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DTSTART;TZID=Europe/Amsterdam:20260511T160000
DTEND;TZID=Europe/Amsterdam:20260511T170000
DTSTAMP:20260423T162216
CREATED:20260421T082545Z
LAST-MODIFIED:20260422T143423Z
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SUMMARY:Keynote | Robert Henke: "My Life as a Toolmaking Artist: A Personal Reflection on the Challenges and Rewards of Building My Own Instruments"
DESCRIPTION:I had the privilege of witnessing—and participating in—the historic shift of computer-generated music from an academic pursuit to something accessible in a bedroom studio. I embraced this opportunity wholeheartedly\, using environments like IRCAM’s Max to explore new sonic and structural territories. This allowed me to move beyond the constraints of physical instruments I could afford\, the limitations of my own hands\, and the rigid mental models of established MIDI sequencing software. \nDriven by a desire to achieve unique and personal results with limited computing power and knowledge\, I came to value the creative freedom found in self-imposed limitations. This experience led to a deep appreciation for simple yet powerful concepts\, algorithms\, and interfaces. \nSince the beginning\, my music emerged from an iterative process: building instruments\, being surprised and inspired by the results\, and then revising the instruments in response. The insights I gained not only informed a successful commercial product but\, more importantly\, shaped my identity as an artist and my approach to computer-based creation. \nIn my talk\, I will examine selected works of mine from a critical toolmaker’s perspective: did I reinvent the wheel again\, or did I achieve an artistic outcome which justifies the effort? \n  \nRobert Henke\nRobert Henke is an artistic toolmaker and a toolmaking artist\, exploring the creative potential of technology. His practice spans musical compositions\, concerts\, large-scale audiovisual installations\, and computer graphics. His work frequently involves inventing custom algorithms and machines\, blending rigid structure with controlled randomness. His music channels the raw\, repetitive energy of techno culture\, as well as the intricate details and textures of abstract contemporary works. His visual art builds on the legacies of Minimal Art and early computer graphics pioneers.\nSince 1995\, he has recorded and performed as Monolake\, initially a duo with Gerhard Behles and\, since 1999\, a solo project. His artistic collaborations include works with Marko Nikodijevic\, Tarik Barri\, and Christopher Bauder\, among others.\nHenke is also a co-creator of Ableton Live\, software that revolutionised music production and electronic performance. He lectures and writes on sound and creative computing\, and has taught at institutions such as the Berlin University of the Arts\, Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) and IRCAM in Paris.\nHis installations\, performances\, and concerts have been presented at leading venues worldwide\, including Tate Modern\, Centre Pompidou\, PS1\, MUDAM\, MAK\, Palazzo Grassi\, and countless music festivals. \nMore about Robert Henke: www.roberthenke.com \n 
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-robert-henke/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T153000
DTEND;TZID=Europe/Amsterdam:20260512T163000
DTSTAMP:20260423T162216
CREATED:20260421T144640Z
LAST-MODIFIED:20260423T115618Z
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SUMMARY:Keynote | Falk Hübner: "The artist-researcher as a connector in times of crises: Four questions to computer music"
DESCRIPTION:In the last 5–10 years\, artistic research has undergone a process of growing maturity: often transdisciplinary in nature\, the discipline has grown into an immense diversity\, and out of a “need for syntheses”\, the focus of the discourse is “shifting more towards methodological aspects and best practices” (Craenen 2025). The artist-researcher is a central persona in this field\, that is typically characterised by hybridity and fluidity\, taking part in several practices\, contexts\, and discourses — connecting all of these\, both within and outside the arts.  \nAt the same time\, however\, we live in a time characterised by multiple crises that don’t seem to end very soon\, and leave the world in extreme continuous instability on a global scale. This includes late-stage neoliberalism and capitalism\, climate change and questions of climate justice\, rising fascism and multiple wars\, to mention only the largest and most devastating examples.  \nWhile the arts can never literally “solve” any of these issues\, artists have always related to the world and times they live in\, in one way or another. And just as several scientists have taken more activist stances recently (Heinzen-Ziob 2026)\, artistic research arguably can take (more) responsibility to address social-societal issues\, and explore what kinds of “shifts” might be suggested\, provoked\, proposed\, speculated\, or imagined.  \nIn this lecture\, Falk Hübner will offer various examples of such socially engaged artistic research projects\, and discuss the persona of the artist-researcher as a “connector” and the methodological consequences such a positionality implies. From this perspective\, he develops a series of questions to the field of computer music\, to explore and discuss bridges and potential connections between topics of socially engaged artistic research and the disciplines and discourses of (research in and through) computer music.  \nFalk Hübner\nSince completing his composition and double bass studies at ArtEZ University of the Arts in Arnhem\, The Netherlands\, he has been active in contemporary jazz\, experimental music theatre\, and a wide range of interdisciplinary collaborations within and beyond the arts. Between 2008 and 2013\, he conducted his doctoral artistic research project Shifting Identities at DocARTES/Leiden University\, which led to a series of experimental music theatre works as well as his first book\, Shifting Identities: The Musician as Theatrical Performer (2014). From 2019 to 2021\, Falk conducted postdoctoral research at HKU University of the Arts Utrecht on artistic research methodology and ethics. \nAs a teacher and research supervisor\, he has worked at HKU University of the Arts\, the Master NAIP (New Audiences and Innovative Practices) at the Royal Conservatoire The Hague\, the ArtEZ Master in Music Theatre\, and as Director of Research and Writing for the ArtEZ International Master Artist Educator. \nFalk’s current research focuses on the social and activist potential of artistic research\, transdisciplinarity\, artistic research methodologies\, practices of care and care-fulness\, climate justice\, circularity\, and anti-racism. He is part of the Dutch research network Creating Cultures of Care and a member of the Graduate Committee of the Professional Doctorate in Arts & Creative Practices. He currently supervises two Professional Doctorate candidates and four PhD candidates. \nAmong other publications\, Falk is the author of Method\, Methodology and Research Strategy in Artistic Research: Between Solid Routes and Emergent Pathways (2024) and co-editor (with Henny Dörr) of the volume on the collaborative transdisciplinary artistic research project If You Are Not There\, Where Are You? (2017). Together with Annelys de Vet\, he is co-editor-in-chief of Forum+\, a journal for research and the arts based in Antwerp. \nIn addition to his professional life\, Falk is an (ultra-)marathon runner. He lives in Rotterdam with his partner and their five children. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-falk-hubner-the-artist-researcher-as-a-connector-in-times-of-crises-four-questions-to-computer-music/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
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DTSTART;TZID=Europe/Amsterdam:20260514T153000
DTEND;TZID=Europe/Amsterdam:20260514T160000
DTSTAMP:20260423T162216
CREATED:20260421T143705Z
LAST-MODIFIED:20260421T143727Z
UID:10000094-1778772600-1778774400@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Psyche Loui: Scales for Predictions\, Creativity\, and Music-Based Interventions
DESCRIPTION:  \nMusic unites listeners through shared predictions and reward. At the heart of this process is the musical scale—a designed object that quantizes pitch into structures capable of generating and fulfilling expectation. A survey of the world’s scales reveals five core design features and a single overarching dimension of enculturation\, ranging from deeply familiar tonal systems to entirely novel sonic environments. The Bohlen-Pierce (BP) scale occupies a unique position in this multidimensional space: combining a non-octave equivalence interval with near-zero enculturation\, it sits at the intersection where the need for rigorous enculturation research is most acute. Harnessing the capacity of the BP scale to generate genuinely new predictions\, this talk presents behavioral and neuroscience findings from the MIND Laboratory examining how children and adults across different countries acquire musical structure from an unfamiliar system. Results illuminate the developmental trajectory of statistical learning\, the neural signatures of prediction error\, and the timescales over which aesthetic preferences emerge from exposure. Beyond perception\, the BP scale serves as a test bed for studying creative cognition\, enabling novel assessments of musical improvisation and imagination. The talk closes by connecting these findings to clinical applications\, considering how principles of enculturation and prediction inform optimal dosage design for music-based interventions targeting cognition and brain health.   \n  \nPsyche Loui\nPsyche Loui is Associate Professor of Music and Psychology at Northeastern University\, where she directs the MIND (Music\, Imaging\, and Neural Dynamics) Lab and serves as Associate Dean of Research in the College of Arts\, Media and Design and Associate Director of the Institute for Cognitive and Brain Health. She brings a unique perspective to music research as both a neuroscientist and performing violinist\, bridging experimental rigor with artistic practice. Loui’s research explores how the brain learns\, processes\, and creates music\, with particular emphasis on using artificial musical systems as controlled laboratories for understanding neural mechanisms. Her pioneering work with the Bohlen-Pierce scale—a microtonal system based on the tritave rather than the octave—demonstrates how novel tuning systems can reveal fundamental principles of musical learning\, prediction\, and pleasure. By creating controlled compositional experiments that exist outside of Western tonal traditions\, she illuminates how brains adapt to unfamiliar sonic worlds and what this reveals about music cognition more broadly. Loui directs the MIND Lab (Music\, Imaging\, and Neural Dynamics laboratory) which combines cutting-edge neuroscience methods (fMRI\, EEG\, diffusion tensor imaging) with computational approaches including machine learning and natural language processing to decode musical experience. Recent work investigates how people generate mental imagery in response to music\, revealing that seemingly idiosyncratic imaginings are often broadly shared across listeners. She has developed novel computational tools to analyze free-response descriptions of music listening\, enabling robust empirical study of subjective experiences previously considered intractable. Loui’s research extends from fundamental discovery to clinical translation. Her work on gamma-enhanced music interventions for Alzheimer’s disease leverages technological advances in sound synthesis to create therapeutic applications\, supported by multiple NIH grants. She has secured over $6 million in external funding\, including an NSF CAREER award for her work on artificial musical systems. \nLoui plays violin in Boston’s Longwood Symphony Orchestra\, advises the Boston Landmarks Orchestra\, and plays banjo and mandolin in a chamber music/indie rock ensemble. She is also author of the forthcoming book Strange Scales: How Novel Music Reveals the Secrets of the Predictive Brain (MIT Press) and co-editor of Science-Music Borderlands (MIT Press\, 2023)\, which won the Ruth A. Solie Award from the American Musicological Society. Her work has appeared in leading journals including Psychological Science\, Journal of Neuroscience\, NeuroImage\, and Cognition\, and has been featured in The New Yorker\, New York Times\, BBC\, and NPR. \nLoui serves as President-Elect of the Society for Music Perception and Cognition and Associate Editor of Cognition. She holds a PhD in Psychology from UC Berkeley and dual bachelor’s degrees in Psychology and Music from Duke University. \nMore about Psyche Loui here. \n  \n  \n 
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-psyche-loui-scales-for-predictions-creativity-and-music-based-interventions/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T153000
DTEND;TZID=Europe/Amsterdam:20260515T163000
DTSTAMP:20260423T162216
CREATED:20260421T144302Z
LAST-MODIFIED:20260421T144302Z
UID:10000173-1778859000-1778862600@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | James Andy Moorer: History of Computer Music from Mathews to "Man in the Mangroves"
DESCRIPTION:The origins of computer music promised unlimited freedom for composers to make music using sounds that no acoustic instrument could make. This freedom comes with a price. Composing a computer-synthesized piece involves an extra step. You do not just choose the instruments in your ensemble\, but you must also build the orchestra. Over the last 70 years\, we have evolved a wide range of techniques for music synthesis. We have reduced the burden of building the orchestra creation but have not eliminated it.  \nThe creation of “The Man in the Mangroves Counts to Sleep” illustrates this process. About half of the work went to building the computer-based tools for the specialized form of voice synthesis needed for orchestration of the poem. After all these years\, it is clear that there is more to be done to reduce the effort required ofthe composer in bringing the sounds from our imagination into reality. This talk will illustrate some of the problems that had to be solved in the realization of the piece.  \n  \nJames Andy Moorer\nJames A. Moorer is an internationally-known figure in digital audio and computer music\, with over 40 technical publications and many patents to his credit. In 1991\, he won the Audio Engineering Society Silver award for lifetime achievement. \nIn 1996\, he won an Emmy Award for Technical Achievement with his partners\, Robert J. Doris and Mary C. Sauer for Sonic Solutions/NoNOISE for Noise Reduction on Television Broadcast Sound Tracks. \nIn 1999\, he won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award (oscar) – for his pioneering work in the design of digital signal processing and its application to audio editing for film. \nHe is currently retired. \nFrom 1987-2001\, Dr. Moorer has served as Senior Vice President for Advanced Development at Sonic Solutions\, and is responsible for the NoNOISE package for restoration of vintage recordings. \nFrom 1986 to 1987\, Dr. Moorer consulted for NeXT\, Inc.\, on DSP software architecture for audio processing. \nFrom 1985 to 1986\, he was the chief technical officer at the Lucasfilm Droid Works. \nFrom 1980 to 1985\, he was the digital audio project leader at Lucasfilm\, Ltd. From 1977-1980\, he was the Reponsable Scientifique (technical advisor) at IRCAM in Paris. \nFrom 1975 to 1977\, he was a founder and co-director of the Stanford Computer Center for Research in Music and Acoustics. \nFrom 1968 to 1972\, he was a professional programmer at the Stanford Artificial Intelligence Laboratory. \nDr. Moorer holds a PhD in Computer Science from Stanford University\, granted in 1975. Prior to that\, Dr. Moorer earned an S.B. in Applied Mathematics from MIT in 1968\, and an S.B. in Electrical Engineering from MIT in 1967. \n  \n  
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-james-andy-moorer-history-of-computer-music-from-mathews-to-man-in-the-mangroves/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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