\, the dauntless Daniel Pate. \nAbout the artist\nHowie Kenty is a Brooklyn-based composer and performer\, occasionally known by his musical alter-ego\, Hwarg. His music\, called “remarkable” with “astonishing poetic power” (International Compendium Prix Ars Electronica)\, is stylistically diverse\, encompassing ideas from contemporary classical\, electronic\, rock\, and ambient genres\, as well as sound art\, political issues\, and visual and theatrical elements. \nBesides regularly composing and performing his own music\, Howie is half of Ju-eh+Hwarg\, whose The Living Dying Opera has been called “a profoundly entertaining\, interactive night of operatic fun” (New York Music Daily). He plays guitar and composes in the progressive rock group The Benzene Ring\, whose album Crossing the Divide has been hailed as “a true masterpiece” and a “gorgeous piece of experimental rock/metal” (Recyclable Sounds; Progarchy). Howie earned his PhD in Music Composition from Stony Brook University\, and is an Assistant Professor in the Studio Composition program at Purchase College. Random past fancy bits include a Carnegie Hall performance by PUBLIQuartet\, first prize at Shanghai Electronic Music Week\, a residency at Copland House\, and performing his own raucous experimental political art at National Sawdust. Listen at hwarg.com. \n  \nNaotoshi Osaka: Present-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nIto Jakuchu (1716–1800) was a mid Edo period Japanese painter renowned for his brilliantly colored depictions of plants and animals. I have long been fascinated by his works. There was a time when I myself collected butterflies\, and I was deeply captivated by the designs and patterns on their wings. This piece is inspired by those wing patterns\, transforming their visual designs into musical imagery. Jakuchu also painted butterflies\, and with the idea of composing as if I myself were Jakuchu painting a picture\, I titled this work as part of my “Present-Day Jakuchu” series.\nWhen visual and auditory perception are viewed at a higher level of abstraction\, they share many common qualities. In this work\, the visual impressions of the butterfly are linked to the sounds and musical structure.\nInachis io (The European Peacock Butterfly) has eye spot patterns on a reddish brown ground\, reminiscent of a peacock’s feathers\, which gives the species its name. Although it is not found in North America\, South America\, or Oceania\, it is widely distributed across the Eurasian continent\, including Europe and Asia. Many butterflies of the Nymphalidae family are elegant in appearance\, and this species is no exception; it can be seen in many places. In the composition\, I developed the music around two motifs: the background coloration and the eye spot patterns. Unlike my previous work\, this piece does not depict flight or resting behavior; instead\, it focuses solely on the coloration and patterns visible when the wings are fully spread.\nThis piece was originally written in 2023 for violin and piano. For this performance\, it has been newly expanded with an added electroacoustic part\, making this the premiere of the updated version. The electroacoustic materials were created as fixed media\, primarily using granular synthesis and FM synthesis. However\, the sound files are structured as passage level cues\, and their playback timing is performer controlled and triggered in real time. \nAbout the artist\nNaotoshi Osaka received his Master’s degree from Waseda University and\, after working at NTT Laboratories\, has pursued research and composition in electroacoustic music. His works have been selected for the ICMCfive times\, and for the New York City Electroacoustic Music Festival (NYCEMF)three times. He served as President of the Japan Society for Sonic Arts (JSSA) from 2009 to 2018. He is currently a research fellow at Waseda University and Tokyo Denki University\, holds a Ph.D. in engineering\, and is Professor Emeritus at Tokyo Denki University. \n  \nYixuan Zhao: Coming and Vanishing  \nComing and Vanishing is an Audiovisual work for solo flute and electronics that explores a transient and unstable phenomenon.\nThe flute interacts closely with the electronic layer through air sounds\, breath tones\, and extended techniques. Pitch and noise are deliberately blurred\, allowing the instrument to function not as a melodic foreground but as a fluctuating presence. The electronic part is primarily built from processed human whispers and breaths\, materials detached from linguistic meaning. Through subtle layering and diffusion\, the voices lose semantic clarity and become abstract sonic matter. Acoustic and electronic sound exist in a continuous state of mutual negotiation\, shaping and destabilizing one another in real time.\nThe visual draws inspiration from traditional Chinese landscape painting while incorporating a surrealist sensibility. Through gradual transformations of light and shadow\, the imagery reveals and amplifies microscopic details within the sound. Rather than illustrating the music\, the visuals function as a parallel perceptual layer\, extending the listening experience into a spatial and visual field.\nSound and visual are not merely layered media\, but revealing a dynamic process\, existing only within the persistent tension between appearance and disappearance\, presence and loss\, immediacy and dissolution. \nAbout the artists\nComposer: ZHAO Yixuan is a composer\, a lecturer at the Dept. of Music AI and Music Information Technology\, Central Conservatory of Music\, China\, and a visiting researcher at the Royal Birmingham Conservatoire\, UK.\nShe has been dedicated to exploring the practice of digital audio and artificial intelligence in music composition and collaborating with performers to search for more possibilities in technological performance environments. Her composition spans interactive music\, electroacoustic music\, contemporary music\, and new media art. \nVisual Designer: WU Shuangqi (/’su:ki/) is an inter-media creator and visual-physical experimenter engaged in visual media\, contemporary theatre\, physical improvisation\, visual design\, sound\, audiovisual\, photography\, editing\, etc.\nHer creations are mainly based on physical experience\, deconstructing and visually outputting the body and external information\, intending to explore the assembly\, pattern\, motivation and form in the algorithms of flesh and behaviour\, to gain extension in perversion and mutation. \n  \nJavier Alejandro Garavaglia: Zusammenspiel I\nComposition in which viola and clarinet are combined with spectral digital effects and multi-channel spatialization. The idea of “playing together” contained in the title in German was the starting point of the artistic working process. This is clearly noticeable from bar 1\, as the chosen pitches for both instruments are intertwined so that\, together with the real-time electronics\, all 3 create timbres that portray their fusion rather than the sound of each instrument alone. In addition\, the composition presents innovative aspects in terms of real-time digital effects\, for example\, the accumulation and evaporation of spectra of both instruments captured by the electronics in real time or the combination of different techniques (among others Ambisonics) responsible for the particular spatialization of the electronics. Moreover\, the composition is another example of the complete automation of the electronics\, a technique developed by the author for years.\nZUSAMMENSPIEL I was made possible thanks to the support and funding provided by MUSIKFONDS Deutschland. \nAbout the artist\nJavier Alejandro Garavaglia. Award-winning composer\, violist\, sound artist and retired university music professor with a broad and interdisciplinary approach to digital art and related technologies. His work focuses primarily on various aspects of music/sound composition and performance supported by computing\, with a constant search for new sonic experiences combining new developments in computer-aided sound synthesis\, live interaction\, extended instrumental techniques and sound spatialisation. Compositions are performed/broadcast in Europe\, America and Asia in world-renowned concert halls/broadcasters and include electroacoustic music (acousmatic\, interactive\, multimedia)\, instrumental music (e.g.\, solo instrument\, ensemble & orchestra) and sound art (e.g.\, installations). Plenty of his acousmatic music can also be found on commercial CDs by Edition DEGEM\, Cybele\, EMF\, etc.\nMore about Javier Alejandro Garavaglia here. \n  \nDanni Zhao and Congren Dai: Vesscape\nThis work repeatedly performs the same action: pouring sound into a hollow system. \nThe breath of the flute is not treated as lyrical material\, but as a continuously failing act\, namely\, blowing\, gasping\, breaking\, and losing control. Pitches emerge again and again\, yet never settle. The electric bass introduces low-frequency pressure and inertia\, an irresistible downward pull that keeps the entire sound field at the edge of overload. \nA live electronic system analyses the performed sound using AI\, distributing features such as breath\, impact\, and pitch deviation across multiple “vessel” sound sources and visual entities. In its touring performance version\, the original vessel installation has been translated into an 8.1 spatial audio field\, allowing the acoustic presence and directional behavior of the vessels to be simulated through multichannel diffusion. These vessels are not metaphors for containers; they function as receivers of pressure\, being filled\, stretched\, and forced into vibration. The harder the music pushes\, the more unstable the vessels become; when the performer attempts to regain control\, the system exposes even more fractures. \nThe structure begins with an almost violent injection of energy\, gradually shifting into a direct confrontation between body and object. Unstable registers and microtonal deviations are continuously amplified; rhythm is fragmented into dense\, short bursts of broken gestures\, until the system briefly collapses. In the end\, sound is exhausted\, leaving only residual breath and unfinished pitch afterimages. \nThis is not a work about “generation”. It is a sustained experiment in pressure\, control\, capacity\, and limits. The system never truly responds to the performer; it merely records how pressure fails\, again and again. \nAbout the artists\nDanni Zhao is a Chinese composer and electronic music artist. She studies Electronic Music Composition at the Central Conservatory of Music\, where she received the National Scholarship and recommendation for postgraduate study. Her works have won awards at international composition and electronic music competitions and have been presented at events such as ICMC and major music festivals. She is active in concert music\, film\, documentary\, theatre\, and game scoring. \nCongren Dai is a PhD candidate at the Central Conservatory of Music\, specialising in Music AI. He holds an MRes in AI and Machine Learning from Imperial College London and an MSc in Data Science from King’s College London. Having interned in computer vision at Google and engaged in music AI projects at Huawei\, he now applies Large Language Models to musical score understanding and instrument recognition in his research\, alongside contributions to continual learning. \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/evening-concert-4b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T193000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260616T052543
CREATED:20260421T194433Z
LAST-MODIFIED:20260506T120248Z
UID:10000199-1778787000-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:MOVED: Fixed-Media Cinema Screening
DESCRIPTION:Important Notice\nDue to unforeseen organizational reasons\, the Metropolis cinema remains closed until May 15\, 2026. All scheduled fixed media pieces have been moved to Listening Rooms and Concerts. \nThe film screening of The Man in the Mangroves counts to Sleep by James A. Moorer et al. will be shown during the Evening Concert 6B on May 16\, 2026. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/cinema/
CATEGORIES:14-05
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T213000
DTEND;TZID=Europe/Amsterdam:20260514T233000
DTSTAMP:20260616T052543
CREATED:20260421T163434Z
LAST-MODIFIED:20260512T081025Z
UID:10000069-1778794200-1778801400@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 4C
DESCRIPTION:Program Overview\nMerzmania\nGintas Kraptavicius \nImprovisation for Spheres \nCalvin McCormack \nMarsia 3\nJonathan Impett\nAlto flute: Richard Craig \noscheat\nMoritz Wesp\, Eric Haupt and Victor Gelling \nThe Skin of the Earth: Fragments\nPaulo C. Chagas\nSoprano: Adriane Queiroz\nLive electronics & video: Paulo C. Chagas \nThe Long Now III \nCat Hope and Juan Parra Cancino \nTape Microscopy\nAndrew Loveless \n  \nAbout the pieces & artists\nGintas Kraptavicius: Merzmania\nElectroacoustic live electronics performance made using my own created instrument made from computer\, Plogue Bidule software & midi controller assigned to VST plugins. All software parameters controlled\, altered live in a real time during performance using knobs & sliders of midi controller attached to VST plugins parameters. Performance made from synthesized sounds\, no samples or before recorded sounds as fields’ recordings are used. Merzmania it is piece connecting classical music skills with today noise music (slight allusion to noise icon – Merzbow). Merzmania main playing method is real time interaction with computer which i am using on all my live compositions. I am using Computer as Music Instrument just like any other acoustic music instrument. Like a guitar. Onstage i get the same emotional feeling playing with computer as playing with any other acoustic/electric instrument. Main thing in a live performance it is energy and emotion to the pot like to rock’n’roll concerts. Merzmania featuring the motif of the Lithuanian folk song “Teka\, teka šviesi saulė” (“The sun is rising\, the bright sun is rising”). \nAbout the artist\nGintas K (Gintas Kraptavičius) a Lithuanian sound artist\, composer living and working in Lithuania.\nNowadays Gintas is working in the field of digital experimental and electroacoustic music\, making music for films\, sound installations. His compositions are based on granular synthesis\, live electronic\, hard digital computer music\, small melodies. Collaborations with sound artists @c\, Paulo Raposo\, Kouhei Matsunaga\, David Ellis and many others. He has released numerous of records on labels such as Cronica\, Baskaru\, Con-v\, Copy for Your Records\, Bolt\, Creative Sources\, Sub Rosa and others.\nSince 2011 member of Lithuanian Composers Union. He has presented his works\, performed at various international festivals\, conferences\, symposiums as Transmediale.05\, Transmediale.07\, ISEA2015\, ISSTA2016\, IRCAM forum workshop 2017 \, xCoAx 2018\, ICMC2018\,ICMC2022 ICMC2025 ICMC-NYCEMF 2019\, NYCEMF 2020 \, NYCEMF 2021\, NYCEMF 2022\, NYCEMF 2023\, NYCEMF 2024\, NYCEMF 2025\, Ars Electronica Festival 2020\,. Ars Electronica Festival 2023 Ars Electronica Festival 2024 . IRCAM forum workshop 2025 Paris Ars Electronica Forum Wallis 2025\, FARM 2025\nArtist in residency at DAR 2016\, DAR 2011 \, MoKS 2016\, KKKC 2023\nWinner of the II International Sound-Art Contest Broadcasting Art 2010 \, Spain.\nWinner of The University of South Florida New-Music Consortium 2019 International Call for Scores in electronic composition category. \n  \nCalvin McCormack: Improvisation for Spheres\nImprovisation for Spheres is a live electronic work for two custom spherical controllers with reactive visuals. Each sphere combines surface-embedded capacitive touch pads with an inertial measurement unit\, wirelessly transmitting sphere orientation and touch sensing. Each sphere sits in a chalice cradle\, with a ring of touch sensors embedded around the rim. The spherical form factor affords intuitive spatialization\, the sphere’s rotation corresponds to the sound’s position in ambisonics\, making spatial movement as immediate and embodied as pitch selection. Touch pads support expressive melodic and harmonic performance\, and skin-touchpad contact area allowing dynamic and timbral expression. The work explores the sphere as both instrument and spatializer\, where single gestures unite melodic\, timbral\, and spatial control. This audiovisual improvisation demonstrates how spatialization can be performed artistically rather than mixed\, elevated from post-production to real-time expression. \nAbout the artist\nCalvin McCormack is an MST student at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. His research focuses on accessible HCI and inclusive design for musical applications. He also conducts research in auditory neuroscience and plays jazz guitar. \n  \nJonathan Impett: Marsia 3\nThis is the final piece of a series written for the installation Apollo e Marsia in 2024. This work expands the moment in time represented by Tintoretto in his painting La gara tra Apollo e Marsia (c.1545). Apollo\, playing a bowed instrument with sympathetic strings\, has been challenged by the satyr Marsia\, playing a woodwind instrument\, to see who is the greater musician. Ovid’s retelling of the story describes a terrible end for Marsia\, but in the moment depicted by Tintoretto both musicians are waiting for the judgement of Midas\, both trying to remember and assess what they and their competitor have just played. \nThe piece is therefore a play on the nonlinearity of memory under stress as both try to replay the performances in their mind. Moments are recalled\, replayed or intrude\, but are always changing in their reconstruction. Memories of themselves and of the other constantly modulate each other. New constructs emerge in memory through this process\, and obsessive recall generates attractors and mirrors; we know from recent neuroscience that remembering and imagining are essentially the same reconstructive process. \nAt its root\, the material all derives from two hymns to Apollo inscribed in stone at Delphi\, arguably the earliest remaining instances of music notation\, and likewise fragmented by erasures. Across time\, musicians have attempted to reconstruct this partially-lost memory in different ways\, creating new formations in the process. \nHere\, the Delphic material is subject to layers of nonlinear memory process\, implemented in Open Music as forward- and backward-moving wave phenomena\, sweeping up emergent patterns as they develop. This produces a score that often requires the performer to assimilate a polyphony of musical materials and physical behaviours as layers of memory. Analogous processes are used in the recorded and live sound processing\, largely through physical modelling\, cross-resynthesis and filtering – digital and analogue. This is in turn heard through a model of the stringed instrument of Marsia’s opponent\, Apollo. An AI brings the live performance into relation with the behaviours\, memory and projection of both competitors. \nAbout the artists\nJonathan Impett (1956) is a composer\, trumpet player and writer. His work is concerned with the discourses and practices of contemporary musical creativity\, particularly the nature of the technologically-situated musical artefact. Activity in the space between composition and improvisation has led to continuous research in the areas of interactive systems\, interfaces and modes of collaborative performance. Recent works combine installation\, live electronics and computational models with notated and improvised performance\, using fluid dynamics as a unifying behavioural model. A new project Anamnesis takes a radical approach to AI\, identifying creative paths implied but unnoticed. He leads the research group “Music\, Thought and Technology” at the Orpheus Institute\, Ghent. \nAlto flute: Richard Craig\nRichard Craig (alto flute) was born in Glasgow. He studied at the Royal Conservatoire of Scotland and the Conservatoire de Strasbourg. He performs with groups such as Musikfabrik\, Klangforum Wien\, ELISION and in Scandinavia with CAPUT\, Kammarensemblen. He has released two solo discs of contemporary works\, Vale and Inward\, and recorded for Another Timbre\, Wergo\, FHR\, Métier\, as well as SWR\, BBC and Finnish Radio. Not only a celebrated advocate of contemporary music\, his recent album of the Telemann Fantasias and his improvisations was lauded as “bold\, beautiful and clever” (Gramophone). He is also an improviser\, composer and teacher\, currently Director of Performance at the University of Edinburgh. \n  \nMoritz Wesp\, Eric Haupt and Victor Gelling: oscheat\nThis contribution presents oscheat\, a work-in-progress OSC-based interface\, designed to extend ensemble communication beyond conventional musical gestures. By providing a modular and user-friendly environment\, oscheat allows performers to directly control each other’s digital instruments\, enabling novel forms of interaction\, role-sharing\, and emergent musical structures in real time.\nOur instrumental system is structured into three functional sections reflecting core musical building blocks: synthesizers for melodic and harmonic material\, sequencers for rhythmic organization\, and samplers for vocal and sound-based material.\nAdditional functionality includes real-time MIDI recording and looping\, pitch mapping with support for alternative tunings\, spatialization\, and global macro controls for large-scale structural manipulation. Each performer manages their instruments individually while making the controls accessible through oscheat.\nMoritz Wesp\, Eric Haupt and Victor Gelling are playing an eight-minute improvisation\, demonstrating oscheat’s potential for rapid musical exchange\, shared authorship\, and collective decision-making. By exposing critical control parameters to all participants\, the interface encourages social negotiation and flexible role allocation\, making it relevant for both creative research and educational contexts. \nAbout the artists\nMoritz Wesp lives in Cologne (GER) and plays trombone\, virtual trombone and other instruments that he designs\, programs and builds. As an improviser he is working with different ensembles like Mariá Portugal Erosao\, Matthias Muche’s Bonecrusher or the Simon Rummel Ensemble. Besides this he composes music and is part of the Audio-VR project SONA. \nEric Haupt is a guitarist and composer working in experimental music and punk. He completed his Bachelor of Music at the HfMT Cologne in 2018. He is a founding member of the ensembles Now My Life Is Sweet Like Cinnamon and Lawn Chair\, as well as the initiator of the experimental game-show performance Sport1. His music has been presented at festivals throughout Europe and collaborations include internationally renowned producers Olaf O.P.A.L. and Chris Coady. His punk compositions have been broadcast on international radio stations such as BBC Radio 6 Music. \nVictor Gelling is an improviser and composer who uses stringed instruments including but not limited to upright bass\, tenor banjo\, Pedalsteel- and Nonpedalsteel-Guitars in addition to pedals\, synthesizers and barely working self-coded computer programs to create sounds. Their work spans genres from jazz to noise to electric cowboy songs to complex music\, which culminates in their large ensemble works with Trash & Post-Chaotic Music\, their alt-country/post-punk alias Slowklahoma\, solo works or their playing in the Jorik Bergman Trio. \n  \nPaulo C. Chagas: The Skin of the Earth: Fragments\nThe Skin of the Earth: Fragments explores the fragile boundary between human presence\, technology\, and the living world. Inspired by Jean-Luc Nancy’s idea of the Earth as a sensitive\, permeable “skin\,” the work unfolds as a field of sonic and visual traces in which voice\, electronics\, and image interact in continuous transformation.\nThe soprano part moves between singing and speaking\, incorporating extended techniques\, subtle timbral inflections\, and silence. Vocal gestures—breath\, articulation\, and embodied presence—form the core musical material. Live electronics are realized in real time using custom Max/MSP processes\, including pitch shifting\, delay\, and dense temporal layering. These processes generate evolving\, granular textures shaped during performance through gestural control.\nThe visual component combines AI-generated imagery with real-time processing in TouchDesigner. The visual material is continuously transformed through algorithmic modulation\, spatial deformation\, and temporal drift. Operating as an autonomous yet related layer\, the visuals do not illustrate the music but emerge alongside it\, sharing a logic of indeterminacy and continuous becoming.\nThe work invites listeners to experience sound and image as a living surface—fragile\, unstable\, and shared—where perception remains inseparable from what is in flux\, unresolved\, and still becoming. \nAbout the artists\nPaulo C. Chagas is a Brazilian-American composer and Professor of Composition at the University of California\, Riverside. With over 220 works across orchestral\, chamber\, electroacoustic\, audiovisual\, and multimedia formats\, his work integrates advanced technology and expressive depth. He studied in Brazil\, Belgium\, and Germany\, earning a Ph.D. from the Université de Liège\, and was composer-in-residence at the WDR Electronic Studio. A Fulbright Scholar (Berlin\, 2022–23) and ICMA board member\, his work is widely performed and published.\nhttps://solo.to/paulocchagas \nSoprano: Adriane Queiroz\nBrazilian soprano Adriane Queiroz trained in Pará\, Missouri\, and Vienna. Since 2002/03 she has been a member of the Staatsoper Unter den Linden\, performing roles such as Pamina\, Micaëla\, Susanna\, and Liù. She has appeared at major venues including the Hamburg State Opera\, Semperoper Dresden\, and Wiener Festwochen\, and in concerts at the Musikverein and Konzerthaus Vienna. Her repertoire spans Mozart to contemporary works\, including Schönberg’s Erwartung and Nono’s La fabbrica illuminata\, with recent premieres under Sir Simon Rattle.\nwww.adrianequeiroz.com \n  \nCat Hope and Juan Parra Cancino: The Long Now III  \nThis a scored work for live modular synthesiser performance\, with a backing track. It explores the potential of digital notation for modern electronic instruments\, in this case\, the contemporary modular synthesiser. It is named after the Long Now Foundation\, that aims to provide counterpoint to today’s accelerating culture by encouraging long-term thinking\, fostering responsibility in the framework of the next 10\,000 years. Music provides complex answers to the question of “How Long is Now?”\, and in this work\, a slow descent into very low sound by the performer\, where pitch is either uncontrollable or almost inaudible\, reflects the limits of human action in and perception of sound as it passes through time\, highlighting that there may be other ways to listen\, and other ways to experience our passing through time.\nThe fixed media part of this piece was created at EMS in Sweden\, using the Buchla 200’s 4 x 259 waveform generators and the score is read on the Decibel ScorePlayer\, which also produces the fixed media part. \nAbout the artists\nJuan Parra Cancino studied Composition at the Catholic University of Chile and Sonology at the Royal Conservatoire The Hague\, earning a Master’s degree focused on electronic music composition and performance. In 2014\, he completed his PhD at Leiden University with his thesis “Multiple Paths: Towards a\nPerformance Practice in Computer Music. Parra has been a research fellow at the Orpheus Institute since 2009. \nCat Hope is a award winning Australian composer who focuses on the extremes of sound – from extreme noise to barely audible delicacy. Her works have been performed world wide by ensembles such as Yarn Wire (US)\, the BBC Scottish Symphony (UK) and her works are published internationally on labels such as Hat (Hut) Art\, with her monograph CD Ephemeral Rivers winning the German Critics Prize in 2017. Cat is a represented composer with the Australian Music Centre\, and her music is published by Material Press. Her first opera\, Speechless\, won the Best New Dramatic work in the 2020 Art Music Awards. \n  \nAndrew Loveless: Tape Microscopy\nThis performance explores the musical potential of playback speed manipulation\, controlled feedback\, and layered sound material using a dual-transport digital tape instrument. The source of the sound material is the distinct\, high-pitched whine of a CRT television’s flyback transformer\, which was chosen for its nearly inaudible high-frequency energy and analog character. The sound is heard briefly at normal speed before being slowed almost to a halt to reveal its hidden textures. Inspired by the tape experiments of pioneer Éliane Radigue\, this performance utilizes two virtual tape transports that interact through carefully tuned speed relationships\, harmonizing and phasing against one another. Live overdubbing and feedback routed between the transports create new layers and delays\, shaped by the performer’s listening and interactions. A real-time visualization shows the speed of each transport’s spinning reels\, adding an engaging layer that helps in following the unfolding sounds. \nAbout the artist\nAndrew Loveless is a graduate student in Music Technology at the Georgia Institute of Technology. Their work focuses on performance-centered instrument design and improvisation\, with an emphasis on preserving tape music techniques and making them more accessible through hands-on\, educational tools. \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-4c/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:14-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
END:VCALENDAR