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DTSTART;TZID=Europe/Amsterdam:20260512T163000
DTEND;TZID=Europe/Amsterdam:20260512T180000
DTSTAMP:20260616T034657
CREATED:20260421T190439Z
LAST-MODIFIED:20260505T075342Z
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SUMMARY:Panel A: Physiological and Physical Foundations of Creative Systems
DESCRIPTION:This panel explores how artistic and creative systems can be understood through physiological and physical models of perception\, cognition\, and material interaction. Bringing together perspectives from musicology\, artistic research\, science\, and technology\, the discussion addresses the relationship between approaches such as physical modelling\, artificial intelligence\, and theories of self-organization in contemporary creative practice. \nA central focus lies on human listening\, embodied perception\, and the question of how technological systems relate to the complexity of musical experience. By connecting theoretical reflection with artistic perspectives\, the panel examines how creative systems emerge between body\, instrument\, environment\, and computation. \n  \nPanelists\nRolf Bader \nAlessandro Anatrini \nJakub Sawicki \n  \nModeration: Andreas Möllenkamp \n  \nAbout the Panelists\nRolf Bader studied Systematic Musicology\, Physics\, Ethnology\, and Historic Musicology at the University of Hamburg where he obtained his PhD and Habilitation. He is Professor for Systematic Musicology at the Institute of Systematic Musicology\, University of Hamburg since 2007. His major fields of research are Musical Acoustics and Musical Signal Processing\, Musical Hardware and Software Development\, Music Ethnology\, Music Psychology\, and Philosophy of Music. He published several books and papers about these topics. He was a visiting scholar at the Center for Computer was also working as a professional musician\, composer\, and artist\, running recording studios\, working as a music journalist\, leading exhibitions\, and running a cinema. He conducted fieldwork as an Ethnomusicologist in Bali\, Nepal\, Thailand\, Cambodia\, Myanmar\, Sri Lanka\, China and India since 1999. \n  \nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has been presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n  \nJakub Sawicki is a music psychologist and physicist whose research combines aspects of both fields. He studied music at Listaháskóli Íslands University and the Berlin University of the Arts. Alongside his position as organ improviser at Berlin Cathedral\, he continued his scientific research and received his Dr. rer. nat. degree from the Technical University of Berlin. He subsequently managed the research project “Synchronization Phenomena Related to Brain and Music (SynProMusic)” at the Potsdam Institute for Climate Impact Research. His research interests include music perception\, modeling of complex systems\, and neural dynamics. His latest book\, Music Psychology—Balance of Relations\, was published by Springer in 2025. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/panel-a-physiological-and-physical-foundations-of-creative-systems/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Panel
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DTSTART;TZID=Europe/Amsterdam:20260513T160000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260616T034657
CREATED:20260421T130933Z
LAST-MODIFIED:20260507T093524Z
UID:10000171-1778688000-1778695200@icmc2026.ligeti-zentrum.de
SUMMARY:Special Panel: Clarence Barlow
DESCRIPTION:Panelists\nFabian Czolbe \nBernd Härpfer \nJohn Chowning \nAnne Wellmer \nModeration: Georg Hajdu \n  \nAbout the panelists & their perspectives\nFabian Czolbe\, Julian Rohrhuber and Bernd Härpfer : “Amplifying Participation. The digital Barlow Archive (dBA) as an Approach to the Recording of a Digital Computer Music Legacy”\nThe archiving of computer music presents specific challenges that arise from the process-oriented\, software-based\, and technologically contingent nature of digital compositional practices. Digital artifacts such as source code\, algorithmically generated data\, and custom compositional tools encode not only musical outcomes but also procedural knowledge that is often implicit and difficult to formalize. This paper presents the Digital Barlow Archive (dBA)\, which may be taken as a case study for addressing these challenges through a translational and participatory approach to archiving computer music.\nThe born-digital legacy of Clarence Barlow (1945–2023) is open-ended and comprises heterogeneous materials. For doing justice to this openness and diversity\, the dBA adheres to existing archival standards while extending them to account for computer-music-specific objects and workflows. Thereby\, an object/event framework is employed to translate non-linear and iterative compositional processes into structured metadata representations that remain interoperable with institutional and international archival infrastructures. At the same time\, the framework acknowledges the limits of formalization and preserves interpretative openness.\nExtending the old idea of computing as an amplification of the intellect\, this paper argues that such archival methods do not only passively conserve material\, but need to translate and amplify the possibility of participation: they actively shape access\, interpretation\, and creative reuse of digital musical materials. Archiving should be conducted as an epistemic practice that mediates between technological history\, compositional knowledge\, and the contemporary computer music community.  \n  \nBernd Härpfer: “From pioneer to role model – a tribute to Clarence Barlow’s legacy to computer music and the ICMC” (invited)\nFor over five decades\, Clarence Barlow (1945-2023) has made significant contributions to contemporary music and\, in particular\, to computer music. He is recognised worldwide as a composer\, interdisciplinary researcher\, author\, software developer and professor. Another defining characteristic was his talent for bringing people together\, networking the scene and demonstrating great organisational stamina. A key milestone in this regard was the organisation and hosting of the 14th ICMC – the first time the event was held in Germany – in Cologne in 1988.  \n   \nAnne Wellmer: “On the Poetry of Indigestibility ξ”\n\nClarence Barlow was teaching at Sonology in the mid-nineties. A microtonal organ almost completely filled the room (BEA7) where he was teaching his course On Musiquantics. Clarence was a story teller. He would come up with hilarious and inspiring solutions for problems that seemingly could not be overcome… \nAbout the panelist\nanne wellmer | nonlinear is a composer performer based in The Hague. During her vocal studies at the Conservatory in Amsterdam in the early 1990s she discovered electronic music through workshops by Trevor Wishart and Joel Ryan and was introduced to the analog studio where noone except two composition students and her were working at the time. She decided to leave Schubert behind and moved on to study Sonology at the Royal Conservatory in The Hague. This is where she met Clarence Barlow. For a while STEIM became her second home. Shortly before September 11 she moved to Connecticut to study composition with Alvin Lucier. Back in the Netherlands\, she worked on the disclore of Dick Raaijmakers’ archive\, and updated the Sonology database so it could be included in the EMDoku (the International Documentation of Electroacoustic Music). Her work includes music theater pieces\, sound walks\, radio art\, fixed media and live performance. Since 2017 she has been teaching courses on experimental music within Art and Media at the Berlin University of the Arts.\nanne wellmer is a member of the society for nontrivial pursuits in Berlin and founding member of the nomadic collective new emergences. Recent collaborations include “the annes” with anne la berge\, “the octopussies” with Kristin Norderval and “triple A” with Alberto de Campo and Ariane Jeßulat.\nMore about anne welmer | nonlinear here: www.nonlinear.demon.nl \n  \nRaphael Radna: “Tombeau de Barleau: An Interactive Ludic–Algorithmic Composition in Honor of Clarence Barlow”\nTombeau de Barleau is an interactive\, generative\, and audiovisual composition dedicated to the pioneering computer-music composer Clarence Barlow (1945–2023)\, a teacher of the author. In this work\, two performers play a Pong-style video game in which collisions between the ball and a portrait of Barlow play a MIDI-controlled piano. The performers affect this process only indirectly\, as the gameplay itself governs musical parameters including harmony\, density\, rhythm\, dynamics\, and tempo. As a result\, the work balances novelty and determinism: while its musical surface varies across performances\, its underlying algorithmic structure provides a stable form. \nTombeau de Barleau adopts several elements of Barlow’s compositional style\, including rigorously formalized algorithmic processes\, unconventional uses of piano automata\, translations between visual and musical domains\, and playful or outlandish premises. It also applies some of his theoretical contributions\, namely his methods for quantifying the consonance of harmonic intervals (harmonicity) and priority of metrical pulses (indispensability). This paper describes the design and implementation of Tombeau de Barleau and reflects on its function as an homage to one of algorithmic music’s most inventive and influential figures.  \n  \nJohn Chowning: “Algorithmic compositions at Bell Telephone Laboratories in the 1960s” (invited)\nIn the domain of computer music\, the first algorithmic compositions were at Bell Telephone Laboratories (BTL) in the 1960s.  Max Mathews and colleagues\, encouraged and joined by John R. Pierce\, Director of Research\, experimented with Mathews and Joan Miller’s Music III and IV programs\, with notable results. While Mathews and Pierce did not claim to be composers\, they had musical instincts\, and the ideas in their algorithmic compositions were brilliant\, though often cartoonish sounding. \nIn my presentation\, I will present and explain a selection of works by composers including Mathews\, Pierce\, James Tenney\, and Jean-Claude Risset. \nAbout the panelist\nJohn Chowning was born in Salem\, New Jersey in 1934\, spending his school years in Wilmington\, Delaware. Following military service and four years at Wittenberg University in Ohio\, he studied composition in Paris with Nadia Boulanger. He received the doctorate in composition (DMA) from Stanford University in 1966\, where he studied with Leland Smith. \nIn 1964\, with the help of Max Mathews of Bell Telephone Laboratories and David Poole of Stanford University\, he set up a computer music program using the computer system of Stanford’s Artificial Intelligence Laboratory. Beginning the same year he began the research that led to the first generalized surround sound localization algorithm. In trying to comprehend the distance cue\, Chowning discovered the frequency modulation synthesis (FM) algorithm in 1967. This breakthrough in the synthesis of timbres allowed a very simple yet elegant way of creating and controlling time-varying spectra. Inspired by the perceptual research of Jean-Claude Risset\, he worked toward turning this discovery into a system of musical importance\, using it extensively in his compositions. In 1973 Stanford University licensed the FM synthesis patent to Yamaha in Japan\, leading to the most successful synthesis engine in the history of electronic musical instruments. Interview about FM synthesis Jun 17\, 2015\, Barcelona\, https://rwm.macba.cat/en/sonia/sonia-212-john-chowning \nHe taught computer-sound synthesis and composition at Stanford University’s Department of Music. In 1974\, with John Grey\, James (Andy) Moorer\, Loren Rush and Leland Smith\, he founded the Center for Computer Research in Music and Acoustics (CCRMA)\, which remains one of the leading centers for computer music and related research. Although he retired in 1996\, he has remained in contact with CCRMA activities. In 2019\, he initiated with an international team\, a long-term project to recreate\, by computer modeling\, the acoustics of the Chauvet Cave in France as they were when the exqusite 36\,000-32\,000-year-old wall paintings were created. \nChowning was elected to the American Academy of Arts and Sciences in 1988 and awarded the Honorary Doctor of Music by Wittenberg University in 1990. The French Ministre de la Culture awarded him the Diplôme d’Officier dans l’Ordre des Arts et Lettres in 1995. He was given the Doctorat Honoris Causa in 2002 by the Université de la Méditerranée\, by Queen’s University in 2010\, Hamburg University of Music and Drama in 2016 and Laureate of the Giga-Hertz-Award in 2013. \n 
URL:https://icmc2026.ligeti-zentrum.de/event/special-panel-clarence-barlow/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Panel
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T170000
DTEND;TZID=Europe/Amsterdam:20260514T183000
DTSTAMP:20260616T034657
CREATED:20260421T133619Z
LAST-MODIFIED:20260511T093119Z
UID:10000095-1778778000-1778783400@icmc2026.ligeti-zentrum.de
SUMMARY:Panel: Music\, Technology and the Mind
DESCRIPTION:Panelists\nLars Rye Bertelsen \nPia Preißler \nGoran Lazarevic \nMiriam Akkermann \nLi Zhong \nLi Xiaobing \nModeration: Eckhard Weymann \n  \nAbout the panelists & their perspectives\nLars Rye Bertelsen: MusicStar\nLars Rye Bertelsen will present on the MusicStar app. as a technology for health. The background\, thoughts and visions for its development will be presented\, along with an overview of its use and distribution worldwide. The app has been in use as a personal coping-strategy both clinically for patients during admittance and after dismissal from hospital\, in refugee rehabilitation and several quality studies ad research projects\, and it is also available for private use. \nAbout the panelist\nLars Rye Bertelsen began his music therapy training at Aalborg University in the program’s first cohort in 1982. He has since worked as a private music therapy clinician since 1987 and later established a private music therapy clinic in 1999 with three colleagues. From 2004 to 2024\, he held a part-time position at the music therapy research clinic at Aalborg University Hospital – Psychiatry\, where he conducted both clinical work and research in music therapy and music medicine. Bertelsen is co-inventor of the MusicStar app and specializes in designing playlists for arousal regulation. He earned his PhD in music therapy at Aalborg University in 2025. Moreover\, he is a certified Bonny Method GIM therapist and a fellow of the European Association for Music and Imagery (EAMI). \n  \nPia Preißler and Goran Lazarevic: The Healing Soundscapes\nWe will be presenting our work and the most recent developments in the Healing Soundscapes project – an interdisciplinary project at the intersection of music therapy\, psychology\, composition\, and technology\, where each of these branches is simultaneously supporting and enhancing the others. The project integrates scientific research\, artistic practice\, and AI-driven tools to create “neutral” sound environments for clinical spaces – blending seemlesly into the existing environement and at the same time enriching it in ways that promote the well-being of persons experiencing it. Moving beyond purely functional audio\, we explore how complex\, artful sound can resonate across individual preferences in a genre-agnostic way\, offering new listening experiences for patients and staff\, and redefining the role of music outside the concert hall. \nAbout the panelists\nDr. Pia Preißler is a qualified music therapist\, psycho-oncologist and research fellow at the University Medical Center Hamburg-Eppendorf (UKE)\, and a lecturer at the University of Music and Drama in Hamburg (HfMT). Her work combines clinical practice with research\, as in the ‘Healing Soundscapes’ project\, which she has been leading since 2023 within the context of the ligeti center. Here\, sound installations are implemented in waiting and work areas within the hospital and their effects are studied. \nGoran Lazarevic is a Hamburg-based improviser\, composer\, accordionist and researcher. His main interests lie in the fields of live electronics\, microtonal music\, free improvisation and computer music\, as well as brain-computer-music interfaces (BCMI) and cognitive science. Goran Lazarević works as a project coordinator for the Hamburg Open Online University (HOOU) at the University of Music and Drama in Hamburg (HfMT) and has been a part of the ‘Healing Soundscapes’ project group since 2016. \n  \nMiriam Akkermann: “music as sleep aid – between expectation and personalization”\nListening to music can have strong effects on humans\, which can be traced in both subjective reactions and changes in the brain’s neurophysiology. One area that draws on these effects is the use of music to promote relaxation and help people to fall asleep. While positive effects could be already shown in people suffering from e.g. insomnia and dementia\, also healthy adults are using more and more music as a non-pharmaceutical sleep aid to increase individual well-being. Situated at the intersection of music research\, psychology\, neuroscience\, cognitive science\, and computer science\, the research on the effects of music on sleep unfolds as a highly interdisciplinary research field. In our project\, we are particularly interested in the relation between more general effects and individual preferences for music as well as the role of expectation towards the effect of specific sounds or musics. Hereby\, we explore approaches such as the personalization of the music using generative music as well as the associations evoked by technically mediated (audible) space in music productions. \nAbout the panelist\nMiriam Akkermann is musicologist and sound artist. Her research areas include music of the 20th and 21st century\, computer music/music technology\, musical performance practices\, archiving music in the digital age\, as well as the effect of music on sleep. She received a PhD in musicology from the Berlin University of the Arts\, and completed her habilitation at Bayreuth University. As a musician and sound artist\, she performs with flute and live electronic\, and creates compositions and sound installations\, that have been shown at concerts\, festivals and exhibitions\, in Europe\, North America\, and Asia. \nFrom 2024-2026\, she held the Ernst-von-Siemens Musikstiftungsprofessur at FU Berlin\, in March 2026\, she took over the professorship for systematic musicology at TU Dortmund. \n  \nLi Zhong \nLi Zhong’s speech highlights the growing role of music in promoting holistic health\, including emotional\, cognitive\, and social well-being. He underscores China’s efforts under the “Healthy China” strategy to advance interdisciplinary collaboration across music\, technology\, medicine\, and psychology. The Central Conservatory of Music is presented as a key driver in this field\, actively leading cross-disciplinary research and innovation in areas such as music neuroscience and artificial intelligence\, and expanding the role of music in public health. The speech calls for stronger international cooperation to further advance this field and contribute to global well-being. \nAbout the panelist\nLi Zhong was born in September\, 1972 in Shuozhou\, Shanxi province\, Han nationality. Started working in July 1995\, he achieved the Master of Laws degree. Being the Master’s Supervisor in the major of  Intercultural Communication and Language Broadcasting at the Communication University of China and the associate research fellow\, he has been the Vice Chairman of the University Council of the Communication University of China and is the Vice Chairman of the University Council of the Central Conservatory of Music presently.\nHe is the supervisor of the 11th Council of the Party Building Research Association for Universities in Beijing; Vice President of the first Party Building Research Association for Radio and Television of China Federation of Radio and Television Social Organizations; Member of the 9th Council of the Ideological and Political Education Branch of Chinese Association of Higher Education.\nFrom April to July 2009\, he visited the University of Reading in the UK to conduct research primarily in student affairs management and educational development. He has been dedicated to systematic research in the fields of cross-cultural communication and language dissemination\, focusing on cultural interaction mechanisms within a globalized context. He explores collaborative training models for international talents in response to the needs for enhanced international communication efficacy\, continually promoting the integration of academic development with practical demands. His achievements are significant both in theoretical innovation and practical application. \n  \nLi Xiaobing: “Artificial Intelligence\, Artistic Intelligence @ Machinism”\nThis presentation takes the dialectical relationship between two forms of “AI”—Artificial Intelligence and Artistic Intelligence—as its point of departure\, proposing and elaborating the conceptual framework of “Machinism.” From the interdisciplinary perspective of science\, technology\, and art\, it reconsiders the subject structure of artistic creation and the mechanisms of meaning generation in the age of artificial intelligence. Here\, “Machinism” is not a doctrinal theory about machines\, but rather a conceptual framework for understanding the reconfiguration of subject relations in human–machine collaborative creation.\nMachinism points toward two dimensions: first\, within the framework of human values and ethics\, intelligent systems are incorporated into processes of meaning production\, shifting art from “subjective expression” toward “human–machine co-generation”; second\, as a philosophical extension\, when intelligent systems develop more complex cognitive structures\, artistic creation may evolve into a generative field involving multiple subjects\, thereby opening new possibilities for understanding the “creative subject.” \nIn the future of Artificial Intelligence\, Artistic Intelligence @ Machinism\, where will human art go? \nAbout the panelist\nLi Xiaobing is Professor and Doctoral Supervisor at the Central Conservatory of Music\, Director of the Department of Music Artificial Intelligence\, National Leading Talent in Philosophy and Social Sciences\, recipient of the Central Propaganda Department’s “Four Kinds of Talents” award\, expert entitled to special government allowances\, Principal Investigator of major national social science projects\, the Chair of the China Computer Federation (CCF) Computational Art Branch\, the Chair of the Chinese Association for Artificial Intelligence (CAAI) Art and Artificial Intelligence Commission. He also leads the “National Huang Danian-style Faculty Team” in higher education.\nA Doctor of Composition\, Li Xiaobing graduated from the Composition Department of the Central Conservatory of Music\, where he studied under the renowned composer Professor Wu Zuqiang\, Honorary President of the Chinese Musicians Association and the Central Conservatory of Music. His musical creations span almost all genres\, with works enjoying wide popularity and significant influence. He has been honored with numerous domestic and international awards\, including the Golden Bell Award\, the Wenhua Grand Prize\, the Wenhua Composition Award\, first prizes in national opera and dance drama competitions\, and the “Five One Project” Award from the Central Propaganda Department.
URL:https://icmc2026.ligeti-zentrum.de/event/panel-music-technology-and-the-mind/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Panel
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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