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X-WR-CALDESC:Events for ICMC HAMBURG 2026
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DTSTART;TZID=Europe/Amsterdam:20260516T090000
DTEND;TZID=Europe/Amsterdam:20260516T103000
DTSTAMP:20260613T162030
CREATED:20260415T142737Z
LAST-MODIFIED:20260511T161933Z
UID:10000102-1778922000-1778927400@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 11: Studio Reports I
DESCRIPTION:Session Chair: Dong Zhou\n  \nPaper abstracts\nTakeyoshi Mori: “Studio Report: Laboratory of Advanced Music Production\, Senzoku Gakuen College of Music”\nThe Laboratory of Advanced Music Production at Senzoku Gakuen College of Music explores new forms of artistic expression through the integration of music and technology. Our mission is to expand the possibilities of music creation\, performance\, and listening beyond the framework of traditional music research and practice. The Laboratory brings together artists\, engineers\, and researchers in a collaborative environment that integrates education\, creative production\, research\, and international\nexchange. The facility supports immersive and technology-driven artistic work\, including multichannel and spatial audio systems\, multi-projection environments\, and motion-capture technologies. These systems can be flexibly combined through a dedicated high-speed media network within the college campus\, enabling large-scale and experimentally oriented productions. This studio report introduces the structure\, facilities\, and activities of the Laboratory\, outlining its research and creative directions in the field of computer music. By sharing our work with the international community\, we aim to contribute to the ongoing development of technologically informed musical expression. \n\nJosé Ricardo Barboza and Gilberto Bernardes: “Studio Report: A Third-Order Periphonic Ambisonics System for Teaching and Research at FEUP and INESC TEC’s SMC Lab”\nWe present the design\, implementation\, and educational deployment of a third-order periphonic Ambisonics loudspeaker system at the FEUP and INESC TEC’s Sound and Music Computing Lab. The installation comprises twenty lightweight coaxial loudspeakers mounted at the vertices of a dodecahedral layout in four elevation rings\, yielding symmetric sampling of the sound field around a central sweet spot. The system decodes 16 higher-order Ambisonics (HOA) channels (N=3) to 20 outputs and was specified to be laptop-friendly\, cross-platform\, and cost-effective. We justify the choice of HOA over Dolby Atmos and Wave Field Synthesis and detail the geometric derivation of loudspeaker directions\, practical mounting solutions\, and a calibration workflow that combines precise mechanical alignment with decoder-level angle and gain compensation. Over four years of continuous use\, the array has supported courses\, theses\, and studio projects in immersive audio\, with consistent reports of convincing externalization and localization despite modest driver fidelity. We share azimuth/elevation coordinates and integration notes for open-source Ambisonics tools\, enabling reproducibility and rapid onboarding for new users. The system offers a flexible foundation for research and teaching and a clear upgrade path toward higher orders and hybrid reproduction formats.\n\nLudger Brümmer\, Götz Dipper and Dan Wilcox: “20 Years Zirkonium and Klangdom at ZKM”\n2026 marks the 20th anniversary of the first release of the Zirkonium spatialized-music composition environment\, created over three versions from 2006-2026. Initiated for use with the Klangdom\, ZKM’s 47.4-channel dome sound system\, Zirkonium is focused on accessible use of spatialization algorithms for composers and live performers. This paper describes the historical development stages of the three versions of the Zirkonium software\, provides an overview of practical working methods with Zirkonium\, and explains the current technical status of development in the third generation of the project\, as well as future plans. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-11-studio-reports-i/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T123000
DTSTAMP:20260613T162030
CREATED:20260415T143012Z
LAST-MODIFIED:20260513T102541Z
UID:10000104-1778929200-1778934600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 12: Studio Reports II & Immersive Media
DESCRIPTION:Session Chair: Konstantina Orlandatou\n\nNote: Two studio reports and one paper will be presented.\nPaper abstracts\nHefang Ma\, Jingyu Luo\, Paul Francis\, Mara Helmuth\, Sangbong Nam and Wei-Huai Chen: “Studio Report: Center for Computer Music 026″\n\nThe Center for Computer Music continues to function as an active site for research\, composition\, performance\, and pedagogy in computer music. During the current period\, research at the Center has focused on algorithmic and AI-assisted composition systems\, real-time sonification and data-driven sound synthesis\, beat tracking and performance synchronization\, and music programming environments developed by faculty and students. These projects emphasize structured workflows\, probabilistic processes\, real-time analysis\, and their application with- in compositional and interactive performance contexts. Creative output includes electroacoustic works\, live electronics\, spatialized sound\, and multimedia performances presented at CCM as well as at national and international venues.\n\nPedro Rebelo and Craig Jackson: “SARC Studio Report”\nWe outline recent developments at SARC\, Queen’s University Belfast following its re-formation on the occasion of its 20th anniversary as SARC: Centre for Interdisciplinary Research in Sound and Music. This transition prompted a re-evaluation of research scope alongside significant investment in technologies and facilities. This studio report summarises the rationale for these changes and presents current state-of-the-art facilities supporting research in immersive sound\, composition\, performance\, improvisation\, inclusive music making\, instrument and interaction design\, virtual acoustic instruments\, ecological sound\, participatory practice\, and music scholarship. \nGuilherme Coelho: “Latent Music: Emergent Sonic Forms and Sonic Liminality in Text-to-Audio Systems”\nThis paper introduces the concept of hyper-environment — an additional spatial layer superimposed on the choreographic space\, where physical movement becomes a means of navigating and activating pre-analyzed sound materials. The work examines Dancing Cabiria\, a reenactment in four scenes from Giovanni Pastrone’s silent film Cabiria (1914)\, as a case study to explore performative hyper-environments that employ corpus-based synthesis techniques within a virtual reality framework. Through the use of motion-tracking suits\, four choreographies are performed\, each one by four dancers whose movements are translated into sound via audio corpora distributed throughout the virtual space surrounding each performer. Each choreography outlines different uses and configurations of this hyper-environment\, and allow for the discussion of compositional and instrumental issues such as the scale and density of the corpora\, the relationship that emerges between movements width\, corpus dimensions\, and virtual space volume\, and the role of real-time feedback in the design of hybrid instruments for performers. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/paper-session-12-studio-reports-ii/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T160000
DTSTAMP:20260613T162030
CREATED:20260415T123619Z
LAST-MODIFIED:20260429T125117Z
UID:10000126-1778929200-1778947200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Workshop: Solder your very own synthesizer. An Introduction to Electronics and Soldering
DESCRIPTION:Photo: WorkINGLab TUHH\n  \nIn this workshop\, you’ll discover the basics of soldering and get hands-on experience soldering cables and various electronic components. It will leave you well-prepared for future soldering and repair projects. And the best part? By the end\, you’ll have a fully operational synthesizer that you built yourself!  \nFor adults and teens aged 15+\nregistration required here \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:https://icmc2026.ligeti-zentrum.de/event/off-icmc-workshop-solder-your-very-own-synthesizer-an-introduction-to-electronics-and-soldering/
LOCATION:Hamburg University of Technology\, WorkINGLab\, Eißendorfer Straße 40\, Building N\, 2nd Floor\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T173000
DTSTAMP:20260613T162030
CREATED:20260421T183226Z
LAST-MODIFIED:20260514T084827Z
UID:10000188-1778929200-1778952600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:Fixed Media | Program Overview\nA Voice Intolerable to Heaven and Earth\nFaming Qin \nCollapse\nVarun Kishore \nPaper Wreck\nChun-Han Huang \nRedDeadRouletteReconstruction\nNattakon Lertwattanaruk \nSingularity\nSilvia Matheus \nSpawn\nPaul Oehlers \nTekstil\nNayaka Adinata and Muhammad Welderahmat \nThe Unfinished Drum\nKeming Zeng \nThe Voice of the Tree\nYufen Qiu \nThe Lake Bell\nJing Li \nEmotion Driven Dialogue\nLluis Guerra Recas and Olivier Jambois \n  \nAbout the pieces & artists\nFaming Qin: A Voice Intolerable to Heaven and Earth\nA Voice Intolerable to Heaven and Earth is an electroacoustic music that explores the instability and reconstruction of order through sound. The piece unfolds within a fluctuating space between reality and illusion\, where sonic materials repeatedly emerge\, fracture\, and reassemble. Composed in four sections\, it employs the Kyma system for sound synthesis and transformation\, combined with additional processing tools to shape evolving textures. Through cycles of creation and collapse\, resonance is treated not as a fixed outcome but as a temporal trace—an echo that extends beyond linear causality. The work rejects stable form and rule-based structure\, instead allowing sound to drift back into broader currents of time and space. In doing so\, it reflects on sound as both a primordial force and an enduring presence\, probing origins while opening toward indeterminate futures. \nAbout the artist\nFaming Qin (Populian) is an electronic music composer and sound designer born in 2005 who is currently pursuing a Bachelor’s degree in Electronic Music Composition at the Xi’an Conservatory of Music\, China。His creative approach blends elements of realism and impressionism\, transforming everyday sounds into expressive musical narratives. \n  \nVarun Kishore: Collapse\n“There is no punctual moment of disaster; the world doesn’t end with a bang\, it winks out\, unravels\, gradually falls apart [. . .] and all that is left is the consumer-spectator\, trudging through the ruins and the relics.” – Mark Fisher\, Capitalist Realism Collapse draws on aesthetic influences from Brutalist architecture\, the large-scale concrete and metal artworks of Anselm Kiefer\, Urs Fischer’s excavated gallery floors\, and Mark Fisher’s Capitalist Realism. Sonic materials include field recordings of metal drums\, pipes\, cinderblocks\, concrete slabs and other detritus; these were used to generate a collection of phrases via a performable Max patch (a “drunken” Euclidean sequencer of my own design). These phrases were heavily and meticulously chipped away at\, like a sculpture emerging from a solid block of concrete\, forming gestures that transport the listener through sonic ruins falling apart around them. Additional materials include judiciously filtered electric guitar and noise textures\, modular synthesis\, and a single drum machine sample. \nAbout the artist\nVarun Kishore (b.1990) is a guitarist and composer from Kolkata\, India. His work explores interdisciplinary approaches to music technology\, with a focus on building frameworks for composition and improvisation to investigate maximalist methodologies and what he sees as the ‘apocalyptic’ nature of creative practice. Varun’s work has been performed at SEAMUS\, NYCEMF\, Arts Electronica\, and others. Varun is a PhD candidate in Composition & Computer Technologies at the University of Virginia. \n  \nChun-Han Huang: Paper Wreck\nPaper Wreck is a fixed media electroacoustic composition constructed primarily from the sounds of paper materials. Utilizing Foley recording techniques—such as tearing\, friction\, and the destruction of cardboard and paper sheets—combined with vocal elements\, the piece explores the sonic potential of “soft” matter. Through digital signal processing techniques including granular synthesis and cepstral morphing\, these raw\, noise-like textures are transformed into a cohesive musical structure. While the work explores complex spectral textures\, this version is presented in stereo format. \nAbout the artist\nChun-Han Huang (b. 2002) is a composer and sound artist based in Taiwan. He is currently a graduate student majoring in Computer Music at the Institute of Music\, National Yang Ming Chiao Tung University (NYCU). His creative practice focuses on electroacoustic composition and sound design\, exploring the intersection of organic sound sources and digital signal processing. \n  \nNattakon Lertwattanaruk: RedDeadRouletteReconstruction\nEverything heard in RedDeadRouletteReconstruction is reconstructed from either of two sources: the mechanical churn of revolvers sampled from the video game Red Dead Redemption 2 (2018)\, and fragments from Korean pop outfit Red Velvet’s 2016 hit title track Russian Roulette. In their original contexts\, these sounds suggest play—stylized video game violence\, catchy bubblegum pop hooks\, glossy surfaces. Here\, they are recast: disassembled\, distorted\, and folded into a dark irony where the same little details are relentlessly repeated and saturated until they collapse into a violent mess. \nAbout the artist\nNattakon Lertwattanaruk (b. 2006) is a composer and performer originally from Bangkok\, Thailand. His works often engage with the reconstruction of cultural and musical phenomena abstracted from their original contexts\, instruments as a site of physical exploration and extension\, and the integration of multimedia in dialogue with the concert setting. He is a recipient of the Distinguished Prize at the SCG Young Thai Artist Award (2022\, 2024) and has collaborated with ensembles including Tacet(i)\, the Thai Youth Orchestra\, Orkest De Ereprijs\, OSSIA New Music\, Duo Dubois\, and more. His work has been presented at numerous international festivals\, such as the Thailand New Music and Arts Symposium\, IntAct Festival\, Thailand International Composition Festival\, Princess Galyani Vadhana International Music Festival\, and the China-ASEAN Music Festival. Nattakon is currently pursuing a Bachelor of Music in Composition at the Eastman School of Music in Rochester\, New York\, where he studies under Dr. Evis Sammoutis. Previous mentors include Piyawat Louilarpprasert\, Daniel Pesca\, and Mikel Kuehn. \n  \nSilvia Matheus: Singularity\nSingularity seeks a point of convergence within a field of instability. A central melodic line\, generated with a Buchla system\, carries traces of early electronic sound. Around it\, resonant metallic textures emerge and recede. Silence shapes the form\, allowing the melody to fragment and drift into distance. Sound is activated through breath\, using the Kyma system to connect physical gesture and electronic response. The piece moves not toward climax\, but toward disappearance. Singularity seeks a point of convergence within a field of instability. A central melodic line\, generated with a Buchla system\, carries traces of early electronic sound. Around it\, resonant metallic textures emerge and recede. Silence shapes the form\, allowing the melody to fragment and drift into distance. Sound is activated through breath\, using the Kyma system to connect physical gesture and electronic response. The piece moves not toward climax\, but toward disappearance. \nAbout the artist\nSilvia Matheus is a Brazilian composer\, sound artist\, and performer based in the United States. Her work centers on electronic and electroacoustic music\, interactive performance\, and embodied sound practices\, exploring themes of temporal trace\, time\, and physical gesture through live electronics\, sensor-based systems\, and acoustic instruments. She holds an MFA in Electronic Music and Recording Media from Mills College and studied interactive music and performance at the Center for New Music and Audio Technologies (UC Berkeley). Her early training in Brazil included composition studies with Hans-Joachim Koellreutter\, whose experimental approach strongly influenced her artistic development. Since the 1980s\, Matheus has worked at the intersection of score\, instrument\, and technology\, developing interactive systems where physical gesture\, breath\, and movement directly shape sound. Her work has been presented internationally at festivals\, conferences\, and art spaces\, including the International Computer Music Conference (ICMC) in Hong Kong\, New York\, Havana\, Japan\, Denmark\, and Canada. Through solo and collaborative projects\, she continues to create immersive works for improvisation. \n  \nPaul Oehlers: Spawn\nCommissioned to celebrate the fortieth anniversary of the University of Illinois Experimental Music Studios\, Spawn celebrates the legacy of the studios and explores creative ground through its completion. \nAbout the artist\nPaul A. Oehlers is most recognized for his “extraordinarily evocative” film scores. (Variety) Films incorporating his music have won the Grand Jury prize at the Hamptons International Film Festival\, the Atlanta International Film Festival\, and the Indiefest Film Festival. In addition\, films with his music have screened at dozens of festivals in Europe\, Asia\, Africa\, and Australia. Paul A. Oehlers’ compositions have been performed in the United States and abroad including performances at the Society for Electro-acoustic Music in the United States national conferences\, the International Computer Music Conferences\, the Gamper New Music Festival\, the Seoul International Electro-acoustic Music Festival\, the Institut für Neue Musik und Musikerziehung in Darmstadt\, Germany\, and the VII Annual Brazilian Electronic Music Festival\, as well as a 1987 command performance for former United States President Ronald Reagan. He was the first composer ever commissioned by the Nature Conservancy to compose a concert composition about prairie conservation. Paul was named the Margaret Lee Crofts Fellow by the MacDowell Colony for the year 2006. He is currently Associate Professor of Audio Technology at American University in Washington\, DC. \n  \nNayaka Adinata and Muhammad Welderahmat: Tekstil\nTekstil is a fixed-media sound work by Nayaka Farrell and Muhammad Welderahmat is made entirely from everyday sounds recorded in the artists’ surrounding environments. The recordings are not used to document specific places or events\, but as raw sonic material shaped by how each artist listens\, selects\, and arranges sound. Coming from different regions and backgrounds\, the two artists bring distinct approaches to everyday sound\, which are combined to form a shared yet varied sonic vocabulary. \nAbout the artists\nMuhammad Welderahmat is a composer\, live coder\, songwriter\, and improviser born in Palu\, Central Sulawesi (2002) and raised in Parigi Moutong. Active since 2018\, he works across experimental music\, free improvisation\, soundscape\, ambient\, and live coding. He studied with Edy Subianto\, Talis\, Irwan Kurniawan\, and Rangga Purnama Aji. Environmental sound is central to his practice\, engaging with empirical experience\, cultural contexts\, social phenomena\, and critical expression. He has released three albums: Phenomenon (2023)\, Senyap (2025)\, and Menuju Beranda (2025)\, and is an active member of Paguyuban Algorave Indonesia (PAI). \nNayaka Farrell Adinata (b. 2005) is a composer studying at Pelita Harapan University under Stevie Jonathan Sutanto. Trained in classical guitar from an early age\, he studied at Sekolah Menengah Musik (SMM) Yogyakarta before focusing on composition. He has participated in ARTJOG\, OMCM\, and Jogja Noise Bombing\, and received awards including 1st Prize at The Papandayan International Jazz Competition (2023) and the Best New Young Talent Award (2023). His electronic work Lost Contact premiered at the 2025 Immersive Festival in Lisbon. \n  \nKeming Zeng: The Unfinished Drum\nThe Unfinished Drum is an electroacoustic work born from a core philosophical inquiry: what is the ultimate destination of the sound of a drum that is perpetually struck yet never “finished”? The piece deconstructs traditional rhythmic pulses into continuously evolving sonic entities through extreme electronic transformation and spatial reconstruction of acoustic drum sources. These sounds constantly morph on the boundary between “formation” and “dissipation\,” between “signal” and “echo\,” creating an immersive sound field that is both oppressive and meditative. It invites the listener to confront the very existence and evaporation of sound in its absolute state\, experiencing an acoustic ritual without end. \nAbout the artist\nKeming Zeng\, 2002.1.7\, first-year graduate student at the Wuhan Conservatory of Music. \n  \nYufen Qiu: The Voice of the Tree\nThe Voice of the Tree is a fixed media work composed using recorded performances of shakuhachi\, piano\, bass drum\, and timpani. Taking the tree as its central metaphor\, the piece explores the idea of an “inaudible voice”—forms of natural presence that do not produce sound directly\, yet become perceivable through relationships and attentive listening. The work is structured around three interconnected sections corresponding to a tree’s physical form: roots\, trunk\, and branches/leaves. Rather than following a linear narrative\, the composition develops through a mapping between physical morphology and sound strategies. Structural and tactile qualities associated with each element—such as rooting and spreading\, structural support and inner grain\, and extension with breath-like motion—are abstracted and translated into instrumental writing that shapes timbre\, density\, and temporal flow. In the compositional process\, recorded performances of shakuhachi\, piano\, and percussion are further transformed and used as the primary sound materials of the work. As the piece unfolds\, clear instrumental characteristics and compositional traces are retained\, while the sound gradually emphasizes continuity\, internal resonance\, and slow temporal change\, allowing the presence of the tree to emerge through transformation rather than representation. Presented in stereo\, the work maintains melodic contours in the shakuhachi and rhythmic momentum in the piano and percussion\, while placing them alongside sustained resonance and subtle shifts in texture. In this way\, melody and rhythm function both as structural cues and as materials that can be extended and reshaped in post-production\, creating a listening experience that evokes processes of natural growth and flow. Through The Voice of the Tree\, the composer invites the audience to reconsider the relationship between sound\, silence\, and perception\, and to attend to overlooked forms of natural existence. \nAbout the artist\nYufen Qiu is a graduate student specializing in electroacoustic music and sound design. Their work focuses on the interaction between acoustic instruments and electronic processing\, exploring immersive spatialization techniques and experimental sound textures. Currently\, they are developing a series of works centered on environmental themes\, using instruments to mimic natural sounds and investigate new sonic possibilities. Through this approach\, they aim to deepen the connection between music\, nature\, and ecological awareness. While continuing to refine my artistic practice\, they are actively seeking opportunities to present and further develop their work in both musical and academic contexts. \n  \n璟 李 (Li Jing): The Lake Bell\nThis fixed media acousmatic work is crafted based on audio signal processing\, drawing inspiration from the legend of “the ancient bell summoning springs” at Honey Spring Lake. The piece integrates three core sound elements: resonant bell tones that evoke the mythic narrative\, rhythmic drum beats mirroring the laborious digging pace of the people in the legend\, and authentic field recordings of the lake’s surrounding environment to construct a vivid sense of time and place. Through digital signal processing techniques—including spectral distortion\, phase modulation\, and fragmentary deconstruction and reassembly—these acoustic materials are transformed beyond their original forms. By blurring the boundaries between natural soundscapes\, traditional instrumental timbres\, and processed electronic textures\, the work attempts to let sound itself carry the weight of history and collective memory\, even as the physical traces of the legend fade over time. \nAbout the artist\nLi Jing (b. 14.02.2006) is an undergraduate student majoring in Music Acoustics Direction (Electronic Music Production) at Wuhan Conservatory of Music (enrolled 2024). His creative focus lies in the artistic application of audio signal processing in electronic music\, exploring psychoacoustics and auditory illusion experiences. He constructs experimental and immersive electronic music language through spectral shaping\, phase modulation and other technologies. \n  \nLluis Guerra Recas and Olivier Jambois: Emotion Driven Dialogue\nImprovisatory work where a pianist and an improvising guitarist interact with the Biofeedback Suite (BFS)\, a multimodal system that maps real-time physiological and gestural data to sound. GSR\, motion\, and facial cues drive electronic parameters\, creating a reactive sonic environment that mirrors the performers’ embodied state. The guitarist uses extended techniques\, pedal effects\, and PD processing; audio signals are also used and transformed alongside BFS-generated material. The piece explores how biofeedback-informed electronics can function as a dynamic extension of acoustic performance\, documented through exploratory sessions that demonstrate the integration of physiological sensing\, motion analysis\, and real-time processing in collaborative improvisation. Further technical and conceptual details underlying this performance are discussed in a companion paper [reference omitted for double-blind review] submitted to ICMC 2026. \nAbout the artists\nLluis Guerra Recas is a researcher\, composer\, and educator working at the intersection of artistic research\, interactive systems\, and embodied music cognition. He holds a PhD Cum Laude in Art: Production and Research (UPV\, 2021) focused on emotions and interactive systems in video game music. His work spans orchestral and chamber music\, film scoring\, jazz\, pop\, and contemporary digital composition.\nHe is Academic Director of Music & Sound at ENTI–UB (Barcelona) and Visiting Researcher at CESEM–NOVA FCSH and ITI LARSys (Lisbon). His practice-based research focuses on biofeedback-informed music systems\, real-time audiovisual interaction\, and the use of physiological and gestural data in performance. He is the designer of the Biofeedback Suite (BFS) and an active performer in piano and improvisation. \nGuitarist/Improviser: Olivier Jambois\nOlivier Jambois is a French-Catalan guitarist and composer working across jazz\, improvisation\, and experimental music. He received the Rezzo–Jazz à Vienne and Jazz(s)RA awards (2011)\, and his debut album (Naïve) was acclaimed by Jazz Magazine. In 2020\, he was artist-in-residence at La Marfà (Girona)\, collaborating with drummer Jim Black on Eclosió (Underpool).\nHe maintains an active solo practice exploring pedal-based textures and real-time Pure Data processing\, performs at major European jazz festivals\, and teaches composition and electric guitar at ENTI–UB (Barcelona). \n 
URL:https://icmc2026.ligeti-zentrum.de/event/listening-room-2-5/
LOCATION:Hamburg University of Technology\, Building A (A 0.14)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T173000
DTSTAMP:20260613T162030
CREATED:20260421T190101Z
LAST-MODIFIED:20260511T143806Z
UID:10000179-1778929200-1778952600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Fixed Media | Program Overview\nComfortable Distance\nGiovanni Crovetto \nDisappearing\nMatteo Tomasetti\, Francesco Casanova\, Andrea Veneri\, Vili Pääkkö and Andrea Strata \nHokkaido Snow Soundscape\nZiwei Yang \nImpulse Impromptu III\nTolga Yayalar \n4-body Interactions (7’34’’)\nLeonidas Spiliopoulos \nArchitecture éphémère\nNicola Giannini \nConcerto for Piano and Loudspeaker Orchestra\nNeal Farwell \nCorium II\nMathieu Lacroix \nGott\nRikhardur H. Fridriksson \nMatters 10\nDaniel Mayer \nOBSess\nAllison Ogden \nOscillation of Life\nJan Jacob Hofmann \nPhe NoType\nVilbjørg Broch \nSonic Fragmentation – a fixed media multichannel piece\nDaniel Gomes \nCalling in “Raumforderungen” 8-channel diffusion work\nAleksandar Zecevic \nFluidante. A quadrophonic recording from the Latent Russando framework\nMartin Heinze \nOdradek\nCristian Gabriele Argento \n  \nAbout the pieces & artists\nGiovanni Crovetto: Comfortable Distance\nComfortable Distance is an electronic music work for fixed media that investigates the relationship between dramaturgy\, timbral transformation\, and perceived spatial depth. The musical discourse is articulated through processes of sound transformation rather than linear narration\, allowing form to arise from the internal behavior of the materials. The piece unfolds through a continuous play of tension and release\, shaped by the dramatic deployment of the full acoustic spectrum and by shifts between moments of expectation and rupture. Sudden impacts alternate with suspended sonic states\, while veiled\, distant sound masses contrast with intimate\, close-up details. These oppositions generate a form grounded in instability\, oscillating between predictability and unpredictability\, and between accumulation and sudden resolution. Conceived for octophonic spatialization\, the work uses multichannel space to support its formal dramaturgy. Spatial depth emerges through perceptual shifts between contraction and expansion\, as well as through abrupt transitions between proximity and distance\, constraint and release. \nAbout the artist\nGiovanni Crovetto (Milan\, 1991) is a composer and educator working in electroacoustic music and algorithmic composition\, with a focus on perception and dramaturgy. He studied Composition and Music Theory at the Kunstuniversität Graz and later earned a degree in Musicology from the University of Milan. He is currently completing a Master’s degree in Composition with Javier Torres Maldonado at the Conservatory of Milan and is enrolled in a PhD program in Composition and Musical Performance at the Conservatories of Ferrara\, Pescara\, Trieste\, and Udine. His work explores perceptual thresholds between complexity\, form\, and memory\, with particular attention to listening as an artistic and human practice. \n  \nMatteo Tomasetti\, Francesco Casanova\, Andrea Veneri\, Vili Pääkkö and Andrea Strata: Disappearing\nDisappearing is a five-minds spatial composition created during an artistic residency at Laidi Palace\, a historic palace in Latvia. The architecture\, the atmosphere\, and the sense of time suspended within its walls inspired us to imagine a space where presence and absence constantly shift. The piece explores the idea of appearing and disappearing; sounds\, gestures\, and trajectories emerging briefly before dissolving again into the environment. As we worked within the palace\, the building itself became an active presence: rooms\, corridors\, and reverberant spaces shaped the work as much as our intentions did. The piece reflects this dialogue with the place\, blurring the boundaries between visibility and invisibility. Disappearing is an attempt to capture a fragile state of being\, where moments surface\, fade\, and leave only traces behind. \nAbout the artists\nMatteo Tomasetti is a sound artist\, live performer\, and researcher working with spatial audio\, gesture-based interfaces\, and immersive musical experiences. He holds a PhD in Music Technology from the University of Trento and works across electroacoustic music\, sound art\, and audiovisual performance. He currently teaches electronic music at the Music Conservatory of Pescara (Italy). \nFrancesco Casanova is a sound artist based in Graz (Austria)\, active in music software development. His research focuses on sound design\, human–computer interaction\, multichannel audio\, and sound installations. He is currently studying Computer Music at the IEM in Graz. \nAndrea Veneri is an electronic music composer working with audiovisual performance\, live electronics\, and real-time audio systems. His practice centers on sound design and interactive tools developed in Max/MSP. He currently teaches electronic music at the Music Conservatory of Pescara (Italy). \nVili Pääkkö (Vili Aarre) is a Finnish sound artist working in contemporary performing arts\, music\, installations\, and video. He holds degrees in sound design from the University of the Arts Helsinki and has worked internationally with theaters and art institutions. \nAndrea Strata is an Italian multimedia artist and creative coder based in Berlin. With a background in computer music\, he is currently a PhD researcher at the Conservatory of Vicenza\, focusing on human–computer interaction\, movement analysis\, and real-time sound generation. \n  \nZiwei Yang: Hokkaido Snow Soundscape\nHokkaido Snow Soundscape is a fixed-media work based on the winter soundscapes of Hokkaido\, presented through an 8.1ch spatial audio design. All sound materials were recorded on location\, including the pedestrian area in front of Sapporo Station\, a snow-covered park in late-night Otaru\, and the walking trails of Mount Hakodate. These sites form a multi-layered sonic map of how snow exists and transforms across different environments. During field recording\, various methods were used to explore the acoustic expressiveness of snow: rubbing and compressing snow by hand\, footsteps with different shoe materials on icy ground\, and contact sounds created with shovels\, gloves\, and other tools. These approaches extend the expressive range of natural sound material and reveal the diverse timbres and physical “life” of snow. The 8.1ch spatial sound design allows precise placement and movement of sounds\, creating an immersive auditory field where the listener can perceive the flow\, depth\, and ephemerality of snow. The movement\, reflection\, and fading of sound in space are framed as part of winter’s natural cycle—an auditory expression of transience. As both a document of Hokkaido’s winter and a response to the disappearing sounds of nature\, the work preserves these fragile sonic moments in the face of global warming. Hokkaido Snow Soundscape invites listeners to rediscover the purity\, delicacy\, and fleeting presence of winter through sound. \nAbout the artist\nYang Ziwei (b.1999\, Hunan\, China) graduated from the Music Technology Department of Xinghai Conservatory of Music in 2021 and is currently pursuing a master’s degree in Music and Sound Design at Senzoku Gakuen College of Music\, Japan. He has studied composition and electronic music with Yoshihiro Nakagawa\, Takeyoshi Mori\, and Chang Lin. His works have been selected for events such as MUSICACOUSTICA-HANGZHOU 2024\, IEMC2024\, ICMC2025\, and CCMC2025. His research focuses on urban soundscapes and soundscape composition. His creative work investigates methods of recording\, processing\, and spatially reconstructing environmental sounds\, exploring sonic memory\, cultural symbolism\, and cross-cultural perspectives within contemporary soundscape practice. \n  \nTolga Yayalar: Impulse Impromptu III\nImpulse Impromptu III (2025) is an electroacoustic work based entirely on the sounds of two mechanical musical boxes. The piece investigates the musical box as both instrument and object\, focusing on its dual identity as a nostalgic sound source and a fragile mechanical system. Rather than treating the musical box solely as a melodic device\, the work explores its full sonic spectrum\, including pitched material\, mechanical noise\, creaks\, clicks\, and friction sounds. The compositional process is rooted in improvisation and unfolds in two distinct stages. The first stage consists of extensive acoustic improvisations with the musical boxes\, employing both conventional and unconventional techniques such as winding\, tapping\, scraping\, and manual interference with the mechanisms. These recordings function simultaneously as documentary material and as a sonic reservoir. In the second stage\, selected recordings are transformed through sampling and electronic processing to create custom virtual instruments\, enabling a further layer of improvisation within an electroacoustic context. Through this process\, the musical box is recontextualized as an immersive sonic environment rather than a fixed sound object. The piece aims to evoke the perceptual sensation of being “inside” the instrument itself\, as if the listener were miniaturized and placed within its inner workings. This perspective highlights the intimacy\, precision\, and instability of the mechanism\, revealing an eerie and delicate sound world that oscillates between familiarity and estrangement. Beyond its material exploration\, the work engages with themes of memory\, fragility\, and nostalgia. The musical box functions as a metaphor for recollection: precise yet vulnerable\, repetitive yet prone to degradation. By magnifying its internal sounds and spatializing them in the electroacoustic domain\, the piece reflects on the tenuous relationship between mechanical repetition and the emotional resonance often associated with remembered sound. \nAbout the artist\nTolga Yayalar (b. 1973) is a composer whose works have been performed by ensembles such as Le Nouvel Ensemble Moderne\, Alarm Will Sound\, and the Orchestre National de Lorraine\, and presented at festivals including MaerzMusik Berlin\, Ars Electronica\, and Acht Brücken Köln. He has received numerous composition awards and collaborated with choreographer Korhan Başaran on interdisciplinary projects. Yayalar holds degrees from Berklee and Istanbul Technical University\, earned a Ph.D. from Harvard\, and teaches composition at Bilkent University. \n  \nLeonidas Spiliopoulos: 4-body Interactions (7’34’’)\nA generative composition exploring the infinite possible interactions between four bodies entangled according to Newton’s law of universal gravitation. Each movement (or possibility) presents how four bodies can interact sonically and spatially in significantly different ways. Each body is represented as a different instrument orbiting in three-dimensional space embedded in an ambisonic sound field\, with the audience placed at the center of mass of the whole system. The coordinates and velocities of the bodies simultaneously modulate key parameters of the synthesized instruments\, such as amplitude\, pitch\, filtering\, frequency modulation\, etc. The system of equations of the four bodies permits a wide range of diverse dynamics\, ranging from periodic\, cyclical behavior to aperiodic and chaotic behavior\, which is highly dependent on the initial conditions of the system. The system for four bodies cannot be solved analytically\, but must be approximated instead\, leading to uncertainty from the perspective of the observer despite the underlying deterministic structure. Small errors compound over time leading to a significant divergence between our predictions and reality\, revealing our uncertainty about the future and the inherent limits of our roles as observer. The interactions of the four bodies in this composition reveal qualitatively different relationships between them\, representing the multitude and diversity of human interactions and patterns of participation generated by our attractions and proclivities to each other. In Movement/Possibility 1 all four bodies interact loosely as a single group with evolving fidelities revealing the complex interactions between human relationships. In Movement/Possibility 2\, three of the four bodies form an interaction group closely orbiting each other. One body has a unique trajectory\, initially moving away from the group\, gradually reversing course and even briefly interacting with the group\, but then temporarily escaping their pull to return on a solitary path. In Movement/Possibility 3\, the four bodies interact closely in two pairs. Within each pair the bodies exhibit tight coupling\, but the two pairs are on divergent solitary paths becoming increasingly estranged and polarised. \nAbout the artist\nLeonidas Spiliopoulos is an academic researcher at the Max Planck Institute for Human Development specialising in mathematical models of individual and strategic decision making and learning. His research is grounded in the inter-disciplinary insights afforded by the fields of economics\, game theory\, cognitive psychology/neuroscience\, and artificial intelligence. He is a keen explorer of the intersection of science and art\, particularly electroacoustic and generative music. \n  \nNicola Giannini: Architecture éphémère\nArchitecture éphémère is a fixed-media work that creates an immersive experience in which listeners can lose themselves in the time and space of the music. The title refers to the idea that spatial music can generate an ephemeral\, constantly evolving architecture that overlays the physical environment. Drawing on philosopher Gernot Böhme\, my practice explores how the diffusion of sound shapes the atmosphere of the spaces we inhabit. The piece explores tensions between opposing spatial sensations—proximity and distance\, intimacy and immensity—and the depth of field of the sonic space. Most of the materials are generated through sound synthesis\, which I use to create sounds with different shapes\, sizes\, and densities. Architecture éphémère unfolds as a journey through distinct atmospheres\, shifting from explosive\, detailed passages\, where trajectories can be pinpointed\, to soft\, diffuse\, hypnotic spaces that verge on disorientation. The opening section presents a frontal sound mass that slowly advances\, suggesting immensity and inexorability\, before bursting into aggressive gestures that travel along multiple trajectories\, as if caught in an explosion. Wide-range glissandi\, projected into a rich ambisonic reverberation\, reinforce the sense of motion and tension\, immersing the audience in a deep and articulated sound field. A second phase is inspired by the image of a vast snowy expanse whose boundaries remain invisible. Here\, slowly evolving sine waves\, often difficult to localise\, create an ambiguous\, enveloping atmosphere. Moving on circular trajectories at slightly different speeds\, they intersect to form chords\, clusters\, and beating patterns\, some in very low registers that engage the body as much as the ear. Occasional sharp editing cuts introduce subtle spatio-temporal breaks\, further intensifying the hypnotic effect. In the final section\, perception seems to fragment gradually. Different sound materials are spectrally split and rotated in space at slightly offset speeds\, a technique inspired by Robert Normandeau\, enveloping the listener in a hypnotic conclusion. Architecture éphémère was initially composed during the workshop series Composing Fixed-media Multichannel Music on a Hybrid Loudspeaker Array led by Pierre Alexandre Tremblay (2022–2023) at the Multimedia Room of CIRMMT in Montreal\, and reworked in 2025. \nAbout the artist\nNicola Giannini is an artist-researcher who creates immersive sound experiences. His practice lies at the intersection of experimental music\, sound art\, collaborative practices\, and creation in public space. He designs sound spaces as ephemeral architectures where intensity and lightness\, the real and the surreal\, the natural and the synthetic intertwine. His works have been presented in North and South America\, Asia\, Australia\, and Europe. He holds a doctorate in composition from the University of Montreal and is a postdoctoral fellow funded by the FRQSC at UQAM and McGill. \n  \nNeal Farwell: Concerto for Piano and Loudspeaker Orchestra\nI had the opportunity to write a concerto for a remarkable soloist\, the French pianist Marie Vermeulin. With it\, came the idea of writing for loudspeaker orchestra. A simple pivot in the word ‘orchestra’\, from the usual concerto accompaniment\, it opens up the possibility of sound spatialisation\, the challenge of melding that to a stage-bound piano\, and a fluid conception of the orchestral sound-world. In principle\, computer music can contain and mediate any kind of sound material — but in practice we seem to draw lines\, for instance between soundscape; acousmatic music; algorithmic composition; and the digital instrumentation of media composers. I wanted to move fluidly between these\, and to have fun\, while still writing a ‘serious’ piece. My soloist is an enchanter\, drawing energies between varied worlds. The original programme mentions that ‘the orchestra of loudspeakers gives the piano the possibility to take wing; and the orchestra in the loudspeakers lets it dance.’ The most literal sense of the piano taking wing is in the form of peeling bells in an imagined townscape\, a point of arrival after the journey from a naturalistic (but also constructed) woodland dawn. Not-quite-real instruments sing\, dance\, and morph. The programmatic element is worn on the concerto’s sleeve; but it is only one part of a musical argument involving sonic and material transformation. The piano is purely acoustic. Its pitch world is an innovative constructed tonality. It treats 19 semitones as its interval of equivalence (the interval from fundamental to third harmonic) and downplays octave chroma. It gives systematic possibilities akin to common practice harmony\, but able to sound very different while still suiting the keyboard. Computer models helped develop the material. The electronic materials are cast in 7.0.4 surround (i.e. 7.0 plus 4 height). They comprise multiple sound cues that overlap\, segue\, interrupt\, etc.; and a custom performance environment built in Max. All the material is pre-composed\, made in a studio with physical surround monitoring\, but reshaped within the performance tool. There is particular attention to performance adaptability. Some passages are ‘placed’\, with the soloist leading. In others\, the computer performer must conduct\, interpreting animated cues from the software UI to ensure sounding ensemble. There is an extended duet in which the computer performer plays ‘tablature’ patterns on MIDI keyboard\, via a layer of anticipatory score following (using Ircam antescofo)\, to interpolate multiple elements of the rhythmic dialogue in flexible tempo. These shifting strategies reflect the relationship of soloist and conductor in a work with live orchestra. The full Concerto plays in a single span: Part 1: — I. Invocation — II. Circles — III. Image — IV. Incantation: cadenza — V. Flight Part 2: — VI. Arc — VII. Nocturne — VIII. Envoi. We gave the first concert performances in 2024. To meet duration constraints for ICMC\, Part 1 is presented as a stand-alone performance\, with a shortened cadenza and a short alternate ending. This version is a demo with a digital realisation of the piano part. The 7.0.4 spatialisation has been remapped to flat-8 for the Listening Room. \nAbout the artist\nNeal Farwell composes acoustic\, acousmatic\, and mixed electroacoustic music. He gained his PhD in composition from the University of East Anglia\, studying with Simon Waters. In 1998 Neal moved to the USA as a Knox Fellow at Harvard University\, and continued his studies with Bernard Rands\, Mario Davidovsky and David Rakowski. Since January 2002\, Neal has taught at the University of Bristol\, UK\, where he is Professor of Composition. Neal is active also as a performer\, regularly conducting the University Symphony Orchestra\, working with outside ensembles\, and presenting the electroacoustic concert series Sonic Voyages. \n  \nMathieu Lacroix: Corium II\nCorium is a material that is created from a nuclear meltdown accident\, such as during the Chernobyl accident. Its texture looks similar to molten lava and it may be heated up to 2 500 degrees Celsius. The radiation is so intense that even decades later it can distort photographies and instantly kill. This is the second and final piece in this series. The piece attempts to combine aesthetic aspects of extreme drone metal with the harmonic subtleties of contemporary music. The sound sources are mainly from a Warr guitar (a touchstyle instrument similar to Chapman stick). \nAbout the artist\nMathieu Lacroix is a French-Canadian composer and music producer working in Norway. He has studied and/or worked with composers such as Hans Tutschku\, Kaija Saariaho\, Jaime Reis\, Ståle Kleiberg\, Trond Engum\, Michael Obst\, Markus Reuter\, and Annette vande Gorne. He completed his studies at NTNU in Norway\, IRCAM in France\, and Musiques & recherches in Belgium. He has been invited to festivals such as Mixtur\, Meta.Morf and Manifeste. His music is performed in over fifteen countries. He is a member of the Electric Audio Unit with Natasha Barrett and Ernst van der Loo. In 2021 he completed a PhD thesis on synchronization strategies in mixed music. He also plays Chapman Stick\, and works as a producer and sound engineer. He is an associate professor in composition and music production at University of Inland\, Norway. \n  \nRikhardur H. Fridriksson: Gott\nGott (2022) is a drawn-out rendering of one spoken sentence saying that my old hometown is a good place to live in. This was a famous quote from a former major of the town. When that same town\, many years later\, commissioned a piece from me\, I thought of this sentence. Of course as a way of flattering my benefactors\, but also as a way af expressing my fond memories of growing up there. The drawing-out of the sentence is far from being plain time stretch. I use the opportunity to play freely with variously big bits of words and letters. \nAbout the artist\nRikhardur H. Fridriksson (b. 1960) studied composition in Reykjavik\, New York\, Siena and The Hague. His music falls into two general categories; he either makes pure electro-acoustic music\, working with natural sounds and their movement in space\, or he does live improvisations\, playing electric guitar\, processed with live electronics\, either alone or with the Icelandic Sound Company. He teaches composition and electronic music at Kopavogur Music School. In his spare time he plays punk rock. \n  \nDaniel Mayer: Matters 10\nMatters\, a series of electro-acoustic multichannel pieces\, started in 2017. It reflects my practice-driven research\, where I’m artistically exploring various sound synthesis and spatialization variants. Matters 10 uses buffer rewriting\, the simultaneous reading from and writing to the same buffer with varying speeds. The result of this procedure is highly unpredictable. However\, algorithmic control of the various parameters is employed to contain the output and produce the formal structure and spatial distribution. Simultaneous writing to and reading from an audio buffer is a simple though widely unknown and undocumented idea\, which can lead to a wide range of surprising results. It continues the tradition of non-standard synthesis\, and there are only scattered hints at individual approaches. When buffer writing and reading to a buffer are performed under “ideal” conditions – equal rates\, writing before reading – the procedure results in a simple delay line. Things become interesting if rates are unequal or modulated. Then\, the delay is disturbed\, and the sounding result might include alias-like effects and glitches. Rate modulation can lead to audible sidebands\, thus mixing the concepts of buffer rewriting and buffer modulation\, which\, on its own\, is also an easy\, effective\, and underestimated processing technique. Feedback or overdubbing instead of plain rewriting are further possible extensions of the procedure; playing with the bounds of the buffer section is another one. Short impulses as input can lead to compelling resonance effects. As any input signal can be a source for buffer rewriting – and no-input variants with feedback are equally possible – it becomes clear that the variance of results is large. \nAbout the artist\nDaniel Mayer (*1967) works in the area of sound synthesis and generative computer algorithms. Performances at numerous festivals of electronic and contemporary music\, Giga-Hertz production prize 2007 at ZKM Karlsruhe. Completed studies of pure mathematics\, philosophy and composition (Gerd Kühr) in Graz. Postgraduate study at ES Basel with Hanspeter Kyburz. Visiting professor for electro-acoustic composition at IEM Graz. Edgard-Varèse guest professor of DAAD at TU Berlin in the winter 2022/23. \n  \nAllison Ogden: OBSess\nOBSess Program Notes: The origins and title of this piece were entirely unintentional. While brainstorming ideas for a different composition\, I began experimenting with oboe samples\, applying various filters to them. I named the patch “OBSess” (Oboe + Session) without much thought. However\, I found myself repeatedly returning to this patch\, going down the well-trod computer music rabbit hole of “What if I…?”. It wasn’t until I had accumulated several minutes of material that I noticed the double meaning of “OBSess\,” and it felt fitting. The piece is constructed by filtering and deconstructing oboe samples\, exploring a cycle of reconstruction and re-deconstruction. My initial curiosity was to see if I could sonically rebuild a “giant oboe” from its fragmented sounds in an immersive 8-channel setup\, simply because it seemed like a fun challenge. The process then evolved into further deconstructing the sound\, leading to a playful exploration of construction\, deconstruction\, and reconstruction. Ultimately\, this piece is about the joy of creation and experimentation—it was genuinely a lot of fun to make. OBSess was composed in the spring and summer of 2024. \nAbout the artist\nDr. Allison Ogden is a composer\, teacher and author who currently works as an Assistant Professor at The University of Louisville. She received her BM from The Eastman School of Music and her PhD from The University of Chicago. She now considers herself and “re-emerging composer”\, as she took time away from composition to be a mother to her two children\, and now seeks to raise awareness of the difficulties faced by those in the creative fields who need to step away due to child care\, elder care\, health concerns or other reasons\, issues faced more commonly\, though not exclusively\, by women. Allison’s music has demonstrated a connection to the natural environment\, with astronomy\, nocturnal experiences and light pollution in particular being of prime focus. Working in both acoustic and electroacoustic realms\, her music focuses on subtle textural shifts\, sonic soundscapes\, meditative and immersive acoustic spaces. As a Professor\, Allison has worked to expand music course offerings at the University of Louisville and to make the music studied more inclusive and reflective of a modern\, global society. A longtime fan of Hip Hop\, she created the very popular Hip Hop: Music and Culture course at UofL and has lectured at Universities and Colleges in the United States and Europe on the intersection of Hip Hop and social justice movements. In August 2025 her college-level textbook\, entitled Come Correct: A Comprehensive History of Hip Hop Music\, was published. \n  \nJan Jacob Hofmann: Oscillation of Life\nThis is an electroacoustic work in 7th order Ambisonics\, fixed media. For this venue a 3rd order decode for has been provided. The piece is about the generating forces of nature. About the idea of an underlying universal power that gives shape and energy to all living beings. What if there was a yet undiscovered oscillating energy beyond acoustic and electromagnetic oscillation\, that gave shape\, energy and interconnection to all living beings? That enabled/guided/facilitated the organisation of molecules and cells to higher organisms\, beyond genetic chemical reactions and metabolism\, opposed to the common increase of entropy? That creates shape like symmetry up to far more complex mathematical order\, beauty out of chaos by transmitting harmonic information? What would that oscillation sound like\, if we could perceive it? Would we listen? Would we be able to tune in? The piece is spatially encoded in 7th order Ambisonic. The sounds and the spatial design were created with the sound synthesis program “Csound”. Other programs were “Cmask” and “Blue”. \nAbout the artist\nJan Jacob Hofmann. Born 1966 at Duesseldorf\, Germany. Diploma in architecture 1995. Entered the class of Peter Cook and Enric Miralles at the Staedelschule Art School Frankfurt am Main in 1995\, a postgraduate class of conceptual design. Diploma in 1997. Works as a composer\, photographer and architect since. Since 1986 dealing with composition and electronic music. Since 1999: Work on spatialisation of sound. Several international performances since. Own research on Ambisonic and other spatialisation techniques. \n  \nVilbjørg Broch Phe: NoType\nAn immersive audio work for computer processed voice. Spatialization and other audio processes take place through a gigantic audio effect wave guide mesh structured after the 8D hypercube. The text fragments are cutups from present scientific publications on genetics and computational biology. \nAbout the artist\nVilbjørg Broch Phe. Born in 1967 in Denmark. Lived in The Netherlands for several decades but I am now based in Denmark. Studies include dance and improvisation at the SNDO Amsterdam and voice with coloratura soprano Marianne Blok. Worked with multi media and improvisational projects of all sorts and sizes the past 30 years. Projects include interpretations of a wide variety of text sources. I work with computer music for a bit more than 20 years. The development of this has been parallel with a self study of pure mathematics aimed at algorithmic composition and DSP. The work in spatial audio has developed thanks to working periods and residencies in places such as CCRMA Stanford\, IEM Graz\, ICST Zurich\, EMS Stockholm and NOTAM Oslo. \n  \nDaniel Gomes: Sonic Fragmentation – a fixed media multichannel piece\nThe piece explores the relationship between human and machine in artistic creation\, focusing on human decision-making in performance\, synthesis\, and media isomorphism. It suggests that technology and artistic performance are best unified through perceptual understanding\, balancing automated processes with human interaction. Glass and tile shards were chosen as sound objects. Though not naturally resonant\, these materials enabled exploration through vibration and human manipulation\, bridging physical objects with digital sound. Performance and improvisation were crucial in shaping the piece’s structure\, with tonality and gesture determined by performer’s choices and technique. Controlled sound events combine live performance with partial automation. Two key algorithms shaped the digital soundscape: Chebyshev’s Polynomials for filter design\, optimizing frequency selectivity and ripple control\, and the Sieve of Eratosthenes for prime sample intervals\, enhancing sound fidelity. Spatial reference was essential for distinguishing individual synthesis streams. The glass shard motif served as the primary interaction model\, with tile fragments helping define sound event morphology. The concept of linearity guided the overall form\, using sampling as an isomorphic representation. This framework allows various media to be projected through vector matrices across different spectra while preserving their essential characteristics and artistic integrity. \nAbout the artist\nDaniel Gomes is a Lisbon-based web developer\, fusing his passions for programming and digital art. His current focus lies in exploring computer music\, with a particular emphasis on real-time paradigms in digital media\, using sound as the primary medium for music synthesis. He holds a Master’s degree in Sonic Arts from the Sonic Arts Research Centre in Belfast. While engaged in his work and creative pursuits\, he also served as a peer reviewer for the ICMC panel. His musical works have been showcased in diverse locations\, ranging from Portugal to Paris (INA/GRM) and from Germany (ZKM in Karlsruhe) to international events such as ICMC 2018 in Daegu\, Korea\, and NYCEMF. Recently\, he has been delving deeper into the realms of digital arts and the aesthetics of music. \n  \nAleksandar Zecevic: Calling in “Raumforderungen” 8-channel diffusion work\nGerman experimental musician Sascha Stadlmeier\, founder of the Emerge label\, recorded various physical interactions and ambient room tones inside the massive gas tank at Gaswerk in Augsburg\, Germany. With his permission\, I used these recordings as source material to create a musique concrète composition titled Calling in Raumforderungen. The term Raumforderung—German for “space-occupying lesion”—is used here in a non-medical\, metaphorical sense. It refers to instances in which something occupies or asserts its presence within a given space\, whether physical\, conceptual\, or acoustic. In this composition\, that “something” is sound. Guided by a leitmotif of call-and-response\, the work explores how sound waves interact with and are shaped by the gas tank’s vast\, reverberant interior. The piece invites listeners to consider not just the sound itself\, but the space it inhabits—and how that space responds. \nAbout the artist\nAleksandar Zecevic is a sound artist\, audio designer\, electroacoustic composer\, interactive audio specialist\, and researcher. In his interactive and linear audio works\, he uses a variety of spatial audio techniques to extend sonic narratives and temporal experiences. Upon completing a music conservatory and a technical college in 1986\, he began working at Radio Television Belgrade\, Studio B\, Radio Belgrade Studio for Electronic Music\, and the Belgrade National Theatre. Under the mentorship of the Belgrade University Professor of Sound Design and Radiophonic Art\, Zoran Jerković\, he continued his education in the theory and praxis of sound design\, recording\, and electroacoustic art until his departure to Canada in 1992. In Canada\, he has been working as a freelance Sound Engineer\, Audio Designer\, Sound Artist\, Spatial audio specialist and Electroacoustic Composer on film\, television\, multimedia\, and performance projects. Aleksandar held the following positions: 1998 – 2018: Artistic and Technical Senior Sound Artist and Audio Director for Interactive Audio at Electronic Arts Canada. 2020 -2024 -Audio Director at Archiact inc Presently\, he is the Audio Director at Lakshya Digital His works have been presented at Phonurgia Nova\, MUTEK ( SAT )\, Gran Prix Nova\, EPICENTROOM\, PAYSAGES | COMPOSÉS\, FESTIVAL ECOS URBANOS\, Radiophrenia\, and Radio Belgrade 3. \n  \nMartin Heinze: Fluidante. A quadrophonic recording from the Latent Russando framework\n“Latent Russando” is a semi-generative compositional framework written in Pure Data dedicated to exploring musical qualities in working with generative neural nets for audio\, conceived both as hybrid instruments and as autonomous actors. Practices from generative music and algorithmic composition are used as mediators between human performer and the generative abilities of the neural nets\, displacing and circumventing concepts of authorship and genius by empowering multiple independent agents in an improvisation-driven\, co-creative process. The work is based on “Russando. Serenade for six German Sirens\, op. 43” by Hallgrímur Vilhjálmsson\, a heteronym of conceptual artist Georg Joachim Schmitt. The original piece was composed in 2008 and premiered in the context of the (also fictional) art exhibition “cologne contemporary — international art biennale 08” at Asbach-Uralt Werke in Rüdesheim. It is a three-part composition of approx. 33 minutes in length\, in which six German emergency and police sirens are alternately sounded together or alone. In consultation with the creator\, I trained neural audio models based on two architectures (RAVE\, vschaos2\, both courtesy of IRCAM\, Paris) on the original piece. For the ICMC 2026 Music Track\, I configured the “Latent Russando” framework into a quadrophonic version employing 8 model instances (each 4 RAVE and vschaos2) with their outputs distributed over all channels. My application contains the piece “Fluidante” that stands exemplary for a potentially infinite number of musical works that can be generated with this framework; it is the output of a joint creative act of human and artificial agents. With this\, both the conceptual genesis of Russando with its distributed or fictionalized authorship is reflected as well as the interplay of control and autonomy in a process that deflects claims of unique authorship and concepts of solitary genius. \nAbout the artist\nMartin Heinze is a sound artist\, composer and musician working in the field of experimental electronic music with a focus on algorithmic composition and generative neural audio synthesis. Part of his work revolves around injecting concepts of generative music and algorithmic composition into deterministically driven electronic music genres. Another practical research interest of his is integrating generative AI into creative processes in electronic music production holistically. \n  \nCristian Gabriele Argento: Odradek\nOdradek is a reflection on growth as transformation through mutation. The piece is composed exclusively from a single sonic organism: Valse Sideral (1962) by Jorge Antunes. This source was subjected to extreme AI-based cleaning processes\, not to clarify the signal\, but to harvest what was left behind: the residual noises\, the erased interference\, the discarded fragments. From this paradoxical gesture—a search in the margins—emerges a timbral proliferation: unstable\, shifting\, where the material fragments and regenerates into constantly changing forms. Like a living being adapting to survive\, the sound grows not by accumulation\, but through distortion\, error\, and adaptation. Far from a linear model of development\, Odradek enacts dysfunctional growth: glitch like persistence\, a rhythm that emerges and dissolves\, an identity that loses itself to become something else. The title refers to Kafka ’s enigmatic creature—an unclassifiable entity with no clear function and no end—a metaphor for a sonic lifeform that resists categorization and complete intelligibility. Ecologically\, Odradek offers a sonic metaphor for biodiversity. From a single source\, it generates an ecosystem of micro-events—competing\, overlapping\, coexisting. It is not a representation of biodiversity\, but its enactment: through the multiplication of differences\, through tension between form and disintegration. In a time when growth is often misunderstood as unchecked expansion\, Odradek explores a model of growth rooted in ambiguity\, instability\, and crisis. It grows not by colonizing space\, but by making it fertile for new perception. A sound that thrives by becoming less legible\, more complex—an auditory organism evolving through entropy. \nAbout the artist\nCristian Gabriele Argento\, Italy\, Electroacoustic composer. Born in Catania in 1998\, Cristian started to make music as a self-taught at the age of 14. His interest in new technologies applied to music was born in high school\, studying subjects such as electronic and computer science; during this period he did some extra school courses about new technologies and electronic music. After his high school studies he decided to make of electronic music his future so he decided to enroll at the conservatory of Palermo. Currently he attends the second year of the Master course of electronic music at the conservatory of Palermo in the class of Giuseppe Rapisarda. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/listening-room-1-5/
LOCATION:Hamburg University of Technology\, Building A (A 0.18)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T133000
DTEND;TZID=Europe/Amsterdam:20260516T150000
DTSTAMP:20260613T162030
CREATED:20260421T163825Z
LAST-MODIFIED:20260515T145608Z
UID:10000105-1778938200-1778943600@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 6A
DESCRIPTION:Concert 6A forms a bridge between the distant past and a radically digital future. It is a search for the edges of the audible—whether in the almost imperceptible silence of a saxophone\, in the raw 1-bit synthesis of early computer music pioneers\, or in the lament of the Gorgons on a reconstructed ancient instrument. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nApparizione del Silenzio \nYisong Piao\nTenor saxophone: Moritz Christiansen (SPIIC Ensemble) \ntibone\nKerry Hagan \nA Hatful of Feathers \nMarc Ainger\nAlto flute: Ann Stimson \nchime\nTiffany Skidmore and Patti Cudd \nCyanotypes for Vibraphone and Live Electronics\nElaine Lillios\nPercussion: Patti Cudd\nPatch and sound: Marc Ainger \nGorgons’ Cry for Aulos and Live Electronics\nKonstantinos Karathanasis\nInstrumentalist: Cullum Armstrong \n  \nAbout the pieces & artists\nYisong Piao: Apparizione del Silenzio  \nApparizione Del Silenzio does not contain “silence” itself—at least\, not in the conventional sense of an absence of sound. Instead\, it is built upon sounds that lie at or beyond the threshold of human perception: vibrations outside the usual spectrum\, the friction between air and metal\, the dissipation of sound waves in space—those margins of sound that are ignored\, inaudible\, yet undeniably existent. The apparition of silence is therefore neither stillness nor emptiness\, but the manifestation of a presence perceived as silence. It is a non- sonic sound: at the limit of hearing\, silence ceases to signify absence and becomes another mode of existence.\nThe piece is written for tenor saxophone and electronics\, combining fixed media with live processing of hyper-amplified micro-sounds from the instrument. Semi-improvised passages invite the performer to enter the interstice between sound and silence\, where breath\, touch\, and hesitation become part of an almost inaudible voice.\nThe generative logic of the work is not the appearance of silence\, but its presentation: silence here is not what is conventionally called “silence\,” but a subject that reveals itself through its auditory traces. \nAbout the artists\nYisong Piao (b. 1992\, China) is a Seoul-based composer specializing in electroacoustic and instrumental music. His works have been presented at ICMC 2023 (China)\, ICMC 2024 (Korea)\, and ICMC 2025 (Boston). He is a researcher at the Center for Research in Electro-Acoustic Music and Audio (CREAMA)\, focusing on microtonality and algorithmic approaches in composition. \nTenor saxophone: Moritz Christiansen (SPIIC Ensemble) \n  \nMiller Puckette and Kerry Hagan: tibone \nKerry Hagan presents an improvisation on 1-bit synthesizers. Rather than pursuing chip tunes or similarly low-bit music\, she navigates a range of possible timbres in an exploratory performance. \nAbout the artists\nMiller Puckette and Kerry Hagan began focused collaborations on academic and musical projects in 2014. Together their duo has performed in North America and Europe. They have introduced novel synthesis algorithms through new performances. Their work explores timbre\, spatialization\, real-time computer processes\, algorithms\, interaction design\, performance practice\, and performance systems. \n  \nMarc Ainger: A Hatful of Feathers\nIn A Hatful of Feathers for Alto Flute and Computer\, the flutist creates a music in realtime that is informed by expanded possibilities\, using traditional and extended techniques. The work builds from Willian Sethares’ research into spectra and tuning.\nThe computer analyzes the pitch\, amplitude\, and spectral content of the flute playing (including all of the sounds created by the mechanism of the flute\, such as the sound of the keys)\, interacting with the live sound in various ways (stretching/contracting and/or spatializing various spectra\, retuning spectra\, granulating and creating micro-glissandi\, etc). We use a custom Max/Msp patch using some well-known spectral and spatial techniques\, along with some extensions of these techniques. \nAbout the artists\nMarc Ainger (USA) has developed an idiosyncratic body of work that embraces a wide range of music/sound and music/sound-making. He is interested in the relationships between the real and the imagined – the ways in which the visceral world of sound and sound production inform our imagined worlds of sound\, and the ways our imagined worlds\, in turn\, inform our concrete experiences.\nPerformances of Ainger’s works have included the New York Philharmonic Biennial; the INA/GRM; the Royal Danish Ballet; CBGB; Late Night with David Letterman; the Goethe Institute; the American Film Institute; SIGGRAPH; the Palais de Tokyo (Paris); FolkwangWoche NeueMusik(Essen); Gaggego!(Gothenburg); the Joyce Theater (New York); Guangdong Modern Dance; and New Circus artists. Awards include the Boulez/LA Philharmonic Composition Fellowship\, the Irino International Chamber Music Competition\, Musica Nova Prague\, Meet the Composer\, and the Esperia Foundation. \nAlto flute: Ann Stimson\nAnn Stimson made her professional debut at the age of eighteen as a member of the Debut Orchestra in Los Angeles and has gone on to perform with various orchestras and ensembles and as a soloist throughout the US and Europe. Her work seeks to extend traditional instruments and modes of performance into new\, imaginative realms of action and interaction. \n  \n  \n  \nPatti Cudd: chime\nPatti Cudd performs “chime\,” for percussion and fixed media\, composed for her by Tiffany M. Skidmore. “chime” requires 2 snare drums\, 6 crotales\, 12 distinctive beaters\, and 2 bluetooth bone conduction\, wireless speakers. Each speaker is affixed to the underside of one snare drum. All 6 crotales are placed on a single drumhead. The performer plays a complex series of patterns moving between bare drumhead and unmoored crotales using combinations of beaters. Mechanistic\, unpitched patterns begin to merge with melodic\, pitched elements that sometimes bend to ultimately become a metallic wall of overtones as the line between electronic and live acoustic sound comes into and out of focus. This piece was premiered by Cudd at the VT New Music + Technology Festival in May 2023\, ICMC represents the premiere of a revised version of the electronics and the first time Patti will use the bone conduction speakers that were originally intended for this piece. \n“chime” happens on three planes: a long\, liquidating chiasmus meets two rotating pitch constellations. \nAbout the artists\nComposer/Associate Director of the Mizzou New Music Initiative Tiffany M. Skidmore has held faculty positions at the University of Minnesota\, Virginia Tech\, and the University at Buffalo (SUNY)\, where from 2023-2024\, she held the Birge Cary Chair in Music Composition. In 2025\, she was Visiting Professor at McGill University\, in residence at the Centre for Interdisciplinary Research in Music Media and Technology. She is Co-Founder\, Executive Director\, and Artistic Director of 113\, producing the Twin Cities New Music Festival\, guest residencies\, and concerts throughout the world. \nDr. Patti Cudd is active as a percussion soloist\, chamber musician and educator. Patti is a member of the acclaimed new music ensemble\, Zeitgeist. Her other diverse performing opportunities have included CRASH\, the Minnesota Contemporary Ensemble\, Minnesota Dance Theatre and the Borrowed Bones Dance Theater.\nAs an active performer of the music of the 21st century\, she has given concerts and master classes throughout North America\, Asia\, Europe and South America. As a percussion soloist and chamber musician\, she has premiered well over 200 new works. \n  \nElaine Lillios: Cyanotypes \nCyanotypes\, with their characteristic white imprints on a deep blue field\, transcend mere photographic representation; they serve as blueprints that reveal the essence of objects through their negative form. This transformative process redefines the concept of the “object\,” not as a fixed entity\, but as an echo\, a trace\, or an imprint of presence. In this conceptual framework\, cyanotypes become a metaphor for the translation of physical and temporal phenomena into abstracted impressions. Inspired by this principle\, Cyanotype’s Five Studies approaches the vibraphone not through its direct sound or physicality\, but as a series of rhythmic imprints — sonic blueprints that capture the vibraphone’s articulate and resonant characteristics. \nThe vibraphone is renowned for its shimmering sustain\, dynamic control\, and ability to produce both melodic and percussive textures. In Cyanotype’s Five Studies\, these qualities are refracted through the instrumental language itself\, emphasising the vibraphone’s unique ability to articulate rhythmic patterns with clarity and tonal nuance. This work creates a rich sonic landscape for exploring how vibraphone rhythms can be abstracted\, deconstructed\, and re-imagined as imprints within sound. \nEach study acts as a sonic cyanotype\, distilling the essential rhythmic and timbral gestures of the vibraphone into textures that evoke the original instrument’s expressive potential without relying on straightforward replication. The vibraphone’s capacity for sustained tones and nuanced dynamic shading allows for a complex rendering of rhythmic articulation\, translating percussive strikes into lingering tonal shapes. The five studies function collectively as a blueprint series—each revealing different facets of the vibraphone’s character through a process of mediation\, exploring articulation\, rhythmic complexity\, timbral contrast\, and dynamic variation. \nBy conceptualising the work as an imprint rather than a direct transcription\, the piece invites listeners to reconsider the relationship between source and representation. It challenges traditional notions of musical interpretation by emphasising the transformative potential of the vibraphone to embody and reinterpret its own characteristic sound patterns. The blue-white dichotomy of the cyanotype process parallels the interplay between presence and absence in sound—notes articulated and decayed\, rhythm asserted and refracted\, the physical gesture and its sonic echo. \nUltimately\, Cyanotype’s Five Studies proposes a dialogue between visual and auditory art forms\, grounded in the shared concept of imprinting. Just as the cyanotype renders the visible object in reverse contrast\, this work explores how musical objects—rhythms and timbres—can be refracted through mediation to reveal new expressive dimensions. The vibraphone becomes both subject and medium\, transforming its distinctive voice into a series of articulate\, resonant imprints\, inviting a deeper engagement with the ephemeral nature of sound and the processes of artistic representation. \nAbout the artists\nComposer: Elaine Lillios \nElainie Lillios is an American composer whose music explores sound\, space\, and the physical experience of listening. Her works often blend acoustic instruments with electronics\, field recordings\, and subtle timbral shifts. Lillios’s music has been performed internationally and is known for its immersive\, textural quality and imaginative use of resonance and sonic detail. \nPercussion: Patti Cudd \nPatti Cudd is an American percussionist\, educator\, and new-music advocate. A member of Zeitgeist and a professor at the University of Wisconsin–River Falls\, she specializes in contemporary percussion\, electroacoustic music\, and commissioning new works. Cudd has performed internationally\, recorded widely\, and collaborated with leading composers to expand the modern percussion repertoire. \nSound design: Marc Ainger \nMarc Ainger (USA) has developed an idiosyncratic body of work that embraces a wide range of music/sound and music/sound-making. He is interested in the relationships between the real and the imagined – the ways in which the visceral world of sound and sound production inform our imagined worlds of sound\, and the ways our imagined worlds\, in turn\, inform our concrete experiences. \n  \nKonstantinos Karathanasis: Gorgons’ Cry for Aulos and Live Electronics\nThis programmatic composition is inspired by the 12th Pythian Ode\, written by Ancient Greek poet\, Pindar\, in honor of a formidable Aulos player. When Perseus\, aided by goddess Athena\, beheaded sleeping Medusa\, the only mortal of the three sister Gorgons\, the two immortal Gorgon sisters\, Stheno and Euryali woke up\, realized the crime and chased the culprit with terrible cries and laments. Athena listened to the Gorgons’ cries and created Aulos\, a double pipe-double reed wind instrument to imitate them.\nIn contrast to the ancient poet\, and profoundly stirred by ongoing contemporary reports of femicides\, the composer interprets this myth from a feminist perspective. Medusa is portrayed as a tragic victim of patriarchy\, and the Gorgons cry out in extreme anger\, mourning the lost beauty of their sister.\nIn modern days\, Archeomusicologists study fragments\, or entire pieces of excavated Auloi from various sites and eras to recreate exact replicas to learn more about the sounds and performing techniques of this long-lost instrument. This piece is based on a Pydna aulos\, an instrument entombed in Macedonia\, Greece at about the 2nd half of the 4th century BCE. Melodic materials derive from the archaic Spondeion scale that was used to accompany certain religious processions.\nThe computer alters the aulos sound in real-time based entirely on custom combinations of variable delay and FFT algorithms\, without using any prerecorded materials. Gorgons’ Cry is the first composition in the modern repertory involving aulos and live electronics. \nAbout the artists\nKonstantinos Karathanasis as an electroacoustic composer draws inspiration from modern poetry\, artistic cinema\, abstract painting\, mysticism\, Greek mythology\, and the writings of Carl Jung. His compositions have been performed at numerous festivals and received awards in international competitions\, including Musica Nova\, SIME\, SEAMUS/ASCAP\, Música Viva and Bourges. Recordings of his music are released by SEAMUS\, ICMA\, Musica Nova\, Innova\, Equilibrium and HELMCA. Ravello Records released in March 2026 his solo album Resonant Mythologies with the support of the University of Oklahoma. Konstantinos holds a Ph.D. in Music Composition from the University at Buffalo. He serves as Professor of Composition & Music Technology at the University of Oklahoma. More info at: http://karathanasis.org \nInstrumentalist: Callum Armstrong\nCallum Armstrong is an award winning multi-instrumentalist specialized in Early Music. For over a decade\, Callum has devoted a great deal of his time to the revival of ancient Greek and Roman auloi. He has a YouTube channel\, the ”The Aulos Collective” which is dedicated to how auloi were made\, played\, and used\, in collaboration with the luthier Max Brumberg. Callum regularly performs internationally as a soloist\, in various ensembles\, and works as a composer\, teacher and session musician for film and computer games. Recently Callum was the subject of the documentary ‘Callum Armstrong the Aulete’ which won 1st price from the Ierapetra international film festival. \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-6a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T150000
DTEND;TZID=Europe/Amsterdam:20260516T180000
DTSTAMP:20260613T162030
CREATED:20260421T193915Z
LAST-MODIFIED:20260514T153912Z
UID:10000198-1778943600-1778954400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation Showcase
DESCRIPTION:Program Overview\n\nEmpty Sets\nMichael Trommer \nPast Tense – Exploring Idleness and Boredom as Compositional Strategies \nJulian Rubisch \nUkuPlay: The Huggable Ukulele\nXingxing Yang \nFlower.Mirror \nYuxin Chen \nMirRaspiju\nEmanuele Sara \nF L W R: A generative audiovisual work of small file media\nArne Eigenfeldt\, Jim Bizzocchi and Simon Overstall \nThe Emille Bell: Resonance of Absence and the Abyss.\nYongwoo Lee \n  \nAbout the pieces & artists\nMichael Trommer: Empty Sets\nEmpty Sets is an audio-led ambisonic\, 3D-animated virtual reality installation that situates the auditor within the depleted landscape of the technological sublime. Environments are vacated; drones and Cybertrucks patrol within a perpetual penumbra as missives of an unknown\, unseen power; billboards stand as eerily emptied ciphers\, their marketing-speak unmoored\, haunting the liminal spaces of a topography that is characterized by\, as media theorist Sean Cubitt puts it\, a “becoming-environment of information” (Cubitt 2013\, 489). Empty Sets can be configured as either a headset-based or dome-based installation. \nAbout the artist\nMichael Trommer is a Toronto-based sound and video artist; his practice has been focused primarily on psychogeographical and acoustemological explorations of anthropocentric space via the use of spatial and tactile sound\, field recordings\, VR\, immersive installation and expanded cinema. He has released material on an unusually diverse roster of labels\, both under his own name as well as ‘sans soleil’. These include Transmat\, Wave\, Ultra-red\, and/OAR\, Audiobulb\, Audio Gourmet\, Gruenrekorder\, Impulsive Habitat\, Stasisfield\, Serein\, Flaming Pines\, 3leaves\, Unfathomless and con-v. His audio-visual installation work has been exhibited at Australia’s Liquid Architecture festival\, Kunsthalle Schirn in Frankfurt\, Cordoba’s art:tech\, St. Petersburg’s Gamma Festival\, and Köln’s soundLAB\, among others. Michael has performed extensively in North America\, Europe and Asia\, including events with members of Berlin’s raster-noton collective\, as well as the 2008 and 2013 editions of Mutek’s acclaimed a/visions series. He also regularly improvises with Toronto-based AI audio-visual collective ‘i/o media’. In addition to teaching graduate sound design and sound art at George Brown College\, Michael also teaches Sound Film at Toronto Metropolitan University\, Think Tank at OCAD University and Media Practice and Sonic Cinema at York University\, where he is a PhD graduate and SSHRC Joseph-Armand Bombardier doctoral scholar in Cinema and Media Art. \n  \nJulian Rubisch: Past Tense – Exploring Idleness and Boredom as Compositional Strategies \nPast Tense is a participatory\, long-term sound installation inspired by “idle” games—systems that evolve on their own and invite only occasional interaction. Small sounds captured from the environment\, electronics\, radio\, and visitors slowly accumulate\, forming a growing sonic mass. Participants may briefly intervene\, releasing short sonic gestures be-fore the system settles back into its autonomous flow. This process\, informed by the idea that such games can reveal a “worldness” (as opposed to “gameness” characterized by a flow state) where players transcend the game mechanics to find new ways of self-expression\, allows a self-referential musical memory to unfold from a small kernel of inputs over time and past sonic material to re-enter and reshape future states. \nAbout the artist\nJulian Rubisch\, born in Vienna in 1981\, is a freelance sound artist\, software engineer\, and electroacoustic composer. \nHe has presented performances and installations at prestigious venues such as ZKM Karlsruhe\, Ars Electronica\, Francisco Carolinum Linz\, Alte Schmiede Vienna\, ORF Ö1 Kunstradio\, and others. \nHe loves to explore boundaries and interfaces:\n– Between sound art and music\,\n– Between order and chaos\,\n– Of perception and the different realms and phenomenologies of listening \n  \nXingxing Yang: UkuPlay: The Huggable Ukulele\n\nUkuPlay reimagines the ukulele’s interaction model by leveraging the unique material affordances of e-textiles to create a soft\, monolithic\, and huggable interface. By utilizing a deformable textile structure\, the system establishes a tactile feedback loop that integrates the instrument’s sensing capabilities directly into its physical form. Through the embedding of capacitive properties into a plush cushion\, UkuPlay transcends its role as a domestic object to function as a high-fidelity\, expressive instrument.\nVisitors are invited to explore this blur between “comfort-oriented soft goods” and “performance hardware”. Through intuitive gestures—such as strumming and fretting the fabric—the installation demonstrates how e-textile “smart matter” captures nuanced\, multi-dimensional performance data. UkuPlay offers a vision of future musical tools where tangible intimacy and expressive power coexist seamlessly. \nAbout the artist\nXingxing Yang is an interdisciplinary computer musician based in Hong Kong. She is a Ph.D. student at HKUST\, specializing in computer-assisted audio\, music\, and haptics. She received her bachelor’s and master’s degree in Music Tech from the Shanghai Conservatory of Music and Stanford University. She is interested in making novel sound toys\, doing AI-assisted music composition\, and building VR storytelling experiences\,s and constructive tools for builders. \n  \nYuxin Chen: Flower.Mirror \nFlower.Mirror is a poetry-driven multimedia interactive game that explores the interplay of poetry\, sound\, and visual space. The program guides its player through dream-like landscapes\, where the player puzzles through and trigger stages of the game by constructing texts into poetic phrases. Instead of a goal-oriented structure\, the experience unfolds in a meditative and contemplative state\, allowing each gesture\, sound\, and transition to take its time. The player is invited into a slower mode of exploration\, one that emphasizes listening\, patience\, and reflection\, and gradually enters the inter-cultural narrative embedded within the project. \nAs its title suggests\, Flower.Mirror unfolds across two chapters: “Mirror” and “Flower\,” where each is a multi-staged miniature poetic game. “Mirror” reflects a period in the artist’s life marked by anemoia—the reconstruction of memory around an idealized hometown that never truly existed\, formed during her first experience studying abroad. The player engages with language as a compositional material\, modulating nouns with verbs and adjectives by aligning words hori-zontally\, as if writing a poem in the space. Decisions regarding text placement directly shape the sound: the size of a selected text determines its associated sound’s volume\, while the drop location of the text affects its stereo panning. \n“Flower” represents a stage of reconciliation. In this chapter\, the artist quietly looks back on her childhood self\, recogniz-ing the beauty of uncertainty and unknowing\, and learning to embrace her past and present selves. These personal narra-tives are presented not as fixed stories\, but as fragments—moments that surface\, dissolve\, and reappear through interac-tion. Across multiple stages\, players align words to initiate musical development before transitioning into a navigational mode\, where hidden words are discovered and collected within a darkened visual field. The interaction becomes increas-ingly embodied\, shifting from writing to movement and presence. \nThe ideas of “Flower” and “Mirror” are deeply intertwined in traditional Chinese culture. The project draws inspiration from Dream of the Red Chamber\, where the concept of 镜花水月 (“Mirror\, Flower\, Water\, Moon”) is a recurring theme. Often translated as “flower in the mirror\, moon on the water\,” the phrase describes a beauty that is vivid yet transient. Through this lens\, the project observes the worldly concerns tied to intercultural identity\, how they evolve over time\, rise and fall in cycles of yin and yang\, and eventually soften into reconciliation. Our life\, like the flower in the mirror\, is filled at times with loneliness and sorrow\, at others with joy and tenderness\, yet remains a fleeting experience. \nAbout the artist\nMichelle Chen (Yuxin Chen\, and also known as Morning Close) is a composer and interactive-media artist whose work spans installations and soundtracks for VR\, game\, animation\, and film. Among the projets she worked on as lead\, indie game “Displacemen” was nominated as the Best Student Game at GDC IGF 2025. \nMichelle is currently a master’s student at Stanford’s Center for Computer Research in Music and Acoustics (CCRMA)\, where she explores the interplay of text\, visual music\, and a humanistic ap-proach to AI as a creative tool. Her practice is characterized by nonlinear storytelling and a poetic sen-sibility that runs through both her music and interactive media works. Across these pieces\, she often constructs a serene\, contemplative world that gradually reveals an underlying contrasting or dual nature. \n  \nEmanuele Sara: MirRaspiju\nMirRaspiju is an interactive sound installation that transforms a physical mirror into a performative sonic interface. The work explores the relationship between self-perception\, gesture\, and sound through an object that is simultaneously visual\, acoustic\, and responsive. A one-way mirrored glass panel becomes both a reflective surface and a sound-emitting body\, allowing the visitor to see themselves while generating sound through their own presence and gestures.\nThe installation consists of a unidirectional mirror mounted on a wall or pedestal\, behind which a camera is concealed. The mirror itself is equipped with contact transducers\, enabling the glass surface to vibrate and act as the sole sound source. When no one is present\, the system remains silent; sound emerges only when a person approaches and looks into the mirror\, establishing an intimate\, one-to-one interaction.\nGestural and facial data are captured in real-time via computer vision techniques implemented in Python using OpenCV and MediaPipe. Hand movements\, facial expressions\, mouth openings \, and eye closures are mapped to parameters controlling the playback and transformation of four preloaded audio buffers. These buffers consist of granular textures created in Max/MSP and processed through an original algorithm based on elastic sound transformation\, where rhythmic and timbral structures are continuously deformed by varying buffer playback speed and modulation parameters.\nThe core audio engine is developed in Max/MSP and exported to RNBO\, then compiled into native C++ code running on a Raspberry Pi 5. This embedded architecture allows the installation to operate autonomously\, without external computers\, ensuring low latency and stable performance in exhibition contexts. The entire system is self-contained and battery-powered\, facilitating flexible installation logistics.\nEach buffer is associated with a specific type of interaction: hand gestures modulate playback speed\, amplitude\, filtering\, and waveform modulation; mouth openings control texture density and temporal flow; eye closures activate reverberation parameters. These interactions generate a continuously evolving soundscape that responds directly to the visitor’s bodily presence\, transforming the act of looking at oneself into a compositional gesture.\nMirRaspiju positions the mirror as a liminal medium between vision and sound\, presence and transformation. Rather than functioning as a spectacle-driven interface\, the work emphasizes minimal\, introspective interaction\, inviting visitors to listen to their own reflected image. The installation proposes a form of embodied listening in which perception\, gesture\, and sound are inseparably linked\, transforming a familiar object into a subtle yet expressive musical instrument. \nAbout the artist\nEmanuele Sara is an Electroacoustic Composition Bachelor student at the Conservatoire “Luigi Canepa” in Sassari under the guidance of professor Walter Cianciusi\, then attending specialization courses in music applied to images and pop compositions held by Centro Sperimentale di Cinematografia Roma\, Centro Europeo di Toscolana scuola di Mogol\, various seminars such as Sergi Jordà\, Silvia Lanzalone\, Riccardo Mantelli\, he leads his sound experiments into the field of electronic music creating his own code of signs\, acoustics and visual symbols.\nBorn in Ossi\, Italy (1986) in addition to composing electronic music he performs as a singer-songwriter since 2008 with several albums released. Sara’s compositions have been performed in various festivals and events\, including Conservatoire “Canepa” Sassari\, Conservatoire “Respighi” Latina\, Conservatoire “Palestrina” Cagliari\, Festival Spazio Musica Cagliari.\nAs interpreter Sara wears a pseudonym “Namowam” and produced the electronics for several contemporary composition. \n  \nArne Eigenfeldt\, Jim Bizzocchi and Simon Overstall: F L W R: A generative audiovisual work of small file media\nA generative audio-visual work of small file media. Five videos consisting of a slow pan over flowers\, ranging in dura-tion from 41 to 72 seconds\, were compressed using five different algorithms to create 25 files of a size less than 1.44 MB each. This database is accessed by a generative audiovisual system to create scenes of five related videos\, slowly fading between them at a playback ranging from 11% to 33%. Each scene was combined with a generative audio stretched an equal amount. The end result of F L W R is a generative sampling of the visual poetics of video compression. \nAbout the artists\nArne Eigenfeldt is a composer of live electroacoustic music\, and a researcher into intelligent generative music systems. His music has been performed around the world\, and his collaborations range from Persian Tar masters to free improvisers to contemporary dance companies to musical robots. He has presented his research at major conferences and festivals\, and published over 60 peer-reviewed papers on his research and collaborations. \nJim Bizzocchi is a filmmaker currently working in video art and installation. His research interests include the aesthetics and design of the moving image\, interactive narrative\, and the development of computational video sequencing systems. He is interested in the effect of new technologies on cinematic visual expressions such as split-screens\, layered imagery\, image transitions\, and stereoscopic cinema. \nSimon Lysander Overstall is a computational media artist\, and musician/composer from Vancouver\, Canada. He develops works with generative\, interactive\, or performative elements. He is particularly interested in computational creativity in music\, physics-based sound synthesis and performance in virtual environments\, and biologically and ecologically inspired art and music systems. He has produced custom performance systems and interactive art installations that have been shown in Canada\, the US\, Europe\, and China. \n  \nYongwoo Lee: The Emille Bell: Resonance of Absence and the Abyss.\nSome sounds can no longer be struck. Under the names of preservation\, protection\, and history\, they have been removed from direct experience. The Emille Bell remains as form\, sound\, and legend. Its story—of a monk sacrificing an infant in pursuit of a “good sound”—has shaped a normative understanding of what a bell should sound like\, while obscuring the social contexts and repeated failures embedded in its making.\nThis work explores an alternative way of engaging with sonic heritage under such conditions. It reconstructs the form and sound of the bronze Emille Bell through physical modeling\, while simultaneously presenting an imaginary bell that never existed: the bell that failed to be realized within the legend itself. The Bell of Absence emerges from narrative omissions\, distortions\, and the traces of failure that have been historically excluded.\nIn this project\, physical modeling is not treated as a tool of faithful reproduction. Instead\, it functions as a speculative medium. Physical parameters—such as shape\, material\, and resonance—are not optimized for acoustic accuracy but are used as compositional materials through which absence and deviation can be articulated. The Bell of Absence is intentionally configured with unstable structures and low-frequency resonances\, producing sounds that diverge from traditional criteria of bell timbre.\nHere\, absence does not signify silence or lack. It is understood as a structural condition shaped by historical and narrative choices. Resonance becomes the means through which this absence remains audible—as vibration\, instability\, and persistence rather than resolution. Rather than reproducing an idealized sound\, this work listens to what was never allowed to fully emerge\, allowing failed and omitted sounds to resonate in the present. \nAbout the artist\nYongwoo Lee is a composer deeply interested in the humanities and aesthetics. He studied history and fusion culture content development as an undergraduate\, with a minor in composition. His musical perspective has been shaped by diverse life experiences\, including work as a student researcher at the History and Culture Archive Center and CREAMA (Center for Research in Electro-Acoustic Music and Audio)\, as well as his roles as a Conscripted Firefighters Agent (CFA) and cultural interpreter. Through these experiences\, he approaches composition as a process of transforming lived experience into sound\, while also engaging with technical research\, particularly in integrating physical modeling techniques into his compositional practice.
URL:https://icmc2026.ligeti-zentrum.de/event/installation-showcase/
LOCATION:Hamburg University of Technology\, Building H (H 0.03)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Installation,Showcase
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T150000
DTEND;TZID=Europe/Amsterdam:20260516T180000
DTSTAMP:20260613T162030
CREATED:20260423T142012Z
LAST-MODIFIED:20260423T190112Z
UID:10000227-1778943600-1778954400@icmc2026.ligeti-zentrum.de
SUMMARY:Innovation Showcase
DESCRIPTION:Takayuki Rai and Haruka Hirayama: Motion Capture: Mocopi and Sound Interaction in Max\nThis paper presents a Local Space–based motion Analysis framework using Sony’s Mocopi motion capture system\, implemented in the Max environment for real-time Audio interaction. The framework is designed for live Performance and interactive demonstration. In previous work\, joint position data transmitted from Mocopi were converted into World Space coordinates and applied to audio and visual interaction. While this approach enabled various interaction designs\, it revealed a fundamental limitation: identical body movements produced different coordinate values depending on the performer’s facing direction. This weakened the intuitive correspondence between bodily sensation and control data\, particularly in performance and improvisational contexts. To address this issue\, the present study introduces a Local Space representation defined relative to the performer’s body orientation. Joint positions are transformed from World Space into a forward-facing\, body-relative coordinate frame that moves and rotates with the performer. This enables consistent detection of body movements regardless of orientation on stage\, preserving the perceptual relationship between physical action and control data. Based on this framework\, several Max external objects were developed to estimate body orientation\, convert Joint positions into Local Space\, and compute motion Features such as movement distance\, direction\, and angular change. Application examples demonstrate that movement-based Audio control becomes more stable and intuitive in Local Space. The system was evaluated through Poster + Demo presentations with a Mocopi-equipped performer\, highlighting its suitability for interactive performance and artistic applications. \n  \nWalker Smith: The Magic Alchemical Drum Set: a transducer-driven light-up drum set using timbres and scales derived from sonified chemical element spectra\nThe Magic Alchemical Drum Set is an interactive audiovisual instrument that integrates three lines of preliminary research: (1) the construction of element-specific Timbres using sonified spectral data and perceptually motivated transformations\, (2) the design of unequal-tempered microtonal scales derived from elemental spectra and implemented on a LumaTone keyboard\, and (3) a transducer-driven drum set that physically couples these sounds to acoustic percussion instruments and synchronized lighting. Together\, these components form a system that transforms static spectroscopic data into a playable\, performative instrument emphasizing tactile interaction and audiovisual correspondence. The paper provides a Brief overview of related work\, outlines the design considerations underlying the scales and timbres\, and documents the construction and use of the drum set in both compositional and interactive installation contexts\, including Feedback from participants. A detailed demo Video is provided along with all necessary code. Conclusions and future work in the areas of scale and timbre design\, as well as interactive audiovisual instrument design\, are presented. \n  \nMatthias Jung: Incisions: Tangible Latent Space Exploration with Three Sound Balls\nThis system suggests an interactive\, tactile approach to exploring machine learning models collaboratively in real-time. The system design is a work-in-progress and at this stage connects three handheld\, spherical devices (sound balls) to three machine learning models. The Sound balls are equipped with pressure sensors and gyroscopes\, that are sending readings via an ESP32 via OSC over WiFi to a Max/MSP patch that is hosting the model playback. The patch uses different open-source and self-trained models that are then mixed into a master playback audible via headphones by the three sound ball players\, who will explore the models via a latent dimension Setup collaboratively. \n  \nKieran McAuliffe\, Ornella Tortorici and Ali Elnwegy: Robotics for Digital Artists: OSC-ROS Integration\nThe Robot Operating System (ROS) has become a de facto standard for robot software development\, offering powerful tools for real-time communication\, control\, and simulation. However\, its complexity presents significant barriers for multimedia artists and creative practitioners. In contrast\, the accessible Open Sound Control (OSC) is widely adopted in the creative coding community and supported by numerous artistic software environments. This demo showcases a prototype OSC–ROS bridge designed to lower the entry barrier for artists working with robotic systems. It receives messages from the user in the form of OSC\, and converts them into joint trajectories which it sends over ROS. Participants in the demo can interact with two setups: controlling a custom-built painting robot and sonifying the motion of an industrial robot arm. These applications highlight how robotic systems can function both as expressive actuators and as performative interfaces. \n  \nCharles Hutchins and Shelly Knotts: SCMoo: A Live Codeable VR Environment\nAfter the loss of Mozilla Hubs and the end of most Metaverse hype\, we present a retro\, text- and sound- based VR platform for live coding interactive music in SuperCollider\, which is accessible\, enjoyable and lower carbon than polygon-based systems. In the 1990s text-based MUDs (Multi-User Dungeons) and MOOs (MUDs Object Oriented) were inhabited by hundreds of users. The communities in these spaces could design any avatars they wanted\, which could perform any actions they could describe (limited only by imagination and language) as the medium itself was text. MOOs provided all users with the possibility to add objects\, rooms\, actions\, behaviours and other features to the environment through object-oriented programming. The collaboratively built VR environment was live coded by the users who built features through iterative design within the shared platform. This demo presents SCMoo\, which is a reimplementation of a LambdaMOO-like system\, written in the musical programming language SuperCollider. SCMoo is a multi-user platform for sound making and role play. \n  \nJuliana Lüer\, Christoph Salje and Prof. Dr.-Ing. Thorsten A. Kern: Controlling Musical Parameters in Neurorehabilitation witha Haptic Finger Tracker”\nPatients in neurorehabilitation often face not only severe motor impairments\, but also associated psychological problems. Music therapy can make a valuable supplement to purely verbal psychotherapy\, but its use is limited as patients often cannot play conventional musical Instruments due to motor skill limitations. This can hinder the psychological recovery\, where musical expression is essential. \nTo address this\, the Haptic Finger Tracker was developed\, emerging from a project at Institute XXX\, a collaborative initiative where researchers and artists work on interdisciplinary projects. This paper describes a prototype that transforms minimal finger movements into sound\, accompanied by corresponding haptic sensations. Technically\, the device uses flex sensors and an inertial measurement unit (IMU) to capture a range of small-scale finger movements. Using the Open Sound Control (OSC) protocol\, these captured gestures are then translated to Control musical elements such as pitch\, volume and arpeggios. Simultaneously\, a vibrotactile actuator provides haptic feedback aimed at enhancing the user’s sense of Engagement and embodiment. The resulting prototype is a portable\, user-friendly device that empowers patients by providing a creative outlet and fostering a sense of self-efficacy. This work establishes a technical foundation for future neurorehabilitative tools that utilize multisensory feedback to improve patient outcomes. \n  \nLuca Morino\, Nicola Conci and Fabio Cifariello Ciardi: B3-H4RSH: A Noise-based Multiplayer Game for Mobile Music-Making\nOver the past two decades\, artists and composers have increasingly explored mobile phones — ubiquitous and accessible devices — as instruments for music Performance and\, in particular\, as interfaces for audience participation and collaborative music-making. This paper presents B3-H4RSH\, an interactive mobile music system. Implemented as a web application for smartphone browsers on a co-located network\, the system interconnects participants’ devices\, employing competitive multiplayer mechanics to structure interdependencies among players and shape the music-making act within a noise-music paradigm. By influencing and responding to one another’s actions\, participants collectively diffuse sound throughout the space from their smartphones while competing to achieve the “harshest” sonic outcome – and win. \n  \nRiccardo Mazza: Translating Sonic Memories into Latent Performable Spacesfor Live Coding\nThis paper presents a live coding performance system that reconfigures autobiographical sound materials through real-time interaction with a machine learning process. Rather than treating sonic memories as fixed archival objects\, the system approaches memory as a dynamic and unstable process\, continuously reshaped during performance. Recorded sound fragments are analyzed using FluCoMa descriptors and organized within a navigable two-dimensional space. A lightweight autoencoder is employed not as a high-fidelity generative model\, but as a constrained transformation device that introduces controlled deviations\, thereby altering the relationship to the source recordings. The resulting sounds are not reproductions of the originals\, but transformed traces that require reinterpretation in real time. Within this framework\, performance becomes a negotiation between intention\, algorithmic transformation\, and emergent sonic behavior. The performer does not retrieve memories\, but actively reshapes them\, generating new memory traces through interaction. The system adopts a human-in-the-loop approach\, in which the model acts as a mediating structure rather than an autonomous agent. The contribution of this work lies not in technical novelty\, but in proposing a practice-based perspective on how machine learning can function as a performative medium for memory transformation in live coding contexts. \n  \nMohammad Sadeghi: Architectures of Alteration: Designing and Integrating Hybrid Kinetic Robotic Systems and Light Choreography in Eternal Dawn\nContemporary performance increasingly relies on kinet-ic\, robotic\, and responsive environments that demand tightly integrated engineering systems capable of acting as expressive agents. Developing such hybrid systems contributes to new modes of staging\, embodiment\, and dramaturgy\, offering artists tools for creating dynamic environments that extend beyond the limitations of human gesture alone. This paper presents the design and inte-gration of two hybrid kinetic systems developed for the performance Eternal Dawn: a ceiling-mounted robotic arm and a motor-matrix architecture controlling sus-pended rectangular light frames. The robotic arm oper-ates as a supervisory and interactive entity\, shifting from analytical scanning to aggressive pendulum-like motion to intimate duet-like encounters. The motor-matrix system dynamically reconfigures the spatial geometry of the la-boratory\, synchronizing kinetic light choreography with sound and movement to construct adaptive architectural states. Synchronization with musical structures is achieved using Open Sound Control (OSC) messages ensuring accurate temporal coordination. The motors are controlled via a programmable logic controller (PLC) and a dedicated human–machine interface (HMI) manag-ing motion parameters\, sequencing\, and safety functions. The proposed systems proved effective as expressive ki-netic agents\, demonstrating a versatile platform for inte-grating robotic motion and dynamic light architectures into similarly experimental performance setting. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/innovation-showcase/
LOCATION:Hamburg University of Technology\, Building H (H 0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Showcase
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T190000
DTEND;TZID=Europe/Amsterdam:20260516T210000
DTSTAMP:20260613T162030
CREATED:20260421T164223Z
LAST-MODIFIED:20260515T145558Z
UID:10000106-1778958000-1778965200@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 6B
DESCRIPTION:Concert 6B focuses on a monumental instrument that bridges centuries-old tradition and futuristic technology: the FEH organ. In this concert\, its powerful pipe sounds merge with AI agents\, mobile networks\, and immersive live electronics. It is an invitation to experience the organ not only as a sacred instrument\, but as a living\, breathing part of a digital ecosystem—complemented by outstanding chamber works for flute\, saxophone\, and violin. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nThe Man in the Mangroves counts to Sleep \nJames A. Moorer et al. \nTraversée IIIb \nNicolas Brochec\nFlute: Lauriane Boulezaz (Ensemble 404) \n《Missed Call》\nYi-Tzu Huang\nFlute: Lauriane Boulezaz (Ensemble 404) \nULYSSES II\nRoberto Cipollina\nViolin: Wakako Matsubara (Ensemble 404) \nIntermission – 15 mins \nSchattenwald \nSarah Proske \nOpus\nS. Ali Hosseini and Federico Lessio \nles lignes de désir\nPierre Alexandre Tremblay\nViolin: Wakako Matsubara (Ensemble 404) \n  \nAbout the pieces & artists\nJames A. Moorer et al.: The Man in the Mangroves Counts to Sleep \nThe Man in the Mangroves Counts to Sleep is the first of its kind: a speech-synthesized opera novella\, based on an original poem. It is an innovative work that merges poetry\, music and animation\, embracing the vocal and musical elements of an opera with the narrative thrust of a short novel. The narrator’s digitized voice has been transformed through computer techniques into a variety of musical forms. The film is unique for its totally synthetic score\, generated mathematically using computer speech synthesis technology. The poem and music are brought to life through animation that reveals layers of meaning in both poem and score.  \nThe movie recounts the inner monologue of a homeless mathematician living in a Key West mangrove swamp. As he surveys his current circumstances\, “The Man” reflects on his past\, his struggles\, and his yearning. The movie originated from the poem of the same name by Tallahassee\, Florida poet Donna Decker. The poem dramatizes her experience meeting “The Man” in a Key West\, Florida homeless encampment.  \nIn preparation for the movie\, please read the poem\, “The Man in the Mangroves Counts to Sleep\,” by Donna Decker here. You will find a German and English version side-by-side. \nAbout the artist\nJames A. (Andy) Moorer – Producer/Director/Original Score – An internationally known figure in digital audio and computer music\, Moorer is the winner of an Emmy® Award and an Academy Award® “for his pioneering work in the design of digital signal processin and its application to audio editing for film.” He is also the creator of the THX1 Deep Note sound—THX’s sonic logo\, heard in thousands of movie theaters around the world.  \nThe Man in the Mangrove Counts to Sleep builds on Moorer’s pioneering work in computer music and more specifically in the use of computer speech synthesis for music. As an MIT and Stanfordtrained engineer\, Moorer’s innovations include advances in the technology used for these compositional purposes. Many of these advances have become routine today in the world of electronic music.  \n  \nNicolas Brochec: Traversée IIIb  \nTraversée IIIb is a mixed music piece for flute\, live electronics\, and Somax AI agents\, in which the electronic part is generated in real time. In Traversée IIIb\, the generation of electronic material is controlled by a real-time playing-technique recognition system. Combined with Somax AI agents\, this enables close interactions between the instrumental and electronic parts\, producing sonic responses ranging from counterpoint to accompaniment\, and occasionally introducing unexpected electronic events. For this reason\, a functional notation is used for the electronic part of the score\, describing actions and parameters rather than musical results\, which cannot be fully predetermined. \nAbout the artists\nNicolas Brochec is a composer and sound artist specializing in contemporary instrumental and electroacoustic music. He has studied with leading contemporary composers\, including Philippe Manoury\, Martin Matalon\, José Manuel López López\, and Daniel D’Adamo. His work has been commissioned by institutions such as the Philharmonie de Paris\, NHK member ensembles\, and Improtech (IRCAM). His compositions have received international recognition\, including the First Prize at the Sound’Ar-te Electric Ensemble competition (Portugal) and a Special Prize at the Ise-Shima Competition (Japan). He is currently a PhD candidate at Tokyo University of the Arts and has been awarded a Japanese Government (MEXT) Scholarship as well as grants from the Foundation for the Advancement of Telecommunications (NTT). \nFlute: Lauriane Boulezaz (Ensemble 404) \n  \nYi-Tzu Huang:《Missed Call》\nMissed Call for flute and live electronics was composed in 2025. The compositional idea was inspired by the concepts of “making choices” and “paused time”\, exploring the subtle connection of social relationships. The sound materials of live electronics are totally based on the flute timbre\, which not only imitates the intonations of the female voice but also motivates the dynamic of musical gestures throughout the whole piece. Moreover\, I attempt to depict the potential feelings through the background of light electroacoustic sound. In the music\, “Missed call” symbolizes unaligned energy and temporary pauses\, while “receiving a call” represents a force that can change current reality of musical unfolding. Therefore\, what may appear as a break or auditory interruption is actually a moment of inner preparation or cognitive balance\, allowing the musical closure to be awakened again. \nAbout the artists\nYi-Tzu Huang is a Taiwanese composer who studies in graduate program of music composition at the Institute of Music of National Yang Ming Chiao Tung University. Her music focuses on the subtle connections between sound and human emotions\, exploring both the musical time and auditory space of human cognition. The experiments in electronic or instrumental timbres and the expression of sound are emphasized in her current research. \nFlute: Lauriane Boulezaz (Ensemble 404) \n  \nRoberto Cipollina: ULYSSES II\nUlysses 2 is a project conceived by composer Roberto Cipollina. The work serves both as a performative and technological exploration of real-time performer-machine interaction\, emphasizing the role of AI not as a passive tool\, but as an active and adaptive musical agent within the creative process.\nThe work is conceived as a closed-form improvisational structure for acoustic instrument and real-time interactive electronics\, developed specifically to explore the creative potential of artificial intelligence in relation to the performer’s improvisation.\nAt the core of Ulysses 2 is the integration of Somax2\, a real-time generative system developed within the Max environment\, which enables responsive electronic behavior through the analysis and transformation of live performance data.\nWhile the project fully embraces aleatory elements and the concept of extemporaneity\, it also adheres to an organized formal structure that guides its overall development. In fact\, the performer engages with a series of prompts provided by the composer\, ensuring a coherent trajectory.\nThe electronic component\, built from a database of sampled sounds recorded by Eleonora Sofia Podestà\, responds and adapt to the performer’s expressive gestures in real-time. Through Somax2’s processing\, the system generates musically congruent textures and transformations.\nThis piece highlights the software’s ability to translate performance parameters into musically coherent electronic answers\, fostering a dynamic and co-creative dialogue between human performer and machine intelligence. \nAbout the artists\nRoberto Maria Cipollina is a composer and researcher in immersive technologies applied to music\, whose works have been performed across Europe and America. His compositions include A Lover’s Tale (2018)\, Alchimie (2020)\, Lu Re d’Amuri (2022)\, and Al-Qantarah (2024). Author of two musicological books and lecturer on palazzi della memoria in music\, artificial intelligence\, and virtual reality\, his works are internationally performed and published by Da Vinci Records. \nViolin: Wakako Matsubara (Ensemble 404) \n  \nSarah Proske: Schattenwald \nSchattenwald mixes recorded organ sounds with the real organ. The hissing and whistling of a small\, fully mechanical organ forms the basis of an almost romantically fragmentary soundscape. At the same time\, the organ reveals something of its inner workings and sounds like “musique concrète instrumentale.” In addition to this technical aspect\, the title reveals something about the poetic approach. Nature and culture collide. One thinks one can hear the call of an eagle owl\, the wind rustling through the trees\, the creaking of branches…\nThe electronics are based on recordings of a small\, fully mechanical organ. Playing with the key pressure and half-drawn registers creates mystical-sounding tones\, which have been arranged into a dramaturgically designed soundscape through multiple layers. The similarity to natural sounds is intentional here and is picked up and commented on by the live organ performance. A slightly changing chord (fixed with wooden wedges) emerges between the shadow sounds and increasingly dominates the tonal structure of the piece. The organist is repeatedly given musical material with which he improvises within the given framework.\nThe performance of the piece must be adapted to the respective organ; alternatives are indicated in the score. The composition was written for the organ in St. Nikolai\, Hamburg\, with its special possibilities\, in particular wind swellers and built-in percussion instruments. \nAbout the artist\nSarah Proske was born in Suhl (Thuringia) in 1999. She completed a church music degree (Master’s degree\, with a focus on IKN – improvisation\, composition and new media) as well as a master’s degree in organ improvisation with Prof. Franz Danksagmüller at Musikhochschule Lübeck. She has received several composition commissions\, such as works commissioned by the “Orgelstadt Hamburg e.V.”\, Erzbistum Paderborn\, Dommusik Linz for the vocal ensemble „Cantando Admont“\, as well as compositions for choir and ensemble for the Diocese of Graz-Seckau.\nShe won awards in different disciplines\, so as a composer as well as a soprano and organ improviser at different competitions.\nHer compositions have been performed at venues including the Orgelpark Amsterdam\, the opening oft he festival „Leer_raum“ at Stiftskirche Tübingen\, „Nordische Filmtage“ in Lübeck and the Schönberger Musiksommer.\nSarah Proske has been working as an assistant organist at St. Jakobi Lübeck\, and as a tutor for the subject “Improvisation\, Composition and New Media” at the MHL. Since April 2026 she is based in Cologne\, working as organist and choir director at Martin-Luther-Kirche Köln-Porz. \n  \nS. Ali Hosseini and Federico Lessio: Opus\nThis project draws inspiration from the works of German filmmaker and cinematographer Walter Ruttmann\, a pioneering figure in abstract experimental cinema.\nBy studying Ruttmann’s visionary approach\, I have reinterpreted his work through a contemporary lens\, integrating modern technology to introduce a new dimension of abstraction.\nMy goal is to build upon his artistic legacy\, pushing the boundaries of visual expression while staying true to the essence of his groundbreaking innovations.\nThe musical composition for this project blends electronic\, electroacoustic\, and acoustic elements to authentically capture its essence.\nBy incorporating synthesizers and concrète sounds\, I seek to establish a fresh sonic approach\, one that bridges tradition with innovation\, enhancing the abstract nature of the work through a dynamic and immersive auditory experience. \nAbout the artists\nS. Ali Hosseini. Born in 1991 in Tehran\, Iran. I hold a Bachelor’s degree in Composition from the Tehran Conservatory of Music\, where I focused on Classic music and composition. Currently\, I am pursuing a Master’s degree in Applied Music (Musica Applicata) at the Conservatorio G. Nicolini in Piacenza\, Italy. My studies encompass electroacoustic\, electronic\, and contemprory composition\, as well as sound design and the integration of video and short films.\nI am currently exploring new approaches to composition based on spatial audio and microtonality and integration with visual Art.\nMy works have been featured at several prestigious festivals\, including the PdMaxCon25~ (USA)\, UVM 2025: COSMOCENO (Brazil)\, Simultan Festival (Romania)\, MA/IN Festival (Italy)\, SEHSUCHTE film festival (Germany)\, Musicmediale Festival (Italy)\, Appennino Festival (Italy)\, Piacenza Music Festival (Italy)\, Pensiero Contemporaneo Festival (Italy)\, and La Notte dei Ricercatori (Italy)\, 43rd Festival Tous Courts (France)\, Evimus 2025 (Germany). \nFederico Lessio \n  \nPierre Alexandre Tremblay: les lignes de désir\nArchitects\, luthiers\, designers\, urban planners\, and other dreamers\, imagine a Platonic aesthetic intended use of the object of their creativity. A vision of beauty in action. Yet lives/masses/swarms/users have their ways\, and soon emerge lines of desire. \nThis piece is an ode to the beauty of aging and experience\, of traces of time passing and writing its story\, of patina and of wrinkles\, of used leather boots\, of rusty structures\, of crow’s feet. Fragile and subtle at first\, these lines\, in the wake of usage\, are the witnesses of the soft and gentle resistance of the ignored wanderer. \nIt is an homage to the emerging beauty of subversive (ab)uses. \n— \nThanks Irine Røsnes\, Linda Jankowska\, the FluCoMa team\, Notam’s team\, and CeReNeM’s Creative Coding Lab. \nAbout the artists\nPierre Alexandre Tremblay (Montréal\, 1975) 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 practises creative coding. His music is available on empreintes DIGITALes. He was Professor of Composition and Improvisation at the University of Huddersfield (England\, UK) from 2005 to ’24. In September 2024\, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition. \nViolin: Wakako Matsubara (Ensemble 404) \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-6b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T220000
DTEND;TZID=Europe/Amsterdam:20260516T233000
DTSTAMP:20260613T162030
CREATED:20260422T110714Z
LAST-MODIFIED:20260507T174230Z
UID:10000218-1778968800-1778974200@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 6C (After Party)
DESCRIPTION:From the conference to the dance floor! ICMC HAMBURG 2026 culminates in the Club Concert 6C\, followed by the official After Party. DJs from Hamburg will keep the energy going and invite guests to celebrate the conference finale together. \nThis Club Concert and the After Party are open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\npORCELAIN\nDave O Mahony \nRushpusher\nEric Honour \nSyzygys \nFiona Xue Ju and Drew Farrar \nCapture Un-Capturable\nYue Zhang \nCross talk: distributed feedback \nDennis Scheiba \nthese particles we immersed \nAnqi Liu and Han Zhang \nInterwoven Realms: The Threefold Domain of Consciousness\nQing Ye and Yuxue Zhou \nScarittera – Subterranean Eruptions of Sonic Memory\nDanilo Randazzo \n  \nAbout the pieces & artists\nDave O Mahony: pORCELAIN\nAn audio and video representation for the feeling when ones bones rub together. \nAbout the artist\nDave O Mahony is a PhD graduate of the University of Limerick\, Ireland. His compositions have been performed at the Sines & Squares Festival (Manchester\, UK) both 2014 and 2016\, The Hilltown New Music Festival (Ireland)\, at the Daghda Gravity & Grace Festival (Limerick\, Ireland)\, as part of the Society of Electro Acoustic Music United States conferences 2018 and 2019 (Eugene Or. & Boston Ma.)\, the 2018 New York Electro Acoustic Music Festival\, the the International Computer Music Conference (I.C.M.C.)/ New York Electro Acoustic Music Festival joint 2019 event (both in New York\, NY.)\, the 2018 and 2019 Electroacoustic Barn Dance (Jacksonville\, FL)\, the 2020\, 2021 and 2022 Earth Day Art Model online festivals\, the 2021 New Music Gathering online conference\, the Radiophrenia online event (2022) and the 2020/21 I.C.M.A. conference. He is a member of the Irish Sound Science and Technology Association (ISSTA)\, S.E.A.M.U.S. the I.C.M.A. and has an interest in manipulating modular synthesizers with brainwaves. He holds a Doctorate in Composition in Music Technology\, a BA in English and New Media (Hons) and an MA in Music Technology (Hons) from the University of Limerick\, Ireland. \n  \nEric Honour: Rushpusher\nRushed onto a Push\, Rushpusher features a rush of buttons pushed rushedly\, to push a sense of rushing\, pushy music\, pressing close like pushing through a dense bed of rushes. Also\, a bass may be dropped. \nAbout the artist\nDevoted to exploring and furthering the intersections of music and technology\, Eric Honour’s work as a composer and saxophonist has been featured around the world in numerous international conferences and festivals like ICMC\, SEAMUS\, MUSLAB\, Sonorities\, EMM\, NYCEMF\, and others. A member of the Athens Saxophone Quartet\, he performs regularly in Europe and the United States\, and has presented lectures and masterclasses at many leading institutions.\nHonour is Chair of the School of Visual and Performing Arts\, Professor of music\, and founder of the Center for Music Technology at the University of Central Missouri\, teaching courses in acoustics\, music technology\, and composition. His work as an audio engineer and producer appears on the Innova\, Centaur\, Ravello\, and Irritable Hedgehog labels\, among others\, as well as on numerous independent releases and he has served as an acoustics consultant and designer on projects ranging from recording studios to classrooms to auditoriums and performance spaces\, most recently serving as the principal designer of UCM’s cutting-edge music technology studios\, which opened in 2022. \n  \nFiona Xue Ju and Drew Farrar: Syzygys \nSyzygys is an electroacoustic improvisation for electric guitar\, pedals\, analog and digital synthesizers\, and live electronics. The performance is based on a real-time interaction between two performers whose sound worlds are continuously shaped\, transformed\, and interwoven through electronic mediation. One performer operates a hybrid setup combining analog and digital synthesizers with custom Max/MSP patches and Ableton Live\, controlled via MIDI to enable responsive sound generation\, processing\, and structural modulation. The other performer plays electric guitar through an extended chain of pedals\, exploring experimental sound production\, noise-based textures\, and timbral instability. \nRather than treating the electronic systems as fixed signal processors\, the performance emphasizes electronics as active agents within an improvisational ecology. Sound materials circulate between guitar\, synthesizers\, and live processing\, creating feedback loops of influence in which gesture\, listening\, and system behavior mutually inform musical decisions. The resulting form emerges through moment-to-moment negotiation\, highlighting fragility\, risk\, and unpredictability as core aesthetic values. \nThe performance explores the tension between control and indeterminacy in live electronic improvisation\, examining how analog and digital systems can coexist and interact within a shared sonic space. By foregrounding performer–performer and performer–system interaction\, the work contributes to contemporary discourse on electroacoustic improvisation\, hybrid performance practices\, and the role of real-time electronic mediation in collaborative music-making. \nAbout the artists\nFiona Xue Ju is a Ph.D. candidate in Experimental Music and Digital Media at Louisiana State University. A composer and media artist originally from China\, she works across sound\, performance\, and visual design. She holds a Bachelor’s degree in composition from Oberlin Conservatory and a Master’s degree in CoPeCo (Contemporary Performance and Composition) from CNSMD Lyon. Her work blends electronic music with multimedia\, exploring immersive\, politically engaged experiences across digital and physical spaces. \nDrew Farrar is a composer\, guitarist\, and educator from St. Louis\, Missouri\, based in Baton Rouge\, Louisiana. His music explores agency and otherness through physical movement\, quotation\, and spectral techniques. His works have been performed by ensembles including RE:duo and the Illinois Modern Ensemble. He received M.M. degrees in Composition and Guitar Performance from the University of Illinois at Urbana-Champaign and is currently pursuing a Ph.D. in Composition at Louisiana State University. \n  \nYue Zhang: Capture Un-Capturable\nCapture Un-Capturable is an interactive performance that integrates sign language with Mediapipe gesture recognition technology. Grounded in the notion that “sound is formless and sign language is silent\,” the work reimagines translation by placing sign language at the center of artistic expression. Drawing upon the metaphor of the “strobe camera” in sign language\, the piece captures and translates natural phenomena beyond the limits of human perception — from the surging magma within the Earth to the subtle sounds of water\, forests\, and rain in the outer spheres. By centering people with disabilities as both the creative core and source of inspiration\, the work transforms all audience members into equal participants\, enabling them to “listen” through gestures and “see” through sound — a cross-sensory experience where technology\, nature\, and human compassion converge. \nAbout the artist\nZhang Yue (b. 2002) is a member of the International Computer Music Association (ICMA) and the Electroacoustic Music Society of the Chinese Musicians’ Association. She is currently pursuing a master’s degree at the Wuhan Conservatory of Music.\nHer works have been selected for the International Computer Music Conference (ICMC) in 2023\, 2024\, and 2025. Among them\, Flying with the Starlings received the Best Student Work Award at ICMC 2023. She has twice been awarded the Phil Winsor Young Composer Award at WOCMAT (2023\, 2024). Her works The Butterfly Revelation and The Lament of Plants won first prize in the electroacoustic category at the International Electroacoustic Music Competition (IEMC) in 2024 and 2025\, respectively. Her thesis received the Outstanding Bachelor’s Thesis Award at the Wuhan Conservatory of Music and was selected for the National Conservatory Graduate Academic Symposium. \n  \nDennis Scheiba: Cross talk: distributed feedback for mobile devices \nRecent developments in spatial audio have largely focused on fixed loudspeaker arrays or object-based rendering systems\, often implying a privileged listening position and reducing sonic space to a localized perspective of a sweet spot. This work instead questions whether object-based thinking can be redirected from optimizing a sweet spot toward adapting sound spatialization to the room and the bodies within it by using bi-directional audio streaming.\nUsing Stecker\, a custom-built streaming framework\, the microphones and loudspeakers of audience smartphones are accessed via WebRTC to form a distributed\, wireless feedback network. In this setup\, each participant becomes an active acoustic node\, and spatialization emerges from the physical arrangement\, proximity\, and interaction of devices rather than from predefined speaker layouts. The resulting feedback grid produces an embodied and continuously reconfiguring spatial field that blurs the boundaries between performer\, audience\, and sound diffusion. \nAbout the artist\nDennis Scheiba is an artistic and research associate at the Robert Schumann Hochschule Düsseldorf. He works as a composer\, live coder\, and audio-visual artist with a special interest in multi-spatiality and streaming technologies. He has performed at MIT\, Johns Hopkins University\, ZKM\, KUG\, and IRCAM.\nScheiba has a background in mathematics and machine learning and currently researches on audio-only VR environments\, JIT-compilation in DSP environments\, WebRTC streaming\, and packaging of audio-projects. \n  \nAnqi Liu and Han Zhang: these particles we immersed \nthese particles we immersed (2025) is a 50-minute multimedia live set that treats performance as an evolving ecology of touch\, signal\, and shared attention. Built around a DIY sensor instrument\, live electronics\, and real-time visual processing\, the work uses yarn as both material and method\, a soft architecture that binds bodies\, devices\, and projected image into a single\, unstable circuit. Rather than presenting sound and image as parallel layers\, the piece stages their continuous co-production\, where tactile tension\, proximity\, and micro-gestures become the conditions from which sonic and visual events emerge. \nAt the center of the work is translation\, understood not as a neutral bridge but as a set of thresholds that determine what becomes legible. Physical relations are translated into control and transformation\, then translated again into audible and visible behavior. Each translation clarifies and cuts at once; it amplifies certain forces\, pressure\, friction\, breath\, strain\, while compressing others that resist capture. The DIY sensor instrument foregrounds this politics of conversion by making mediation visible. It asks what is gained when embodied experience becomes data\, and what is lost when lived continuity is segmented into events that can be routed\, processed\, and displayed. \nThe system is designed to remain sensitive to failure modes\, noise\, drift\, latency\, and feedback\, not as problems to be corrected but as evidence of an environment acting back. The live electronics operate less as “effects” and more as a responsive habitat\, shaping the performers’ pacing and risk\, while being reshaped by their touch. The visual processing functions as another listening surface\, a reactive field that materializes tension and release\, accumulation and rupture\, making the translation chain perceptible as a changing image ecology. \nParticipation is embedded in the work’s method. Yarn creates a shared infrastructure that requires negotiation\, it constrains and enables simultaneously\, producing a relational dramaturgy of binding and unbinding. Decisions are distributed across bodies\, sensors\, algorithms\, and the room itself\, including its light\, resonance\, and attention economy. The piece treats the performance space as an active participant\, where the smallest shifts in gesture or position can tilt the system from stability into turbulence\, or from turbulence into fragile coherence. \nDeveloped during one of our Visiting Artist Scholar Designer Residencies\, these particles we immersed proposes a way of composing with thresholds\, where form is discovered through real-time negotiation among material\, technology\, and care.\nIn ICMC 2026\, we are flexible to perform this piece in any length as needed. \nAbout the artist\nāññā is an interdisciplinary performative duo formed by multimedia artists Anqi Liu and Han Zhang\, devoted to fluid\, cross-sensory\, and interrelational experiences. We play\, dream\, and create together—expanding the boundaries of perception and space. As lifelong collaborators\, we weave our diverse journeys into a shared artistic language: ski partners carving through mountains and rivers\, practitioners of occult metaphysics immersed in the I Ching and star charts.\nOur work is not merely a collaboration\, but a continuous merging of lives\, thoughts\, and psyches—an evolving dreamscape where creative boundaries dissolve and reassemble in perpetual transformation.\nHaving completed their BROILER Artistic Residency with Oracle Egg and the Visiting Artist Scholar Designer Residency at Rocky Mountain College of Art + Design\, āññā is currently releasing an experimental film with Music For Your Inbox\, Los Angeles\, and preparing for their upcoming show with Dog Star Orchestra in Los Angeles this June. Their debut album is also in progress. \n  \nQing Ye and Yuxue Zhou: Interwoven Realms: The Threefold Domain of Consciousness\n“Overlap: The Three Realms of Consciousness” is a multimedia musical work that explores the deep structures of the human psyche. The sonic dimension includes ASMR trigger sounds—such as wood\, metal\, and human oral noises—woven into an arch-shaped structure (ABCB’A’) that connects Freud’s three dimensions of the preconscious\, the unconscious\, and consciousness. Through TouchDesigner\, sound and visuals jointly construct a psychological landscape\, revealing the interlacing and transformation of multidimensional consciousness within dreams. The audience is drawn into a psychological space that transcends reality\, experiencing the flow and reflection of consciousness through the fusion of sound and form. \nAbout the artists\nQing Ye is a composer and doctoral student in Music Technology at Nanjing University of the Arts\, supervised by Professor Xuan Wang. She is a member of the Electronic Music Society of the Chinese Musicians’ Association and holds a Level-3 composer certification. Her works have been presented at international composition competitions including the Hangzhou International Electronic Music Festival and the Sibelius and Vivaldi International Music Competitions. Her practice focuses on computer-assisted composition and audiovisual creation. \nYuxue Zhou is a Ph.D. in Musicology at the Communication University of China under the supervision of Professor Xuan Wang. Her creative work focuses on electronic and multimedia music. She has received awards at major composition competitions including MUSICACOUSTICA-BEIJING\, the Hangzhou International Electronic Music Festival\, and the Vivaldi International Composition Competition. Her works have been presented in national arts projects and international multimedia music events. \n  \nDanilo Randazzo: Subterranean Eruptions of Sonic Memory\nThis live electronics piece is conceived for solo computer and visual media. It stands between computational ethnomusicology and computer music performance\, addressing the challenge of reinterpreting a vanishing oral tradition through digital technologies while questioning the musical relationship with the original repertoire. The current focus is on Sicilian carters’ songs\, chosen for their distinctive melodic style in Sicilian traditional music. The project employs pioneering computer music techniques to sonify the repertoire’s melodic and spectral data. Specifically\, the sound design draws from David Wessel’s seminal work on timbral morphing and spectral interpolation (as exemplified in “Antony”). These early computer music strategies create a sonic bridge between oral tradition and digital reinterpretation. The compositional logic follows the principles of soundscape composition\, treating the analytical data as environmental sound sources that are organized according to R. Murray Schafer’s concepts of soundmark\, keynote\, and signal. The performance features realtime arrangements of textures produced through different sonification strategies\, evoking the identity of the carters’ songs across three levels of fidelity: • Lo-fi: only hints at the original melodies\, functioning as distant soundmarks • Hi-fi: closely follows melodic structures\, preserving recognizable keynote elements • Rationalized: derived from analysis data\, creating textures that may converge with or contrast against the tradition\, acting as foreground signals. The live set recreates an imaginary soundscape rooted in sound hauntology\, understood here as the persistence of a disappearing oral memory within digital mediation\, where echoes of the tradition resonate and evolve through early computer music techniques. The piece is accompanied by abstract visuals evoking the eruption of sonic memory from Mount Etna through suggestive imagery in a Mediterranean palette. \nAbout the artist\nDanilo Randazzo is a PhD student\, sound artist\, and music technology teacher based in Catania\, Sicily. His research explores oral music traditions through computational analysis and electronic reinterpretation. He has presented at Audio Mostly (QMUL) and CHiME (Open University)\, performed at Milano Music Week and venues like Macao Milano\, and was a member of laptop orchestra 1h2nein. His work includes live electronics with self-programmed instruments and soundtracks for contemporary dance and film. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/club-club-concert-6c-after-party/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:16-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T233000
DTEND;TZID=Europe/Amsterdam:20260517T020000
DTSTAMP:20260613T162030
CREATED:20260422T110907Z
LAST-MODIFIED:20260516T111037Z
UID:10000225-1778974200-1778983200@icmc2026.ligeti-zentrum.de
SUMMARY:After Party
DESCRIPTION:We’re bringing Hamburg’s subculture music scene to the official Aftershow Party of ICMC HAMBURG 2026. \n  \nPowerbanksy (Techhouse / House) \nDelivering a solid 4/4 groove is Powerbanksy — driving tech house\, warm house grooves\, hypnotic basslines. Somewhere between underground club energy and late-night euphoria\, his sound delivers raw momentum with effortless flow: deep\, punchy\, and unapologetically danceable. \nhttps://soundcloud.com/di-ys \n  \n \n  \nRespect & Awareness \nTake care of each other! We want everyone to feel safe\, comfortable\, and respected. To make this night enjoyable for all\, please follow these simple guidelines: \nRespect Boundaries: Treat others with consideration. Always respect personal boundaries – only yes means yes. \nLook Out for Each Other: If you see someone who needs help or looks uncomfortable\, please offer support or inform our staff. \nZero Tolerance for Discrimination: There is no room for sexism\, racism\, homophobia\, transphobia\, or any other form of discrimination or harassment. \nNeed Help? If you feel harassed\, unsafe\, or unwell\, please contact our Awareness Team (you can recognize them by their pink vests) \n 
URL:https://icmc2026.ligeti-zentrum.de/event/after-party/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:16-05,Special Event
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
END:VCALENDAR