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DTSTART;TZID=Europe/Amsterdam:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260613T203405
CREATED:20260415T142419Z
LAST-MODIFIED:20260511T161723Z
UID:10000099-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10b: Interactive Media II
DESCRIPTION:Session Chair: Felipe Otondo\n\nPaper abstracts\nFabian Ostermann: “BbMuse: A Blackboard-Driven Framework for Real-Time Interactive Music”\nInteractive music systems are frequently built as ad hoc multi-agent architectures with custom communication protocols and project-specific execution models\, while recent machine-learning approaches often encapsulate behavior in monolithic\, computationally expensive black boxes. This paper revisits blackboard architectures for real-time interactive music generation and argues that composition and musical interaction can be modeled as distributed decision-making processes operating on shared musical state. We introduce BbMuse (BlackBoard MUSic Engine)\, an open-source\, platform-independent Python framework that implements a dataflow-oriented blackboard variant inspired by real-time robotics. System state is encoded as typed representations on a global blackboard\, while modules explicitly declare required and provided information\, enabling automatic scheduling via topological sorting. As a result\, system development becomes incremental and module-focused\, since no inter-module dependencies must be specified. Further\, the framework supports concurrent execution and demonstrates that real-time performance is possible with Python using native-library acceleration. We provide a growing collection of example projects\, discuss diverse use cases and outline future features for learning-based module replacement as well as a GUI editor. \nEun Ji Oh\, Jun Woo Beck and Alexandria Smith: “The Singing Skin: An Audience-Centered Biofeedback System for Musical Interaction Based on Galvanic Skin Response”\nMusic can evoke measurable physiological responses\, yet these responses have been predominantly explored from the performer’s perspective in interactive and biofeedback-based music systems. In contrast\, the sonification of audience physiology remains relatively underexplored in live music contexts. We present The Singing Skin\, a real-time\, audience-centered biofeedback system for live performance that integrates listeners’ physiological responses into musical control. The system measures galvanic skin response (GSR) and uses the phasic component of the GSR signal as an index of moment-to-moment audience engagement. This phasic GSR–based control signal is normalized and mapped to the rhythmic subdivision of a monophonic lead line generated by a wavetable synthesizer. Rather than directly modifying tempo or pitch\, the control signal modulates the cutoff rate of a low-pass filter\, producing an indirect pacing effect that influences perceived musical drive and energy. The system is demonstrated in a live performance setting involving a violinist and a listener equipped with GSR sensors. This work contributes a novel approach to audience-inclusive musical interaction by extending audience physiology as an active control source in live music\nperformance.\nPenelope Bekiari and Anastasia Georgaki: “Hyponoia: An Affective Computing System for Augmented Musical Performance — A Case Study”\nThis paper investigates how EEG-driven biofeedback systems influence performability and listening strategies in contemporary electroacoustic performance. We introduce Hyponoia (Hyper-Observational Neuro-Oscillation Interactive Agency)\, a real-time interactive system that translates performers’ neurophysiological activity into state-based compositional behaviours. Unlike conventional EEG-based musical interfaces that map signals to discrete parameters\, Hyponoia operates at the level of musical processes\, structuring sonic form through inferred neuro-affective states. The system integrates EEG and heart-rate data within a closed biophysical feedback loop\, in which performers’ internal cognitive and affective states dynamically interact with the evolving sonic environment. A comparative case study was conducted with expert and non-expert musicians performing in open-form electroacoustic contexts. We hypothesise that performers with sound-based expertise exhibit distinct patterns of neural engagement and interaction with the system. Results indicate that expert performers demonstrate richer theta activity\, more coherent alpha modulation\, and greater neural variability\, associated with enhanced internal auditory imagery and anticipatory listening. In contrast\, non-expert performers exhibit more constrained neural responses and reduced sensitivity to spectromorphological change. These findings suggest that performability in biofeedback-driven systems depends less on instrumental technique than on listening literacy and embodied sonic awareness. Rather than acting as an autonomous agent\, the system functions as a responsive mediator that amplifies differences in perceptual and cognitive engagement\, contributing to an emerging performance aesthetic grounded in physiological feedback and real-time interaction. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-10b-interactive-media/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:15-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260613T203405
CREATED:20260423T140937Z
LAST-MODIFIED:20260511T161811Z
UID:10000226-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10a: AI & Sonification
DESCRIPTION:Session Chair: Paulo Chagas\n  \nPaper abstracts\nBob Sturm and Elin Kanhov: “oljud—ʇᴉnɹq(n): A Sonic Manifesto of Resistance to Generative AI in Music”\nSome discourses about music and AI are frustratingly shallow and insular\, raising outdated musical tropes and ignoring modern developments\, flattening the rich and varied functions of music in life\, and overlooking serious ethical issues with the technology (creating it\, maintaining it\, using it\, and imposing it). We respond to this shallowness via artistic activism and agonistic artistic research\, resulting in the site-specific work “oljud—bruit (n)”. Our action was directed at an “AI music composition” competition in 2025 organised as part of a very expensive engineering workshop focused on music generation research\, but our motivations are more broad. This paper records the context\, composition and realization of our “sonic manifesto of resistance”\, which was ultimately disqualified from the competition. \nLing Qi\, Teng Ma and Alexandria Smith: “Music of Changing Lines: Toward a Culturally Situated Approach to the I-Ching”\nThe I-Ching is one of the most influential texts in Chinese intellectual history\, integrating divination\, cosmology\, and ethical reflection. While Western experimental music\, most notably John Cage\, has drawn on the I-Ching as a source of chance operation\, such appropriations have often detached its formal mechanisms from the interpretive and philosophical processes that give the text meaning. This work\, Music of Changing Lines\, presents an interactive system that re-centers the I-Ching as a meaning-bearing framework rather than a neutral randomizer. Users per- form Wen Wang Fa coin casting\, which is accompanied in real time through probabilistic musical processes. The resulting hexagrams and changing lines are interpreted by a large language model\, Gemini\, in relation to the user’s inquiry. This textual interpretation is then translated into a prompt for a generative music model\, Lyria\, producing a responsive musical realization. By situating AI as an interpretive intermediary rather than a compositional authority\, the system foregrounds the I-Ching’s ritual\, interpretation\, and participation as the primary sonic materials. Music of Changing Lines extends process-driven traditions in computer music by demonstrating how generative AI can support participatory\, meaning-driven musical processes without prescribing musical structure or replacing human agency. \nChangda Ma\, Sunshiyu Wang\, Canting Zhu and Alexandria Smith: “Extending Xenakis: From Architectural Geometry to Sonification of the Philips Pavilion”\nArchitecture and music have been linked through proportion and temporal structure\, yet architectural geometry is rarely viewed as a source of generative music. Revisiting Xenakis’ one-directional transformation from string glissandi in Metastaseis to the ruled surfaces of the Philips Pavilion\, we invert this workflow and sonify the completed Pavilion as a temporal composition. We reconstruct the Pavilion as nine ruled surfaces\, extract their governing ruling lines\, and subdivide each surface into structural lines and spatial sampling points. Four evenly spaced ruling lines per surface generate continuous string glissandi\, while 3\,357 sampled points develop five density-based energy blocks and a sparse brass and woodwind subsequence. Implemented in Python\, the system produces MIDI rendered in Ableton Live\, accompanied by a real-time 3D visualization that reveals architectural motion\, stasis\, and structural contrast through sound and image. In general\, this work paves the way for the transfer of architectural geometry as a performable musical structure\, extending Xenakis’s architectural and musical thinking to sonification and interactive music practice. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-10a-ai-sonification/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:15-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T110000
DTEND;TZID=Europe/Amsterdam:20260515T110000
DTSTAMP:20260613T203405
CREATED:20260421T195205Z
LAST-MODIFIED:20260515T080304Z
UID:10000100-1778842800-1778842800@icmc2026.ligeti-zentrum.de
SUMMARY:Excursion: Departure to Lübeck
DESCRIPTION:Buses to Lübeck depart from Hamburg University of Technology at 11 am on Friday. Please note that\, due to limited seating capacity\, only participants who have registered for the Lübeck excursion will be able to join. \nUpdate May 15: There are currently a few seats still available on the bus. If you would like to join the excursion spontaneously\, please come to the registration desk. \n  \nPick-up Location\nAm Schwarzenberg-Campus 5\n21071 Hamburg \n 
URL:https://icmc2026.ligeti-zentrum.de/event/excursion-departure-to-lubeck/
LOCATION:Hamburg University of Technology\, Building H\, Am Schwarzenberg-Campus 5\, Hamburg\, 21071\, Germany
CATEGORIES:15-05,Excursion to Lübeck
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T133000
DTEND;TZID=Europe/Amsterdam:20260515T150000
DTSTAMP:20260613T203405
CREATED:20260421T172624Z
LAST-MODIFIED:20260516T112612Z
UID:10000178-1778851800-1778857200@icmc2026.ligeti-zentrum.de
SUMMARY:Piece & Paper Session
DESCRIPTION:Music Program Overview\nLinear A\nChristopher Trapani\nBP clarinet: Sophie Kockler \nRituals of Forgetting and Remembering\nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya \n雨/Rain \nYuan Zhang and Xinran Zhang \n  \nPaper abstracts\nChristopher Trapani: “Linear A: A Composer’s Integrated Workspace”\nThis paper explores the tools used in the composition of Linear A for Bohlen-Pierce clarinet and electronics (2021). The piece explores the many ways a single microtonal line can be manipulated: echoed\, transposed\, splintered\, zig-zagged\, chopped into bubbling snippets\, and finally\, realigned into a closing chorale. Microtonal features in the bach library\, critical in both the planning and performance stages\, are exploited to pivot between fingerings and the precise non-tempered Bohlen-Pierce tuning. A notation interface uses a system of markers to visualize canonic replies in the electronics. This information is in turn used to generate a master file for real time score following with Antescofo~. The result is a dynamic\, flexible\, self-contained environment that accommodates the peculiarities of the project. \n  \nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya: “Magnetic Memory Rushnyk”\nIn what ways can two separate but traditionally gendered types of memory—symbolic embroidered memory encoded in ritualistic textile objects and magnetically encoded memory in historic aeronautical computing—intersect to create a performative decoding instrument? This paper introduces Magnetic Memory Rushnyk\, a woven score-instrument that synthesizes symbolic embroidered memory with hand-woven magnetic memory. The project investigates the convergence of ritual textile embroidery (historically used to carry social and generational meaning) with the ”core memory” techniques developed for early computing and aerospace contexts. By embedding magnetic elements into a traditional East Slavic rushnyk (ritual cloth)\, we create a single performative object where weaving serves as a material practice of memory-making. The installation is activated through a custom-built electromagnetic interface\, allowing performers to ”read” the cloth through touch\, gesture\, and sound. This work extends the Women’s Labor artistic research project\, moving from the sonification of domestic tools to the performative decoding of ritual objects\, proposing a model of memory that is materially durable and physically traversable. \n  \nYuan Zhang and Xinran Zhang: “Hexagram-Based Semantic Composition: Discretizing Embedding Spaces into Symbolic Compositional States for Improvised Performance”\nRecent AI-assisted composition systems often emphasize sound generation and continuous parameter control\, treating semantic embeddings as latent spaces for producing musical material. This paper proposes an alternative approach in which semantic computation supports compositional decision-making rather than sound generation. Building upon prior work on semantic-driven digital scores\, we introduce a method that extracts semantic embeddings from a composer-defined corpus and intentionally reduces and discretizes the resulting continuous space into hexagram indices. These indices are interpreted as symbolic compositional states\, not as predictors of musical content. Each state configures structural conditions — such as the balance between fixed and open score layers\, performer agency\, and degrees of stability and change — within which musical behavior may emerge. Hexagrams neither encode musical materials nor prescribe performer actions; instead\, they function as compact interfaces for selecting and constraining compositional worlds. An artistic example demonstrates how this hexagram-based discretization supports interpretable\, repeatable\, and open-ended improvisational performance within a digital score framework. By combining semantic embedding reduction with a highly compressed symbolic system\, this work reframes AI-assisted composition as a decision-oriented practice that assists composers in shaping musical worlds rather than automating sound production. \n  \nAbout the pieces & artists\nChristopher Trapani: Linear A\nThis paper explores the tools used in the composition of Linear A for Bohlen-Pierce clarinet and electronics (2021). The piece explores the many ways a single microtonal line can be manipulated: echoed\, transposed\, splintered\, zig-zagged\, chopped into bubbling snippets\, and finally\, realigned into a closing chorale. Microtonal features in the bach library\, critical in both the planning and performance stages\, are exploited to pivot between fingerings and the precise non-tempered Bohlen-Pierce tuning. A notation interface uses a system of markers to visualize canonic replies in the electronics. This information is in turn used to generate a master file for real time score following with Antescofo~. The result is a dynamic\, flexible\, self-contained environment that accommodates the peculiarities of the project. \nAbout the artists\nChristopher Trapani earned a Bachelor’s degree from Harvard\, then spent most of his twenties in London\, Istanbul\, and Paris\, where he studied with Philippe Leroux and worked at IRCAM.\nAt thirty he moved to New York City\, earning a doctorate at Columbia in 2017. He is currently Assistant Professor of Electronic Music and Digital Media at Louisiana State University.\nRecent commissions have come from Klangforum Wien\, Ensemble Modern\, and Radio France. His works have been heard at Carnegie Hall\, Southbank Centre\, Wiener Konzerthaus\, Ravenna Festival\, and Wigmore Hall.\nChristopher is a Guggenheim Fellow (2019)\, winner of the Rome Prize (2016) and the Gaudeamus Prize (2007). Waterlines\, his debut portrait CD\, was released on New Focus Recordings in 2018\, followed by Horizontal Drift in 2022 and Noise Uprising in 2024.\nChristopher splits his time between his hometown of New Orleans and his European base in Palermo\, Sicily.\nFor more information: www.christophertrapani.com \nBP clarinet: Sophie Kockler \n  \nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya: Rituals of Forgetting and Remembering\nRituals of Forgetting and Remembering is a performance work for three interrelated instruments: the new Magnetically Memory Rushnyk\, the EM Embroidery Hoop\, the Embedded Iron\, together with ritualistic found objects. Together\, these instruments explore gestures of women’s domestic and ritual labour\, activated as sound.\nThe work responds to forms of labour that are historically taken for granted and structurally forgotten—embroidering\, weaving\, ironing\, maintaining—labour that sustains life yet leaves little trace. The Rushnyk functions as a woven site of memory\, carrying patterned inscription through embroidery and embedded magnetic structures. It is activated through performance rather than display.\nThe EM Embroidery Hoop\, developed in Housework Commons\, operates as an electromagnetic sensing instrument. As performers move the hoop across the surface of the cloth\, variations in proximity\, speed\, and pressure are translated into sound. It decodes signals that are invisible and inaudible through performance gesture. The Embedded Iron\, likewise developed in earlier Women’s Labor works\, extends this reading through acts of pressing\, hovering\, and traversal. Gestures associated with smoothing\, care\, and repetition—often understood as erasing traces—are refigured as acts that reveal and activate what is embedded in the cloth.\nSound in Rituals of Forgetting and Remembering does not emerge through instantaneous access or clean retrieval. It unfolds through physical effort\, friction\, and sustained engagement. Memory is encountered as something that must be worked for: activated through the body\, maintained through repetition\, and made audible through care.\nBy treating textile gestures as both labour and performance\, the work reframes forgotten memory\, rituals\, and techne and their remembering as intertwined processes. The piece offers remembering not as representation\, but as embodied practice—enacted through textiles\, tools\, and the persistence of women’s work across time. \nAbout the artists\nHo\, Schedel\, and Yuditskaya form the core team for Women’s Labor\, presenting work internationally at venues including the Smithsonian Museum (Washington\, D.C.)\, Goethe Lounge (Sydney)\, and Governors Island (New York). \nDr. Jocelyn Ho is an internationally acclaimed pianist\, multidisciplinary artist\, theorist\, and composer whose work integrates embodied performance\, multimedia technologies\, and audience interaction to reimagine contemporary concert practices. She has published on embodied cognition\, gesture\, music and technology\, and early recording analysis\, and is a Lecturer at the Sydney Conservatorium of Music. \nDr. Margaret Schedel is an interdisciplinary researcher and Professor of Music at Stony Brook University\, and Co-Director of the Human-Centered Computing group at the Institute for Advanced Computational Science. Her work bridges sound art\, AI\, and human-centered applications\, including machine learning in creative practice and neurorehabilitation. \nDr. Sofy Yuditskaya is a site-specific media artist and educator working with sound\, interactivity\, code\, and salvaged material. Her practice explores techno-occult ritual\, participatory performance\, and the entanglements of technology\, petro-culture\, and consciousness. She is research faculty at De Vinci Higher Education in Paris. \n  \nYuan Zhang and Xinran Zhang: 雨/Rain\nRain / 雨 is a digital-score composition that explores how semantic meaning can be translated into performative musical states. The work begins with Chinese poetic fragments related to rain\, which are processed through language embeddings and mapped onto hexagram-based structures. Rather than using AI to generate musical material directly\, the system uses semantic computation to select symbolic states that shape the behaviour of the score. \nThe resulting digital score presents six animated layers\, corresponding to the six lines of a hexagram. These layers guide density\, gesture\, continuity\, and interaction\, while leaving space for performer agency. For this ICMC presentation\, Rain is presented as one realization of the same digital score\, whose identity lies not in fixed instrumentation\, but in its semantic state\, layered score behaviour\, and shared field of listening. In this work\, “rain” emerges not as a fixed image or sound effect\, but as a field of resonance\, accumulation\, and transformation. \nAbout the artists\nYuan Zhang\, Central Conservatory of Music\nYuan Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music and holds a PhD in Electronic Music Composition. She is a core member of the Digital Score Laboratory\, a collaboration with the European Research Council (ERC)\, and translated the Chinese edition of The Digital Score: Musicianship\, Creativity and Innovation.\nHer work focuses on digital scores\, semantic-driven composition\, and performer-centered AI systems. She served as Conference Organising Chair for TENOR 2025 and edited the conference proceedings. \nXinran Zhang\, Central Conservatory of Music\nXinran Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music and holds doctoral degrees in engineering and the arts. His research focuses on music signal processing and language models. He has published over 20 papers in venues including ACL and IEEE\, serves as a guest editor for IEEE Transactions on Computational Social Systems\, and was the global champion of Track A in the 2023 Sound Demixing Challenge. He edited the proceedings of SOMI 2023. \n  \nVolunteers\nSession Chair\nViola Yip \nSound Engineering \nIlia Viazov\nAssistants\nSeha Kim \n 
URL:https://icmc2026.ligeti-zentrum.de/event/piece-paper-session-lubeck/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Piece & Paper,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T153000
DTEND;TZID=Europe/Amsterdam:20260515T163000
DTSTAMP:20260613T203405
CREATED:20260421T144302Z
LAST-MODIFIED:20260421T144302Z
UID:10000173-1778859000-1778862600@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | James Andy Moorer: History of Computer Music from Mathews to "Man in the Mangroves"
DESCRIPTION:The origins of computer music promised unlimited freedom for composers to make music using sounds that no acoustic instrument could make. This freedom comes with a price. Composing a computer-synthesized piece involves an extra step. You do not just choose the instruments in your ensemble\, but you must also build the orchestra. Over the last 70 years\, we have evolved a wide range of techniques for music synthesis. We have reduced the burden of building the orchestra creation but have not eliminated it.  \nThe creation of “The Man in the Mangroves Counts to Sleep” illustrates this process. About half of the work went to building the computer-based tools for the specialized form of voice synthesis needed for orchestration of the poem. After all these years\, it is clear that there is more to be done to reduce the effort required ofthe composer in bringing the sounds from our imagination into reality. This talk will illustrate some of the problems that had to be solved in the realization of the piece.  \n  \nJames Andy Moorer\nJames A. Moorer is an internationally-known figure in digital audio and computer music\, with over 40 technical publications and many patents to his credit. In 1991\, he won the Audio Engineering Society Silver award for lifetime achievement. \nIn 1996\, he won an Emmy Award for Technical Achievement with his partners\, Robert J. Doris and Mary C. Sauer for Sonic Solutions/NoNOISE for Noise Reduction on Television Broadcast Sound Tracks. \nIn 1999\, he won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award (oscar) – for his pioneering work in the design of digital signal processing and its application to audio editing for film. \nHe is currently retired. \nFrom 1987-2001\, Dr. Moorer has served as Senior Vice President for Advanced Development at Sonic Solutions\, and is responsible for the NoNOISE package for restoration of vintage recordings. \nFrom 1986 to 1987\, Dr. Moorer consulted for NeXT\, Inc.\, on DSP software architecture for audio processing. \nFrom 1985 to 1986\, he was the chief technical officer at the Lucasfilm Droid Works. \nFrom 1980 to 1985\, he was the digital audio project leader at Lucasfilm\, Ltd. From 1977-1980\, he was the Reponsable Scientifique (technical advisor) at IRCAM in Paris. \nFrom 1975 to 1977\, he was a founder and co-director of the Stanford Computer Center for Research in Music and Acoustics. \nFrom 1968 to 1972\, he was a professional programmer at the Stanford Artificial Intelligence Laboratory. \nDr. Moorer holds a PhD in Computer Science from Stanford University\, granted in 1975. Prior to that\, Dr. Moorer earned an S.B. in Applied Mathematics from MIT in 1968\, and an S.B. in Electrical Engineering from MIT in 1967. \n  \n  
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-james-andy-moorer-history-of-computer-music-from-mathews-to-man-in-the-mangroves/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T170000
DTEND;TZID=Europe/Amsterdam:20260515T190000
DTSTAMP:20260613T203405
CREATED:20260421T113808Z
LAST-MODIFIED:20260516T112728Z
UID:10000161-1778864400-1778871600@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Shelly Knotts\, Daniel Ratliff and Lucy Whalley: Sonification and the Space In-Between: Bridging Scientific Inquiry and Musical Practice
DESCRIPTION:Sonification has a long history within computer and electronic music\, with composers—such as Clarence Barlow\, Alvin Lucier and Laurie Spiegel—using data as a compositional tool. At the same time\, sonification is an established tool in scientific inquiry\, where it has been used for purposes ranging from the sonification of astronomical phenomena for public outreach\, to the analysis and communication of long-term environmental data. This workshop explores the rich interdisciplinary space that lies between computer music composition and scientific inquiry\, focusing on sonification as a shared methodology\, bridging between disciplines\, rather than a discipline-specific technique. Participants will be introduced to interdisciplinary working practices that support the identification of shared concerns and the development of common understanding when designing sonifications\, as well as software tools and computational workflows that enable collaborative work. The workshop will be led by researchers working together as part of the interdisciplinary project Sonic Intangibles\, and within their own domains of Sound Art\, Live Coding\, Mathematics and Computational Physics. By emphasising interoperability and participation\, this workshop aims to explore how sonification can generate increased discourse between\, and mutual benefit for\, musical and scientific communities. \n  \nRequirements\nThe workshop is accessible to a broad audience in computer music\, with the only pre-requisite being some familiarity with any programming language. Attendees will be asked to install a local version of Supercollider ahead of the workshop\, and will need to bring a laptop and headphones for the final part of the workshop. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitators\nShelly Knotts produces live-coded and network music performances and projects which explore aspects of code\, data and collaboration in improvisation\, and has performed and presented her work at numerous events worldwide. Based in Newcastle Upon Tyne\, UK\, she performs internationally\, collaborating with computers and other humans. She is currently a Post-doctoral Research Fellow on the Sonic Intangibles project at Northumbria University.\nIn 2021-23 she was an Artist-in-Residence on the Heritage Lottery funded Seascapes project\, working with communities in Sunderland. In 2016-2021 she worked on research projects around the use of AI\, data and networks in improvisation and composition and related social themes at Durham University (UK)\, Monash University (AUS)\, Newcastle University (UK) and McMaster University (CA). She completed a PhD in Live Computer Music at Durham University in 2018.\nIn 2017 she was a winner of BBC Radiophonic Workshop and PRSF ‘The Oram Awards’ for innovation in sound and music.\nShe has taught numerous creative coding workshops at conferences\, festivals\, universities and cultural institutions worldwide\, and runs Creative Code Club — an informal and inclusive gathering of people interested in the practices and cultures of creative coding — at The NewBridge Project\, an artist-led space in Newcastle Upon Tyne. \n  \nDaniel Ratliff is an associate lecturer at Northumbria university (2020-present)\, specialising in interdisciplinary approaches to waves across physics and beyond. He works internationally to connect concepts across mathematics\, oceanography\, statistical physics and space science to advance our understanding of these topics and bridge the disciplinary gaps that often separate these fields.\nHe has delivered several public engagement events (including Newcastle’s Pint Of Science in 2023 and 2025 and public lectures at Newcastle’s Lit and Phil)\, has organised and delivered two 14-week research project for KS3 students at a local school via the ORBYTS initiative and both designed and delivered a number of targeted Researcher skills workshops for the PGR student cohorts at Northumbria University. \n  \nLucy Whalley is an Associate Professor in Physics at Northumbria University whose work spans quantum chemistry\, materials modelling and interdisciplinary scientific and creative practices. Her research is centred around the use of computational techniques and high performance computing to investigate the atomic-scale behaviour of materials\, particularly in contexts relevant to renewable energy.\nLucy is co-lead of the Sonic Intangibles project which explores how interdisciplinary practice across computer music\, ethnography and the physical Sciences can enable sonification as a tool for research and communication. She is also a member of SDF\, an experimental electronic musiccollective whose work has been released through Lost Map Records and performed at venues including Iklektic (London) and Summerhall (Edinburgh).\nLucy is a Software Sustainability Institute Fellow and Associate Editor at the Journal of Open Source Software\, reflecting her interest and advocacy for open and and sustainable software development. She currently teaches programming\, quantum mechanics and computational Physics at university Level. \n  \nVolunteers\nSound Engineering \nGoeun Kim
URL:https://icmc2026.ligeti-zentrum.de/event/workshop-shelly-knotts-et-al-sonification-and-the-space-in-between-bridging-scientific-inquiry-and-musical-practice/
LOCATION:Lübeck University of Music: Holstentorhalle\, Chorsaal\, Wallstraße 2\, Lübeck\, 23554\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T170000
DTEND;TZID=Europe/Amsterdam:20260515T190000
DTSTAMP:20260613T203405
CREATED:20260421T121755Z
LAST-MODIFIED:20260516T112814Z
UID:10000166-1778864400-1778871600@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Pierre Alexandre Tremblay\, Nicola Leonard Hein and Gilbert Nouno: Dialogues with Improvising Machines: an Embodied Cross-Testing Workshop on Musical Agents
DESCRIPTION:This 2.5-hour workshop examines four musical agent systems through a structured process of presentation\, performance\, collective listening\, and critical discussion. It addresses a central contemporary question in computer music: how the design of musical agents encodes particular modes of listening\, interaction\, and agency\, and how these design choices shape musical practice.\nThe workshop adopts a commented comparative-phenomenological methodology. It showcases four musical agent systems selected from an open call\, which are presented in turn\, each offering a distinct approach to interactive and improvisational musical behavior. These systems have been developed using different programming languages\, creative coding environments\, and technical frameworks\, reflecting the diversity of current practices in the field. Their comparison will therefore highlight not only aesthetic and compositional differences\, but also the ways in which specific tools and technical architectures condition musical affordances.\nFor each system\, the creator will quickly introduce its technical design\, musical aims\, and underlying assumptions. This will be followed by a short performance by the system’s author\, two exploratory performances by other workshop participants\, and a discussion with participants and attendees. The emphasis throughout will be on the system’s interactional qualities\, its encoded listening strategies\, and the forms of musical agency that emerge in performance.\nThe final part of the workshop will be devoted to a comparative discussion of the four systems\, with the aim of articulating shared vocabulary\, critical perspectives\, and possible evaluation criteria for improvising and interactive musical agents. In doing so\, the workshop seeks to contribute to ongoing discourse on the role of bias\, intention\, and technological mediation in musical system design. This closing conversation will reflect on the different forms of musical interaction that emerged\, and consider how we might develop shared vocabulary\, aims\, and evaluation criteria for improvising and interactive musical agents.\nThe workshop is intended for composers\, improvisers\, performers\, creative coders\, and researchers interested in interactive systems\, machine listening\, and AI in music. It particularly welcomes participants who wish to think critically about what it means to compose with\, perform with\, or delegate agency to computer-based musical systems.\nBy creating a space for presentation\, experimentation\, and peer critique\, the workshop aims to deepen discussion around the role of encoded listening in musical agent systems and the musical practices that emerge from it.\nThe workshop is led by Pierre Alexandre Tremblay (Conservatorio della Svizzera italiana)\, Nicola Leonard Hein (University of Music Lübeck)\, and Gilbert Nouno (Haute école de musique de Genève)\, whose artistic and research practices span composition\, improvisation\, creative coding\, and interactive systems. \n  \nRequirements\nListen and Discuss. \nThis workshop will be filmed and participants may also appear in photo or video recordings. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitators\nPierre Alexandre Tremblay is a composer and performer on bass guitar and electronic devices\, in solo and Group settings\, between electroacoustic music\, contemporary jazz\, mixed music and improvised music. He also worked in popular music and practices critical creative coding. His music is available on empreintes DIGITALes.\nHe studied composition with Michel Tétreault\, Marcelle Deschênes\, and Jonty Harrison; bass guitar with JeanGuy Larin\, Sylvain Bolduc\, and Michel Donato; Analysis with Michel Longtin\, and Stéphane Roy; and studio technique with Francis Dhomont\, Robert Normandeau\, and Jean Piché.\nPierre Alexandre was Professor of Composition and Improvisation at the University of Huddersfield (England\, UK) from 2005 to ’24\, where he anchored the ERCsupported Fluid Corpus Manipulation project. In September 2024\, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition.\nHe likes spending time with his family\, reading prose\, and going on long walks. \nDr. Nicola Leonard Hein is a sound artist\, guitarist\, composer\, and researcher in music aesthetics and cybernetics. He is a professor of Sound Arts & Creative Music Technology\, as well as the artistic director of the studio for electronic music at the University of Music Lübeck.\nHe holds a Ph.D. from Columbia University\, where he conducted extensive research in Critical Improvisation Studies and Human-Machine Improvisation\, working with George E. Lewis. His work is determined by the interaction of sound\, space\, light\, movement\, and the emergent dynamics of aesthetic systems. He fuses cybernetic human-machine interaction with interactive AI music systems\, augmented reality\, telematic real-time art\, ambisonic sound projection\, instrument-making\, and conceptual compositions. With the support of the Goethe-Institut and numerous other institutions\, his works have been realized in over 30 countries. Presentations of his work have taken place at MaerzMusik Festival (Berlin)\, Ars Electronica (Linz)\, Moers Festival\, A L’ARME! FESTIVAL (Berlin)\, Super Deluxe (Tokyo)\, Sonica Festival (Glasgow)\, Experimental Intermedia (New York)\, and many more. \nGilbert Nouno composes\, codes\, improvises\, and teaches at the Haute école de musique de Genève\, where he leads the CIMME (Interdisciplinary Center for Experimental Music and Media). He likes to blend sound with image\, and technology with the gestures of performance. Moving between tangible matter and dematerialized material\, his hybrid works invite audiences to cross the ever-shifting boundary between human and machine. With artificial intelligence\, he explores new playgrounds to expand improvisation\, rethink performance\, and imagine augmented artistic practices.\nThis approach is embodied in works such as SINE (2024)\, a performative multimedia piece in which gesture drives sound and video within an immersive\, AI-based audiovisual environment. A laureate of the Villa Kujoyama in Kyoto and the Académie de France à Rome Villa Medici\, he has shared stages\, studios\, and creative adventures with composers Pierre Boulez\, Jonathan Harvey\, Olga Neuwirth\, saxophonist Steve Coleman\, flutist Magic Malik\, choreographer Léo Lérus\, scenographer Jean Kalman\, and stage director Pierre Audi. \n  \nVolunteers\nSound Engineering \nEduardo Loria \n 
URL:https://icmc2026.ligeti-zentrum.de/event/workshop-pierre-alexandre-tremblay-et-al-dialogues-with-improvising-machines-an-embodied-cross-testing-workshop-on-musical-agents/
LOCATION:Lübeck University of Music: Ehemalige Bundesbank\, Schalterhalle\, Holstentorplatz 2\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T183000
DTEND;TZID=Europe/Amsterdam:20260515T213000
DTSTAMP:20260613T203405
CREATED:20260415T122932Z
LAST-MODIFIED:20260417T115457Z
UID:10000124-1778869800-1778880600@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Sound Bar: "Sono\, ergo sum." – I sound\, therefore I am.
DESCRIPTION:Photo: Soundbar Kollektiv\n  \nThe Soundbar is a performative pop-up bar that brings together socializing\, drinks\, and jam sessions. It serves as a workshop and experimental space\, offering an environment for exploring sound\, finding inspiration\, and connecting with others. What does your favorite drink sound like? Join us for Soundbar’s vibrant sound journeys. Let your glasses sing and discover new levels of sensory experience at the bar.  no registration required \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:https://icmc2026.ligeti-zentrum.de/event/off-icmc-sound-bar-sono-ergo-sum-i-sound-therefore-i-am/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:15-05,Music,Off-ICMC,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T193000
DTEND;TZID=Europe/Amsterdam:20260515T203000
DTSTAMP:20260613T203405
CREATED:20260415T123232Z
LAST-MODIFIED:20260417T115504Z
UID:10000125-1778873400-1778877000@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Experimental Reading: Harburg. Das Buch – Excursions in Voice\, Photo & Music (German)
DESCRIPTION:Credits: Junius Verlag\n  \nAuthor Bärbel (Bascha) Wegner\, photographer Steven Haberland\, and musician Clarks Planet bring together text\, images\, and sound in a multi-layered exploration of the city of Harburg. Storytelling meets improvised music\, photographs interact with sound and field recordings.  \nThe familiar takes on new shapes\, improvisation unfolds—opening up fresh perspectives on the neighborhood\, not least from the vantage point of the Production Lab on the 10th floor.  \nIn German only.\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-experimental-reading-harburg-das-buch-excursions-in-voice-photo-music-german/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:15-05,Music,Off-ICMC,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T200000
DTEND;TZID=Europe/Amsterdam:20260515T220000
DTSTAMP:20260613T203405
CREATED:20260421T171512Z
LAST-MODIFIED:20260516T112406Z
UID:10000177-1778875200-1778882400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 5B (Lübeck)
DESCRIPTION:Program Overview\nFound Violin x Aromantic Hobby \nDong Zhou \nThe Letter\nMinho Kang \nTidal Unit for Sonic Activities\nIlia Viazov \nTokens & Strings: an improvisation between an electric guitarist and a local LLM\nOlivier Jambois \nRhythmic Traces | Twisted Electronics\nNicola Leonard Hein \nMoloch whose mind is pure machinery!\nEric Lyon \nImprovising Machine #7325: Inside My Trumpet\, Again\nJeff Kaiser \n  \nAbout the pieces & artists\nDong Zhou: Found Violin x Aromantic Hobby \nFound Violin is an improvisation system that treats the violin as just one of many sound objects. Since late 2024\, Dong Zhou has started to develop Aromantic Hobby\, a series of strap-on midi controllers. After a few prototypes\, the current controller features a bunny-shaped appearance and wirelessly transmits kinetic data from the wearer to control a chaotic synthesizer. With Found Violin played with the upper body and Aromantic Hobby on on lower body\, the musician plays a duo with themselves. \nAbout the artist\nDong Zhou is a composer-performer based in Hamburg. Zhou gained a B.A. in music engineering at the Shanghai Conservatory and an M.A. in multimedia composition at the Hamburg University of Music and Drama. Zhou won several prizes\, including the first prize in the 2018 ICMC Hacker-N- Makerthon\, the finalist of the 2019 Deutscher Musikwettbewerb\, the Nota-n-ear Award 2022\, and the shortlist of the 2025 Giga-Herz Pop Experimental Production Award. Zhou had works included in the ‘Sound of World’ Microsoft ringtones collection and was commissioned by festivals and institutions such as the Shanghai International Art Festival\, ZKM Karlsruhe\, Stimme X Festival\, etc. Zhou is currently a doctoral candidate in ICAM of Leuphana University. \n  \nMinho Kang: The Letter\nThe Letter is a work of consolation created using an FFT Channel Vocoder with Additive Synthesizer. \nHistorically\, the vocoder was developed during wartime to enable communication among allies. It reduces wideband speech to a narrower band for transmission and then reconstructs it at the receiver. In short\, a vocoder sends important words over distance and makes their faint traces audible again.\nAs a composer\, creating music is much the same. I keep listening to people and the world\, their voices. Then\, I compress\, interpret\, and reassemble those words in my own terms and offer them back as a piece.\nUnlike the vocoder’s original purpose\, in a time when war is no longer shocking news\, I wanted to use this technology to carry comfort. The lyrics come from a poem I wrote during my military service to endure a hard period (not in combat). This piece does not present a political agenda; it is a letter to anyone facing painful circumstances\, on any side\, in any degree. \nTechnically\, I aimed to design a vocoder with greater precision than a conventional channel vocoder. Instead of using bandpass filters\, I applied Fast Fourier Transform (FFT) analysis to collect more detailed and accurate amplitude information\, which allowed clearer rendering of vowel formants. This approach led to the creation of a Max for Live (M4L) FFT Channel Vocoder patch.\nI also developed an Additive Synthesizer M4L patch capable of producing a wide spectrum of sounds\, from pure sine waves to noise. When combined with the vocoder\, this synthesizer allows the clarity and harmonicity of speech to change according to the lyrics. Since the text relates to the transformation of light\, I used this Additive Synthesizer to achieve a tone painting that reflects those luminous changes. \nAbout the artist\nMinho Kang is a Korea-born composer and computer musician. His artistic interests\, which began in popular music and moved into contemporary music\, have expanded into electronic music at the intersection of technology and art. Drawing on introspective reflection and close observation of the world\, he brings diverse imaginings into his works.\nHis music has been presented at conferences and festivals including SEAMUS\, ICMC\, and the TurnUp Multimedia Festival. He completed his bachelor’s degree at Indiana University\, where he studied composition with Jeremy Podgursky\, Aaron Travers\, P. Q. Phan\, David Dzubay\, and Don Freund\, and electronic music with John Gibson and Chi Wang at the Center for Electronic and Computer Music. \n  \nIlia Viazov: Tidal Unit for Sonic Activities\nPerformance-presentation of tusa (Tidal Unit for Sonic Activities). Tusa is a framework for Tidal Cycles live-coding environment that binds together different parts of the application in one Bash executable. It is an attempt to accomplish Tidal Cycles\, expanding it to a software DMI. It seeks to fulfill essential needs during performance with the environment\, keeping the setup very minimal yet sturdy\, while remaining modular and extendable. The framework allows the user access to the interpreter\, text editor\, reference window and server during live-coding practices.\nThe performance is aimed on live-coding improvisation with machine learning tools using spatialisation synthesis techniques. \nAbout the artists\nIlia Viazov (born in 1999 in Voronezh\, Russia) is a composer and sound artist working at the intersection of electronic music\, performance\, self-built instruments\, machine learning\, and software development. His personal and collaborative works have been presented at and supported by Ars Electronica Festival\, platformB Stuttgart\, and Darmstädter Ferienkurse. He is developing the framework tusa for Tidal Cycles live-coding environment\, a terminal implementation that allows the user run it locally\, fully interact with all parts of the environment and extend it. \nSoftware Development: Ilia Viazov and Nicola L. Hein \n  \nOlivier Jambois : Tokens & Strings: an improvisation between an electric guitarist and a local LLM\nThis performance explores a real-time co-creation between a human performer and a machine\, specifically investigating the improvisational capabilities of Large Language Models (LLMs) within a musical context. The project originates from an inquiry into the potential of using established LLM architectures —notably the one behind ChatGPT— as responsive\, autonomous improvisational partners. \nA primary challenge in this research is the nature of the LLM: as these models are designed for symbolic processing rather than direct audio generation\, the system must bridge the gap between acoustic signals and semantic analysis. A secondary challenge lies in giving the LLM “a voice”. \nA portable system was developed using a local LLM that listens to the guitar in real time and generates a pattern for a minimal drum set. The pattern is then routed through a RAVE module (Real-time Audio Variational auto-Encoder\, developed by IRCAM)\, allowing the raw source to be transformed into a more sophisticated timbric sound. \nWhile local models typically feature smaller reasoning capacities\, the system has been optimized for musical generation and inference speed through careful prompt design and constraint-based logic. This opens the door to a responsive dialogue between the musician and the LLM-based machine\, making this live exploration possible. \nAbout the artist\nOlivier Jambois is a guitarist\, composer\, and researcher working at the intersection of acoustic tradition\, analog electronics\, and digital innovation. He holds a PhD in condensed matter physics and a master’s degree in jazz and modern music\, a dual background that defines his analytical yet avant-garde approach to music.\nHe has won the Jazz à Vienne national competition in 2012\, received “Revelation” honors from Jazz Magazine for his album “Les composantes invisibles” and a grant from the Generalitat de Catalunya to support his research into DIY magnetic tape echoes (2023). He has published several albums\, performed at major european festivals. His 2025 release\, Eclosió\, featuring drummer Jim Black\, reflects his ongoing involvement in the contemporary improvisation scene.\nHe is currently professor and researcher at ENTI\, University of Barcelona\, Spain. His research focuses on AI and generative systems. \n  \nNicola Leonard Hein: Rhythmic Traces | Twisted Electronics\nThe piece Rhythmic Traces|Twisted Electronics deals with the question of how the integration of the body and skin resistance into the circuit of an analog synthesizer(Buchla Music Easel) and the connection with a machine learning-based musical agent system(SuperCollider) can change the tonal and rhythmic fluidity of the instrument and develop it beyond its limits. For this piece\, Nicola Leonard Hein uses a unique circuit-bending controller that completely alters the musical reading of the 1970s Buchla Music Easel. Furthermore\, he uses a multi-effect unit programmed in SC and realized with a Bela Microcomputer. Hein’s musical agent learns to interact musically\, creating the music in real time together with Hein on the synthesizer and developing the interaction between a human and a machine musical voice. The systemic economy of movement and the interaction with the AI musical agent create polyphonic rhythmic\, tonal\, and spatial structures. The piece focuses on the emergent Dances of Agency (Pickering). \nAbout the artist\nDr. Nicola Leonard Hein is a sound artist\, guitarist\, composer\, and researcher in music aesthetics and cybernetics. He is a professor of Sound Arts & Creative Music Technology\, as well as the artistic director of the studio for electronic music at the University of Music Lübeck.\nHe holds a Ph.D. from Columbia University\, where he conducted extensive research in Critical Improvisation Studies and Human-Machine Improvisation\, working with George E. Lewis. His work is determined by the interaction of sound\, space\, light\, movement\, and the emergent dynamics of aesthetic systems. He fuses cybernetic human-machine interaction with interactive AI music systems\, augmented reality\, telematic real-time art\, ambisonic sound projection\, instrument-making\, and conceptual compositions. With the support of the Goethe-Institut and numerous other institutions\, his works have been realized in over 30 countries. Presentations of his work have taken place at MaerzMusik Festival (Berlin)\, Ars Electronica (Linz)\, Moers Festival\, A L’ARME! FESTIVAL (Berlin)\, Super Deluxe (Tokyo)\, Sonica Festival (Glasgow)\, Experimental Intermedia (New York)\, and many more. \n  \nEric Lyon: Moloch whose mind is pure machinery!\nAllen Ginsburg’s poem Howl was published in 1956\, the same year as the Dartmouth Summer Research Project on Artificial Intelligence. The two events portend seemingly incompatible futures that nonetheless are both with us now. A bursting forth of cultural chaos in an “armed madhouse” and the technocratic reduction of intelligence to code. Ginsburg’s poem’s ritualistic and repetitive rant about Moloch inspired this performance\, a tone poem that derives its sounds from two main sources – AI-generated music and the OB-Xd virtual analog synthesizer VST plugin manipulated using the Slewable Utility for Random Parameters (SLURP) designed by the composer. The performance interface consists of a Korg nanoKONTROL2 unit and the Google MediaPipe face landmarker. \nAbout the artist\nEric Lyon is a composer and audio researcher focused on high-density loudspeaker arrays\, dynamic timbres\, virtual drum machines\, and performer-computer interactions. His audio signal processing software includes “FFTease” and “LyonPotpourri.” He has authored two computer music books\, “Designing Audio Objects for Max/MSP and Pd\,” a guidebook for writing audio DSP code for live performance\, and “Automated Sound Design\,” a book that presents technical processes for implementing oracular synthesis and processing of sound across a wide domain of audio applications. He has written extensively about the possibilities of multichannel spatial audio. In 2016-17\, Lyon was guest editor for the Computer Music Journal on Volume 40(4) and 41(1) covering various aspects of High-Density Loudspeaker Arrays (HDLAs). \nIn 2015-16\, Lyon architected both the Spatial Music Workshop and Cube Fest at Virginia Tech to support the work of other artists working with HDLAs. In 2025 he co-created the Spatial Audio Tidepool to provide technical instruction for creative uses of high-density loudspeaker arrays. Lyon’s compositional work has been recognized with a ZKM Giga-Hertz prize\, MUSLAB award\, the League ISCM World Music Days competition\, and a Guggenheim Fellowship. Lyon teaches in the School of Performing Arts at Virginia Tech\, and is a Faculty Fellow at the Institute for Creativity\, Arts\, and Technology. \n  \nJeff Kaiser: Improvising Machine #7325: Inside My Trumpet\, Again\n“Improvising Machine #7325: Inside My Trumpet\, Again” places the audience inside a trumpet\, exploring the instrument’s interior sonic world through an immersive human–machine improvisation system. The work is built from an extensive\, purpose-built sample library captured by placing microphones deep within the instrument. These samples document the mechanical sounds and embodied actions of trumpet performance without the instrument being played traditionally—collections of the sound of valves descending\, springs releasing\, air being compressed and released by slides\, valve caps loosening\, spit-valve gurgles\, and a range of non-tonal lip\, air\, and tongue sounds produced through the mouthpiece and leadpipe. \nTwenty-eight autonomous virtual agents (“robots”)\, authored by the composer in Max/MSP and hosted in Ableton Live\, inhabit a 360-degree ambisonic field surrounding the audience. Each agent draws from its own subset of the sample library and listens to the live trumpet performance in real time. Their behaviors fluctuate between responsive and indifferent\, generating shifting environments that range from highly chaotic to unexpectedly calm. As a result\, the improvising performer becomes entangled with a machine ensemble that both reflects and subverts the human gestures\, creating a continuously changing dialogue between human and technological agents. \nAbout the artist\nJeff Kaiser is a trumpet player\, media technologist\, and scholar. Classically trained as a trumpet player and composer\, Kaiser now takes an integrative\, systemic view that involves his traditional instrument\, emergent technology (in the form of custom interactive/generative software and hardware interfaces)\, space\, and audience: all being critical and integral participants in his performances. He gains inspiration and ideas from the rich history of experimental improvisation and composition\, as well as cognitive science\, and the vast timbral and formal affordances provided by combining traditional instruments with new and repurposed technologies. The roots of his music are firmly in the experimental traditions within jazz\, improvisation\, and Western art music practices. Kaiser is currently Associate Professor of Music Technology and Composition at the University of Central Missouri. \nMore information at https://jeffkaiser.com/ \n  \nVolunteers\nTechnical Director / FOH\nKris Kuldkepp \nAssistants\nGoeun Kim\nGrigorii Osipov \n 
URL:https://icmc2026.ligeti-zentrum.de/event/evening-concert-5b-lubeck/
LOCATION:Lübeck University of Music: Großer Saal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Concert,Excursion to Lübeck,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T223000
DTEND;TZID=Europe/Amsterdam:20260515T223000
DTSTAMP:20260613T203405
CREATED:20260421T195201Z
LAST-MODIFIED:20260505T105233Z
UID:10000101-1778884200-1778884200@icmc2026.ligeti-zentrum.de
SUMMARY:Excursion: Departure (Return) to Hamburg
DESCRIPTION:Buses returning to Hamburg will depart from Lübeck at 10:30 p.m. Please note that\, due to limited seating capacity\, only participants who have registered for the Lübeck excursion will be able to use the arranged shuttle service back to Hamburg. \n\nPick-up locationWallstraße 16\n23560 Lübeck
URL:https://icmc2026.ligeti-zentrum.de/event/excursion-departure-return-to-hamburg/
LOCATION:Pick-up Location (Lübeck Excursion | Return to Hamburg)\, Wallstraße 16\, Lübeck\, 23560\, Germany
CATEGORIES:15-05,Excursion to Lübeck
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
END:VCALENDAR