The Extinctions takes listeners on a sonic journey through the Earth’s cyclical history—an ebb and flow of life and extinction, evolution and collapse. Inspired by epochs of flourishing life and sudden cataclysmic events, the work reflects on the delicate and ever-changing balance of our planet’s narrative. It invites contemplation on what remnants of our existence may endure and the enigmatic echoes future generations may discover.

At its core, The Extinctions marries the expressive, organic nature of the cello with the transformative capabilities of real-time electronic processing. The electronics are not merely an accompaniment but an integral voice that weaves through the texture of the piece, shaping the environment, reflecting transitions, and augmenting the natural timbres of the cello. Ambient layers evoke ancient landscapes and shifting geological eras, while decorative digital flourishes mirror biological intricacies and fragile ecosystems.

The work is structured with intentional proportionality—each section’s duration aligns with its place in the larger form, creating a sense of balance and inevitability, much like nature itself. As the piece unfolds, the dialogue between cello and electronics intensifies, evolving from subtle interactions to complex, multilayered textures that suggest the tumultuous crescendo of an impending extinction event.

The Extinctions is not just a musical composition; it is a reflection on survival, legacy, and the cyclical rhythms of life on Earth—a reminder that even as we face uncertainty, sound, like history, can leave its indelible trace.

Jyun-Rong Ho (b. 2001, Taiwan) is a composer whose work blends acoustic and electronic sound worlds with a distinctive poetic sensitivity. He recently completed his Master of Music in Composition at the New England Conservatory of Music, where he studied with Professor John Mallia. Ho’s musical journey began with early training in piano and traditional Chinese music, focusing on the Liuqin throughout his school years. He later pursued his Bachelor’s degree at the National Taipei University of Education, where he studied with Yun-Ya Wang and Ya-Min Hsu. These experiences deeply informed his approach to musical structure, color, and cultural identity. Ho’s compositions have been recognized and performed internationally. His work has been featured at the Electronic Music Midwest Festival, by the New England Philharmonic, and most recently at NUNC!6, the Northwestern University New Music Conference. In 2021, he won First Prize in the Composition category at the National Taipei University of Education Concerto Competition. As a young artist with a global perspective, Ho continues to explore intersections between technology, tradition, and expressive form, aiming to create immersive and thought-provoking sound experiences.

I have long had a fascination with the night sky. Having grown up in an area with minimal light pollution and then living in larger cities with significant light pollution (such as Chicago), I found myself missing that deep connection to the night sky and to our own natural circadian rhythms. In my travels, I’ve made efforts to seek out Dark Sky locations, and have found myself deeply moved and inspired by these experiences. Dark Sky intends to capture the experiences of camping far away from any sources of light, where the utter blackness of a cloudy night under a new moon can be both frightening and magical.
Dark Sky, for alto flute and fixed media, was written for Alicja Molitorys in 2023 and was composed at the University of Louisville Computer Music Studios.

Dr. Allison Ogden works as an Assistant Professor of Composition and Literature at the University of Louisville. She has a PhD from The University of Chicago, has taught many classes on a wide variety of subjects, enjoys working with her students, has written a number of pieces of music, climbed many mountains and hiked many trails, and brought two human beings into this world.

Combinazioni is a compositional experience that arises from the electronic processing of sound events obtained through the manipulation of small rotating mechanical objects.
Multiple sounds linked to movement and rotation are processed and broken down, subjected to multiple reflections and united in particular sound combinations capable of generating a particularly dynamic and complex sound result, and of recreating sensations of temporal and spatial movement in the listener.

Antonio Forastiero, born in 1986, is an Italian electroacoustic composer and sound designer. Graduated from the Conservatory of Potenza in electronic music and composition, he obtained a master’s degree in Sound and Entertainment Engineering at the University of Rome Tor Vergata. He attended masterclasses on electroacoustic composition and integrated audiovisual composition.
He bases his compositional works on the elaboration of his electronically processed naturals, exploring their multiple tonal potentials. His research activity focuses on the relationship between sound and space for the development of particular immersive perceptual experiences. Since 2011 he has been a teacher of Music Technologies in musical high schools.
His works have been selected in various international competitions.

“Where It Takes You” is a piece for solo cello and live effects in SuperCollider. The piece is open-ended and atmospheric, structured around only a few hand-drawn images of a wandering creek, to be interpreted by the performer as graphic scores, or as inspirations for mood and style, or somewhere in between. The electronics are layers of unstable, unpredictable loops of the captured cello sounds. A few suggested chords for the cellist pop up from time to time, creating fleeting points of stability among wild, dense overgrowth.

Composer Kerrith Livengood’s works have been performed at the SEAMUS Conference, KISS 2018, ACO’s SONiC Festival, June in Buffalo, Bargemusic, CCM’s MusicX festivals, the North American Saxophone Alliance annual conference, the Atlantic Music Festival, the Contemporary Undercurrent of Song series, the Cortona Sessions, and Alia Musica Pittsburgh’s Conductors Festival. She has written works for the JACK Quartet, Third Angle Ensemble, Duo Cortona, Altered Sound Duo, mezzo-soprano Jennifer Beattie and pianist Adam Marks, soprano Amy Petrongelli, and the h2 Quartet. Her music features complex grooves, lyricism, noise, and humor. She is also a flutist, drummer, technologist, and improviser, who performs collaborative and experimental works created by herself and others. She received her doctorate from the University of Pittsburgh, and previously taught theory and composition at the University of Illinois (Urbana-Champaign). Kerrith is also Managing Director of the New Music On The Point Festival, a summer festival for experimental and contemporary music.

We Have Less Time Than You Think deals with the fact that we humans do not really have long: on the smaller-scale, in terms of the things we attempt to immediately accomplish, and on relatively larger scales, in the time we can spend with each other, the duration of our individual existences, and the collective lifespan of the human race. One of the truer clichés, time passes in a blur, fluidly and easily escaping attempts to stop or slow its flow, with certain events standing out in hindsight as demarcations of structural points. In my own experience, the longer I have existed, the more the passage of time seems to speed up exponentially; I certainly feel like I have less time than I thought I did.

Howie Kenty is a Brooklyn-based composer and performer, occasionally known by his musical alter-ego, Hwarg. His music, called “remarkable” with “astonishing poetic power” (International Compendium Prix Ars Electronica), is stylistically diverse, encompassing ideas from contemporary classical, electronic, rock, and ambient genres, as well as sound art, political issues, and visual and theatrical elements. Besides regularly composing and performing his own music, Howie is half of Ju-eh+Hwarg, whose The Living Dying Opera has been called “a profoundly entertaining, interactive night of operatic fun” (New York Music Daily). He plays guitar and composes in the progressive rock group The Benzene Ring, whose album Crossing the Divide has been hailed as “a true masterpiece” and a “gorgeous piece of experimental rock/metal” (Recyclable Sounds; Progarchy). Howie earned his PhD in Music Composition from Stony Brook University, and is an Assistant Professor in the Studio Composition program at Purchase College. Random past fancy bits include a Carnegie Hall performance by PUBLIQuartet, first prize at Shanghai Electronic Music Week, a residency at Copland House, and performing his own raucous experimental political art at National Sawdust. Listen at https://www.hwarg.com.

Anger at the Asteroid reimagines the long lost sound and fury of a Corythosaurus (a duck-billed dinosaur) herd after Chicxulub impact, leading to the extinction of all the non-avian dinosaurs. Dinosaur vocalizations are recreated via biological computational models of bird vocal boxes altered according to dinosaur skull measurements and the CT Scans of adult and subadult Corythosaurus skull fossils. 

Dinosaur vocal calls have been silent since they became extinct following the large asteroid impact event 66 million years ago. Anger at the Asteroid by the Dinosaur Trio brings these vocalizations back to life via the ensemble of hadrosaur skull musical instruments of the Dinosaur Choir project. These instruments create dinosaur sound via CT scans, 3D fabrication, and physically-based modeling synthesis. Musicians give voice to these dinosaur instruments by blowing into a mouthpiece, exciting a computational voice box, and resonating the sound through the recreated dinosaur’s fossilized nasal cavities and skull. Scientists hypothesize that our dinosaur, the Corythosaurus, used its crest and nasal passages for sound resonation. 

The soundscapes of these musical works use the sounds of cicadas, crickets, and frogs, which evolved during the Cretaceous period before the impact, along with fire and combustion sounds after the impact that paint the scene, sometimes forming rhythms. The Dinosaur Trio began in September 2024, with the aim of developing a performance practice with the new hadrosaur skulls and Anger at the Asteroid is the first major outcome of this research. The work is a structured improvisation, with a round robin beginning section between the dinosaurs and later sections that allow for call/response and following and game piece-like signals between musicians, using hand signals and eye contact. 

Courtney Brown and Cezary Gajewski created the Dinosaur Choir musical instruments. Thomas Dudgeon also consulted and provided 3D models and CT Scans of skull specimen ROM 1933 with permission from David Evans and the Royal Ontario Museum. We acknowledge Phillip Currie, Corwin Sullivan, Caleb Brown, and the Dinosaur Paleontology Lab of University of Alberta for consultation, support, and access to fossil specimens. Courtney Brown and Sharif Razzaque created Rawr! Study in Sonic Skulls and we also acknowledge Garth Paine, Carlo Sammarco, Sallye Coyle, Brent Brimhall and Gordon Bergfors for their contributions. We acknowledge Lawrence Witmer and Witmer Lab, Ohio University for providing CT Scans and 3D models for Rawr! A Study in Sonic Skulls for specimen CMN 34825. Rawr! was supported by the Arizona State University GPSA. Dinosaur Choir supported by Fulbright Canada (2022-23), a SMU URC Grant, and the SMU FYRE program. We also thank Adam Neal, Jennifer Ebinger, and Ira Greenberg for their support of this ensemble.

Courtney Brown is a performer/composer, Argentine tango dancer, and researcher combining music with paleontology, dance, and engineering. Her work has been featured globally including Ars Electronica (Austria), National Public Radio (NPR), CICA Museum (South Korea), Telfair Museums (Savannah), Royal Alberta Museum (Canada), and Wired.com. She has received two Fulbrights, for Interactive Tango Milonga, creating interactive Argentine tango dance and for Dinosaur Choir, for her work on dinosaur vocalization. She is an Associate Professor at the Center of Creative Computation, Southern Methodist University, Dallas. For more: https://www.courtney-brown.net.

Qien Shensun is a student at Southern Methodist University majoring in Statistical Science, Data Science and minoring in Computer Science. Her work explores the intersection of data, programming, and music through performance, coding, and digital media. She have participated in Stanford’s SUMaC program and HackSMU, and are a leader in SMU’s Asian Council. With experience in R, Java, and Python, Qien builds creative computing projects that reflect cultural and personal narratives. In music, she is especially interested in how computation and sound can be used to challenge traditional forms and engage audiences through immersive storytelling.

Ella Halverson is a Music (voice specialization) and Psychology double major at Southern Methodist University. She enjoys exploring various aspects of learning and engagement within her communities through different leadership positions and experiences. She has completed 900 volunteer hours and in that has developed a sense of story that drives her art and passion for others. She has been as part of various choirs, including ILMEA District and a diverse range of ensemble and solo performances. She is inspired to help others both through her recent investigation into PFA’s related to water and blood concentrations in the U.S.

The title of the piece is borrowed from Alain Resnais’ Last Year in Marienbad, where the words and the memory that contains them distort, filter, corroborate, and even construct each other, resulting in the observation that “conversation took place in a vacuum, as if the words meant nothing, as though they could have no meaning. A sentence would be suspended in space, frozen in its flight, and then could resume its journey there or elsewhere.” All sonic materials are derived from a vibrato F above middle C played on the concert flute, which serves as the metaphor for couloirs, both for their formal resemblance as well as the fact that they are essentially filters—couloirs being the filter for the memory in the film and the flute being the filter of the air and musical note. The piece can be regarded as a process of excavating from the flute various words and voices that speak and sing incomprehensibly but are nevertheless full of expression.

Wei Yang is a composer/sound artist from China. He works with different mediums, through which he often contemplates the body’s role in sound production, sound in space, as well as the integration of various data from the performance environment (reverberation, light, etc.). Wei composes both instrumental and electronic music, and often incorporates various sensors and physical computing to build performative systems that allow dynamic interaction among different actors within the system. His works have been performed internationally, at occasions such as BEAST Festival, NUNC!, ICMC, ISAC Sonosfera, Tomeistertagung, ORF Musikprotokoll, San Francisco Tape Music Festival, SEAMUS, Espacious Sonores, Festival Atemporánea, Nucleo Música Nova SiMN, Sound Image Festival, and Ars Electronica. Wei received his Doctor of Musical Arts from the University of Washington under the supervision of Joël François-Durand. He is currently a PhD candidate at the university’s Center for Digital Arts and Experimental Media, working closely with Richard Karpen and Joseph Anderson.

Sluicer is a performance system for spatial audio improvisation, adaptable to various output channel configurations from stereo to high density loudspeaker arrays. In this work, two 20-voice, erratic synthesizers operate as a roving “chorus” under the player’s direction. Both synths have a series of multichannel effects designed to work specifically with high order ambisonic signals, allowing the player to create and alter spatial dimensions. As audio flows, the guiding action is like closing/opening gates in a lock on a waterway. The results are timbral and spatial churns, swells, floods and drains, motion in repetition, expansion, and contraction. Sluicer is programmed in Max with tactile interfaces being high resolution, multi-touch control surfaces and a DJ-style MIDI controller. 

Since 2015, my artistic work and research has been primarily focused on an area within spatial audio involving High Density Loudspeaker Arrays (HDLA) which are typically permanent installations with 24 or more loudspeakers in a cube or hemisphere configuration. Some HDLA facilities feature hundreds of loudspeakers to provide more resolution and precision, and to support a wider range of spatial audio techniques. For this work, I have traveled to various HDLA facilities to participate in residencies and workshops and to perform/present at conferences and festivals. 

Sluicer is the most recent performance system I have developed that focuses on HDLAs as new interfaces for musical expression. A core strategy in Sluicer is the use of spatially positioned, multichannel audio effects that alter specific regions of a sound field rather than the audio signal of a specific source (e.g. instrument, voice, track). This approach makes it possible to lock an effect at spatial coordinates such that an audio source moving in 3d space is transformed when its path crosses into a specific zone.

Shawn Greenlee is a composer, sound artist, and Professor at Rhode Island School of Design (RISD) where he leads the Studio for Research in Sound & Technology (SRST) and is the Department Head for Digital + Media. His recent work explores spatial audio, high density loudspeaker arrays, and erratic sound synthesis techniques. Greenlee has been active as a solo electronic / electroacoustic improvisor since 1997 and has toured extensively across the US and Europe. Conference and festival performances include New Interfaces for Musical Expression (2024 Utrecht, 2018 Blacksburg, 2015 Baton Rouge, 2014 London, 2013 Daejeon), International Computer Music Conference (2021 Santiago, 2018 Daegu, 2011 Huddersfield, 2005 Barcelona), BEAST FEaST (2017 Birmingham), PdCon16 (2016 New York), Cube Fest (2024, 2019, 2016 Blacksburg), Re-new (2013 Copenhagen), IN TRANSIT (2008 Berlin), and Elevate (2007 Graz), among others. Greenlee holds a Ph.D. in Computer Music and New Media from Brown University.

The symbolic abstraction of origin, motion of circle, and the reflection of evolution can be implemented in numerous forms and timespans and can inspire provocative insights into everyday life. Four custom-made controllers of two sizes are used for the performance. Each controller can be performed individually or together with the other three, creating an immersive musical experience.

Chi Wang is a composer and performer of electroacoustic music. Her research and compositional interests include sound design, data-driven instruments creation, musical composition, and performance. Chi’s compositions have been performed internationally including presentations at the International Computer Music Conference, New Interfaces for Musical Expression, Musicacoustica-Beijing, the Society for Electro-Acoustic Music in the United States Conference, the New York City Electroacoustic Music Festival, Kyma International Sound Symposia, Electronic Music Midwest Festival, Third Practice Electroacoustic Music Festival, Electroacoustic Barn Dance, Portland Biennial of Contemporary Art, I. Paderewski Conservatory of Music in Poland, International Confederation of Electro-Acoustic Music, and WOCMAT in Taiwan. Chi’s compositions were selected for SEAMUS CDs, Best Composition from the Americas from International Computer Music Conference, Pauline Oliveros New Genre Prize from International Alliance for Women in Music, Award of Distinction from MA/IN International Festival of Digital and Creative Culture festival, International Confederation of Electroacoustic Music Competition Prix CIME, and finalist at Guthman Musical Instrument Competition. Chi has also served as a judge for international electronic music competitions including Musicacostica-Beijing, Society for Electro-Acoustic Music in the United States national conferences and International Computer Music Conference. Chi is also an active translator for electronic music related books, including Kyma and the SumOfSines Disco Club and Electronic Music Interactive. Chi received her D.M.A. at the University of Oregon in the Performance of Data-driven Instruments and is currently an assistant professor of music (composition: electronic and computer music) at the Indiana University Jacobs School of Music.

Serie 410 is an acousmatic piece that explores the boundary between real and virtual by proposing to listen to sounds organized according to a typically instrumental language. Art and technology therefore become means to falsify reality by suggesting as real something that is instead the result of technological manipulation. The piece also proposes a diagonal crossing of the different categories of electronic compositions in use today. Indeed this acousmatic work could also be perceived as a recording of a piece for mixed media or even for instruments and live electronics. 

Serie 410 was born from the recording of a piano improvisation made using a twelve-tone series as musical material. The recording was superimposed on a copy of it played backwards. The sounds of the piano dialogue with percussion sounds, also elaborated with electronic means, to create small iridescent sound universes

Costantino Rizzuti is a composer and sound artist. He is author of pieces of acousmatic music and live electronics, sound and audio-visual installations and live performances presented in national and international conferences, festivals and exhibitions. He graduated at Conservatory S. Giacomantonio in Cosenza in Electronic Music. In June 2012, He won the IX edition of the national award for Italian conservatory students “Premio delle Arti”, section Music and new technologies with the composition Advaita, for flute and live electronics. He teaches electroacoustics at the Conservatory S. Giacomantonio in Cosenza and is the founder of Artis Lab an electronic music studio devoted to the design and construction of new experimental electronic musical instruments.

Jouer is an immersive composition for amplified soprano saxophone and electronics that explores sounds associated with “play”—sports, balls bouncing or being hit, playground and amusement park sounds, sounds of various children’s toys, balloons, video games, swimming pool games, trampolines, casinos, racetrack sounds, and much more. The electronics lead the listener through various soundscapes associated with the theme, while the saxophone part interacts with the evolving timbres and unifies the various sound worlds. Reid composed the piece at Yaddo and MacDowell as part of her Guggenheim Fellowship.

Leah Reid is a composer, sound artist, researcher, and educator, whose works range from opera, chamber, and vocal music, to acousmatic, electroacoustic works, and interactive sound installations. Winner of a 2022 Guggenheim Fellowship, Reid has also won the American Prize, as well as first prizes in the International “New Vision” Composition Competition, the KLANG! International Electroacoustic Composition Competition, and Musicworks’ Electronic Music Competition. Additional accolades include Sound of the Year’s Composed with Sound Award, IAWM’s Pauline Oliveros Award, and second prizes in the Iannis Xenakis International Electronic Music Competition and the International Destellos Competition. She has received fellowships from the Guerilla Opera Company, Copland House, the Hambidge Center, MacDowell, VCCA, the Ucross Foundation, and Yaddo. Reid has worked with and received commissions from ensembles such as Accordant Commons, Blow Up Percussion, Concavo & Convesso, Ensemble Móbile, Excelsis, Guerilla Opera, JACK Quartet, McGill’s Contemporary Music Ensemble, Neave Trio, the Piedmont Duo, Sound Gear, Talea, and Yarn/Wire. Her compositions have been presented at festivals, conferences, and in major venues throughout the world, including Aveiro_Síntese (Portugal), BEAST FEaST (England), Espacios Sonoros (Argentina), EviMus (Germany), Forgotten Spaces: EuroMicrofest (Germany), ICMC (USA, Chile & Ireland), IRCAM’s ManiFeste (France), LA Philharmonic’s Noon to Midnight (USA), the Matera Intermedia Festival (Italy), NYCEMF (USA), the OUA Electroacoustic Music Festival (Japan), the SF Tape Music Festival (USA), Série de Música de Câmara (Brazil), the SCI National Conference (USA), Soochow New Voice Concert Series (China), the SMC Conference (Germany), the Tilde New Music Festival (Australia), TIES (Canada), and WOCMAT (Taiwan), among many others. She is currently an Assistant Professor of Music Composition and Computer Technologies at the University of Virginia.

The sound sources of Soundscape beyond black and white were solely drawn from recording fragments of playing inside the piano The sources were then manipulated and transformed through several techniques of digital audio signal processing to build up the needed and desired timbres and sonic gestures of this composition. 

Those processed “inner sounds” of pianoforte were then “organized”(in E. Varese’s word) or “digital micro-montaged”(in H. Vaggione’s word) to compose a musical composition with artistic interests and imaginary soundscape. 

However, Soundscape beyond black and white is neither abstract nor so much representational, but oscillates between the real and virtual or “concrete” and abstract soundscapes to create the beauty of Ying and Yang in Chinese philosophy. 

Soundscape beyond black and white was completed as a 2-channel work, but could be possibly live diffused into multi-channel sound system while concert performance. The work was finished at Sound Lab at National Yang-Ming Chiao-Tung University (NYCU) in 2023 and revised in 2025.

Yu-Chung Tseng, receiving his DMA from UNT in Texas, is a professor of electronic music composition and serves as the director of multi-channel Sound Lab at Institute of Music at National Yang Ming Chiao Tung University(NYCU) in Taiwan. 

His music, written for both acoustic and electronic media, has been recognized with selection/awards from Pierre Schaeffer International Computer Music Competition (1st Prize/2003), Città di Udine International Contemporary Music Competition, Musica Nova (First Prize/2010), Metamorphoses, International Computer Music Conference(ICMC, Best Music Award/2011/2015/2022),Taukay Edizioni Musicali call for Acousmatic Music(Winner/2019), and RMN Classical Electroacoustic call for work(Winner/2023),Polish International Electroacoustic Music Competition (Finalist/2023),and KLANG International Acousmatic Composition Competition(Second Prize/2023). 

Tseng’s works have also received many performances at festivals and conferences, including Taiwan-CLAB, ICMC, NYCEMF, Musicacoustica, SICMF, Visiones Sonoras Festiva,La Hora Acusmatica, EMW, FIME, MUSLAB,Schumann Festival, ACL, Musica Nova, Taiwan-France Exchange and Chengdu International Electronic Music Festival..etc. 

His music can be heard on labels including CDCM (U.S.A.), Discontact iii (Canada), Pescara (It.), Contemporanea (It.), Metamorphoses (Belgium), SEAMUS (USA), KECD2 (Demark), Musica Nova (Czech), ICMC 2011 DVD and ICMC 2015 CD , IL SUONO DELLE LINGUE(It.), Electroacoustic & Beyond 7 (UK).

Ars Suita (the art of the suite) is an acousmatic work that revisits the panegyric trio suite “Concert instrumental sous le titre d`Apothéose de Monsieur de Lully”, composed by François Couperin (1668-1733) and published in Paris in 1735. This suite serves as an homage to the French composer Jean-Baptiste Lully, who was one of the most important composers of the French Baroque era. As the music director of the royal court of France, Lully’s compositions had a significant impact on French musical style. Couperin’s “Apotheosis” is a suite of pieces that includes a prelude, several dances, and a final chaconne. The suite showcases Couperin’s skill in composing for a variety of instrumental combinations, including strings, winds, and continuo. Its graceful melodies, refined harmonies, and intricate counterpoint are all characteristic of the French Baroque style. 

Ars Suita is structured in nine movements that follow the same structure as the original piece by Couperin. The material for each of the movements is derived from an audio recording of the original “Apotheosis” with early music instruments. Each movement uses a different sound processing technique, creating a particular sonic character for each part of this acousmatic suite. 

Like many Baroque composers, Couperin paid tribute to his predecessors and contemporaries through his music. In the same spirit, Ars Suita is a small homage to Couperin, and indirectly to Lully. Composed in a home studio and mastered at CITALAB, Department of Electrical Engineering, Campus San Joaquín, Pontificia Universidad Católica de Chile.

Rodrigo F. Cádiz is a composer, researcher and engineer. He studied composition and electrical engineering at the Pontificia Universidad Católica de Chile (UC) in Santiago and he obtained his Ph.D. in Music Technology from Northwestern University. His compositions, consisting of approximately 70 works, have been presented at several venues and festivals around the world. His catalogue considers works for solo instruments, chamber music, symphonic and robot orchestras, visual music, computers, and new interfaces for musical expression. He has received several composition prizes and artistic grants both in Chile and the US. He has authored around 70 scientific publications in peer reviewed journals and international conferences. His areas of expertise include sonification, sound synthesis, audio digital processing, computer music, composition, new interfaces for musical expression and the musical applications of complex systems. He has obtained research funds from Chilean governmental agencies, such Fondecyt and CNCA. He received a Google Latin American Research Award (LARA) in the field of auditory graphs. In 2018, Rodrigo was a composer in residence with the Stanford Laptop orchestra (SLOrk) at the Center for Computer-based Research in Music and Acoustics (CCRMA), and a Tinker Visiting Professor at the Center for Latin American Studies, Stanford University. In 2019, he received the prize of Excellence in Artistic Creation from UC, given for outstanding achievements in the arts. In 2024, he was a visiting researcher at the Orpheus Instituut in Belgium. He is currently full professor at the Music Institute and Electrical Engineering Department of UC.

Derivation of the title is from my last email exchange with composer Clarence Barlow where he asked me “Do you know how to write “Fumohihimo” in Japanese Katakana? フモヒヒモ.” Fittingly this is not a word but rather more onomatopoeia. Barlow noted “It seems to mean “Imohi string”, whatever that is”. Discussion with the native Japanese speaking composer Yukiko Yoden revealed that “Fumohihimo evokes the image of something soft and fluffy floating in the air.” She further explained that floating in this case alludes to “something thin and light that moves as if it were fluttering”. This seems to align rather well with momnoboards string within magnetic field of the ebow. 

The technical side: A single string is transduced by two pickups (the monoboard). The signal is processed by 16 delay lines and 16 convolution kernels. The algorithm controlling the delay times is controlled by the performer via a pad controller. There are 912 impulse responses (IR’s), from a 16×57 grid of the monoboard, each used one time. Special thanks to Mark Rau for capturing these IR’s. The spatial position is composed by arraying sets of 16 delay line – IR streams over the course of 480000 milliseconds (you can guess what sample rate is employed). The spatial position of each delay line – IR combination in the sound field corresponds to the location of the IR on the monoboard surface. The video display is a didactic display of spatial positioning and textural material reacting to audio features.

Christopher Jette is a curator of lovely sounds, creating work as a composer and media artist. His creative work explores the artistic possibilities at the intersection of human performers/creators and technological tools. A highly collaborative artist, Jette has created works that involve dance, theater, websites, architecture, light arrays, sculpture, food, toys, typewriters, cell phones, reindeer herd data and good ol’ fashioned wood and steel instruments. Before ICMC25 Jette resided at 37°25’19.1994″N 122°7’58.08″W. His next port of call is 42°21’26.32389″N 071°06’29.86487″W. He is currently obsessed with making music with a single string. Interesting things to discuss with him include living in Alaska and sailing from San Francisco to La Paz. More at https://cj.lovelyweather.com/

HUNT explores humanity’s relentless pursuit of Truth, embodied on stage by the interaction between a performer and incandescent light bulbs. The performer, initially hesitant in the dark, begins to explore his surroundings with growing confidence. This confidence, however, turns to excess, triggering the light—a presence that alternates between menace and allure. 

The dynamic oscillation between dominance and loss of control shapes the performance, underscoring humanity’s stubbornness and frustration. Sound amplifies these shifting moods, contrasting the performer’s concrete, visceral identity with the synthetic, abstract presence of light. The ritual use of hand gestures adds a primordial, spell-like quality, evoking humanity’s raw creative power beyond words. The performer’s evolving use of symbolic tools mirrors humanity’s growing awareness, while light transforms from a fixed, imperturbable entity to an omnipresent, elusive force. Immersive sound spatialization draws the audience into the heart of the performance, turning them into integral participants in the experience. 

HUNT reconstructs humanity’s unyielding thirst for knowledge through a sound theater performance that grows increasingly tense, visceral, and desperate.

Jacopo Cenni (1995) is an Italian composer, media artist and live performer. His poetics focus on the investigation of the relationship between theatrical gesture and sound art, with the adoption of an ecosystemic approach to music composition. 

His relationship with technology is crucial: Cenni explodes the poetic and dramaturgical elements of his composition in several mediums, employing sound, light, and theatrical gestures. 

His works have been presented in festival and venues like La Biennale di Venezia (IT), Glasgow Science Center (UK), Festival Chigiana (IT), ZiMMT (DE), Fondazione Luigi Nono (IT), XXVI CIM (IT) among others. 

His recent interests include the relationship between choreography and music, taking part in multidisciplinary projects like Festival d’Aix-en-Provence (FR) and Teatro Out Off (IT). 

Simultaneously to his career in the field of contemporary classical music and electroacoustic, Cenni also works in contemporary theatre as composer, sound and light designer, performing at venues such as Hangar Bicocca (IT), Nau Ivanow (ES), Teatro Basilica Roma (IT), Teatro Verdi Milano (IT) and others. 

Cenni is currently enrolled in a Ph.D. in New Musical Languages at the Conservatory of Cesena (IT). His project, MANDRAGORA, develops an integrated workspace for assisted music and choreography composition.

Satellites is a suite of three pieces for piano and electronics. Each piece in the suite references Bach’s Goldberg Variations, specifically Variations 16, 17, and 18, and refers to some quality in the character and of those works. Satellites is also a part of a larger series of works drawing on the sound and science of flight and space. The music commemorates the work of early African American astronauts Robert Lawrence, Jr., Michael P. Anderson, and Ronald E. McNair, all of whom gave their lives to space research in the time preceding and around the era of the space shuttle. 

The Satellites are so-called because they revolve around other pieces in this series, deriving musical material from them that is presented in new ways here and suggesting new material for future work. In Satellite 1, frequencies collected from words spoken by astronaut Michael P. Anderson during an interview from space are converted to pitches and the pitches provide the principal harmonies of the work. Satellite 2 draws on the distinctive parabolic curve of the space shuttle’s flight to space, tracking altitude data from liftoff to main engine cutoff point. This same curve is used to structure the upwards trajectory in the phrases of piano music over the course of the piece. And in Satellite 3, the sound of an F-104 Starfighter airplanes that Robert Lawrence, Jr. flew as a test pilot are analyzed for their component frequencies and then used to provide a harmonic model for the piece. These harmonies, derived from the sound of a single flyby, are stretched over the length of the piece by way of an mlp regressor, a neural network that is used here to interpolate between the harmonic stages taken from the original analysis of the frequencies in the airplane sound. 

The electronics of the piece include Ircam’s Antescofo~ score following technology. Here the resulting electronic sounds are used principally to reinforce and extend the resonances of the piano. The space shuttle itself might be seen as a sophisticated airplane that’s been souped up with the power of its massive liquid-fuel cryogenic rocket engines, creating a deeply studied yet delicate and precarious flight. Similarly, the electronics in this piece enhance the pianist’s expressive intensity, supporting her performance in the pursuit of a kind of musical escape velocity.

Matt Schumaker’s music engages with research into computer-assisted composition, interactive computer music with performers, and visual music. He received a doctorate in Music Composition from UC Berkeley (UCB), where he studied with Edmund Campion, Franck Bedrossian, David Wessel and others. Early on in his studies, Schumaker spent a formative year in Amsterdam, studying with Louis Andriessen. Later on, he travelled to France through UCB’s Prix de Paris program, where he worked closely with Martin Matalon. 

In recent years, Schumaker’s music has been performed by the UC Berkeley Symphony, Radius Ensemble, Dinosaur Annex, Winsor Music, New Music Works, Eco Ensemble, and the Left Coast Chamber Ensemble. Schumaker’s music has also been presented at festivals and curated events, including by clarinetist Rane Moore at the Virtual SICPP 2020, by pianist Chia- Lin Yang at the April in Santa Cruz Festival, by members of Dog Trio at the klub katarakt Festival for Experimental Music in Hamburg, Germany, by clarinetist Joshua Rubin at the soundSCAPE festival in Blonay, Switzerland, and by pianist Eric Huebner as part of the Gassmann Electronic Music Series at UC Irvine. Schumaker’s multimedia work for music and computer graphics has been shown at Zeitgeist Gallery in Nashville and at the Crisp-Ellert Art Museum in Saint Augustine. 

From 2015-17, Schumaker was a Lecturer at UCB, teaching courses in computer music and music perception and cognition. During 2018-20, he was a Martin Luther King, Jr. Visiting Scholar at MIT. In fall 2021, he joined the Music Department at UC Santa Cruz as assistant professor.

Raphael Radna is a composer and computer music researcher working in acousmatic music, mixed music, computer-assisted composition, spatial audio, and creative music software development. He has presented music and research worldwide in such venues as the International Computer Music Conference, the International Conference on Digital Audio Effects, the Hear Now Music Festival, and the San Francisco Tape Music Festival, and has collaborated with acclaimed artists including the Brightwork Ensemble, the Onix Ensemble, HOCKET, Shanna Pranaitis, and the Isaura String Quartet. His music technology work includes the Space Control spatialization software, the Xenos stochastic synthesizer, and projects for prominent developers Arturia and Cycling ‘74. His publications include a chapter in “Meta-Xenakis: New Perspectives on Iannis Xenakis’s Life, Work, and Legacies” from Open Book Publishers. 

Raphael holds a BA cum laude in Music from Vassar College, an MFA in Electronic Music and Recording Media from Mills College, and an MS in Media Arts and Technology from the University of California, Santa Barbara, where he is a PhD candidate in Music Composition. He has had the privilege of studying with João Pedro Oliveira, Curtis Roads, and Clarence Barlow.

“You are not a drop in the ocean. You are the entire ocean in a drop.” ― Rumi

The music of Steven Snowden has been described as “A visceral evocation of raw communal memories” (GoldenPlec, Dublin), “Beguiling… combining force with clarity” (San Francisco Classical Voice), “Wonderfully dynamic” (Interlude Hong Kong), “Marvelously evocative”, (Cleveland Plain Dealer), and “The most wildly intriguing sight and sound I have experienced at a concert” (The Boston Musical Intelligencer). Writing music for dance, theater, multi-media installations, and the concert stage, his work often focuses on underground American history and how past events relate to modern society. While his musical influences are deeply rooted in bluegrass, folk, and rock, he utilizes non-traditional techniques and processes to compose works that don’t squarely align with any single genre or style. 

A native of the Ozarks countryside, he began studies in music composition in 2002 and received degrees from Missouri State University (BM), University of Colorado at Boulder (MM), and University of Texas at Austin (DMA). In 2012-2013 he was a Fulbright Scholar in Portugal, researching the implementation of motion tracking technology as a means to facilitate collaboration between music and dance. In 2013-2014, he was a visiting professor and composer in residence at the Hong Kong University of Science and Technology and is the co-founder/director of the Fast Forward Austin Music Festival. He currently works as a freelance composer in Boston and when he’s not writing music, you can find him deep in the woods foraging for mushrooms with his wife, violist Lauren Nelson

cylinder lullaby I is the first of five movements comprising arco, a half hour work for violin, video, & tape. Slowly bringing the violin and electronic media closer together, this movement draws us into the visual and sonic world expanded on in future movements. The violin’s repeatedly descending lines counterpoint the electronic’s slow movement upwards. The movement’s final drastic swell of electronic sound imitates the violin’s crescendos that end each phrase. Enjoy the Iowan sunrise.

Ted Moore (he / him) is a composer, improviser, and intermedia artist whose work fuses sonic, visual, physical, and acoustic elements, often incorporating technology to create immersive, multidimensional experiences. 

Ted’s music has been presented by leading cultural institutions such as MassMoCA, South by Southwest, Lucerne Forward Festival, The Walker Art Center, and National Sawdust and presented by ensembles such as Talea Ensemble, International Contemporary Ensemble, the [Switch~ Ensemble], and the JACK Quartet. Ted has held artist residences with the Phonos Foundation in Barcelona, the Arts, Sciences, & Culture Initiative at the University of Chicago, and the Studio for Electro-Instrumental Music (STEIM) in Amsterdam. His sound art installations combine DIY electronics, embedded technologies, and spatial sound have been featured around the world including at the American Academy in Rome and New York University. 

Ranging from concert stages to dirty basements, Ted is a frequent improviser on electronics and has appeared with dozens of instrumental collaborators across Europe and North America including on releases for Carrier Records, Mother Brain Records, Noise Pelican Records, and Avid Sound Records. Described as “frankly unsafe” by icareifyoulisten.com, performances on his custom, large-scale software instrument for live sound processing and synthesis, enables an improvisational voice rooted in free jazz, noise music, and musique concrète. 

After completing a PhD in Music Composition at the University of Chicago, Ted served as a postdoctoral Research Fellow in Creative Coding at the University of Huddersfield as part of the ERC-funded FluCoMa project, where he investigated the creative potential of machine learning algorithms and taught workshops on how artists can use machine learning in their creative music practice

Youngmi Cho is a composer based in Seoul, Korea, teaching at Chonnam National University and Kookmin University. She also serves as editor of the Korean computer music journal Emille. Her works has been performed in Singapore Asian Composers Festival, Young Asian Musicians’ Connection in Taiwan, SoundSCAPE Festival in Italy, HighScore Contemporary Music Festival in Italy, Etchings International Contemporary Music Festival in France, International Forum on Acoustical Ecology in Greece, TIMARA Electronic Music Workshops in US, KOCOA Music Festival, New York City Electroacoustic Music Festival, and ICMC in Korea, etc. She was a winner composer of Singapore Asian Composers League and was recipient of the 1st prize in the Illinois State Arts Tech Annual. She holds a Ph.D. in music from Duke University, an MSci from the Illinois State University, and BMus from Seoul National University.

CHIRP depicts a sunrise in three short scenes. It explores two birdsong quotations from Olivier Messiaen’s Orchestral work Réveil des oiseaux (1953), the Nightjar, representing the night, and the Woodlark, representing the day. Through various means I try to create a liminal space between Messiaen’s interpretation of birdsong and my own.

Willyn Whiting (he/him) is a Canadian composer of both acoustic, electronic and mixed music. His stylistic interests include Microtonality, Spectralism, Acoustic Ecology, and Algorithmic Design. Over the years he has worked with the Bozzini Quartet, Del Sol String Quartet, the Winnipeg Symphony Orchestra, the Fort Worth Symphony Orchestra, and RE: duo. His music been featured at such festivals as Winnipeg New Music Festival (CA), Manchester Theatre in Sound Festival (UK), Resilience Festival (IT), Society for Electro-Acoustic Music in the United States Annual Conference (US) and workshops such as Orford Academy, Montréal Contemporary Music Lab, and Domaine Forget de Charlevoix. His teachers include Jon Nelson, Joseph Klein, Panayiotis Kokoras, Kirsten Soriano, Paul Frehner, Gary Kulesha, James Rolfe, and Vincent Ho, among others.

Dear Charles is a multichannel real-time performance composition using a custom sensor-based interface, software developed with Cycling 74’s Max, and Symbolic Sound’s Kyma. The inspiration for this work came from the charm and vibrancy of Boston, particularly along the Charles River. To capture the essence of this beautiful location, I incorporated the sounds from guitars, water droplets, crystals, wind, flowing water, and words from Longfellow’s poem To the River Charles to depict the river’s transition from winter’s frozen stillness to spring’s surging energy.

Sunhuimei Xia is a faculty member in the Composition Department at Wuhan Conservatory of Music. She holds DMA in Data-Driven Instrument Composition and Performance from the University of Oregon and MM in Computer Music Composition from the Peabody Institute of Johns Hopkins University. She studied under esteemed composers Feng Jian, Liu Jian, Geoffrey Wright, and Jeffrey Stolet, equipping her with a robust professional foundation and a global academic perspective. 

Her work focuses on the creation, performance, teaching, and research of computer music, with research areas spanning artificial intelligence music composition and applications, interactive data-driven instruments, algorithmic composition, and data sonification. She is dedicated to exploring the deep integration of music and technology. 

As a selected member of the Ministry of Culture’s Music Entrepreneurship and Innovation Talent Pool, her works combine artistic depth with innovative concepts. Her compositions have received prestigious accolades, including the Hubei Music “Golden Bianzhong Award,” and her computer music works have been showcased at top international conferences and exhibitions such as ICMC, ISMIR, NIME, SMC, SEAMUS, NYCEMF, EMM, IRCAM, WOCMAT, and Musicacoustica-Beijing, with performances across multiple countries. 

Her scholarly work has been published in core journals and presented at professional conferences domestically and internationally. She has also guided her students to numerous awards in both international and national competitions. As the principal investigator or key participant in several national, provincial, and institutional research projects, she actively contributes to advancing the integration of arts and technology, infusing fresh vitality into this interdisciplinary field.

After poems by Rainer Maria Rilke

Rilke wrote the fifteen poems that make up his late cycle “Windows” around 1925, following the famous avalanche of creativity that yielded his two greatest works, the Duino Elegies and the Sonnets to Orpheus. Conceived in Valais, Switzerland, for and about his lover Baladine Klossowska, the new poems were written not in German but in French, a language that allowed for an unusual degree of linguistic and formal freedom as Rilke reflects on windows from many different aspects. Addressing his subject in the familiar “you,” he considers both the window’s formal capacity to focus our perception and its instrumental power to transmit light. The two poems in this setting display each of these tendencies. The first contemplates the window’s productive geometry, making everything that appears within its frame more beautiful. The second sees the window as an instrument of the heavens, like the constellation Lyra, mythical resting place of Orpheus’s harp.

This musical setting draws out the connection between the poems by treating them as one continuous movement. The electronic landscape amplifies the poetic imagery with sounds derived not only from the singer’s voice and the instruments within the ensemble but also from windowpanes and the astronomical data of Vega, Lyra’s brightest star.

1. Geometry (poem III)

N’es-tu pas notre géométrie,

fenêtre, très simple forme

qui sans effort circonscris

notre vie énorme ?

Celle qu’on aime n’est jamais plus belle

que lorsqu’on la voit apparaître

encadrée de toi; c’est, ô fenêtre,

que tu la rends presque éternelle.

Tous les hasards sont abolis. L’être

se tient au milieu de l’amour,

avec ce peu d’espace autour

dont on est maître.

Are you not our geometry,

Window, you simple form

effortlessly circumscribing

Our enormous life?

The one you love is never more beautiful

Than when you see her appearing

In your frame, oh window;

You make her almost eternal.

All dangers abolished, our being

Stands in the middle of love

With this bit of space around it

That we control.

1. Constellations (poem XV)

Depuis quand nous te jouons

avec nos jeux, fenêtre!

Comme la lyre, tu devais être

rendue aux constellations!

Instrument tendre et fort

de nos âmes successives,

arrache enfin de nos sorts

ta forme définitive!

Monte! Tourne de loin

autour de nous qui te fîmes.

Soyex, astres, les rimes

trouvées a nos bouts de destin!

How long have we played you,

with our eyes, window!

Like the lyre, you should be

Returned to your constellation!

Instrument of our consequent souls,

Tender and strong,

pull your definitive form

From our destiny!

And rise! From afar

Turn around us who created you.

Stars, be the rhymes

At the end of our end!

Butch Rovan is a composer, performer, media artist, and instrument designer who has served on the faculty of the department of Music at Brown University since 2004. 

Rovan’s compositions have been performed all over the world, receiving early recognition in two of the Bourges International Electroacoustic Music Competitions as well as a first prize in the Berlin Transmediale Festival. His multipart installation “Let us imagine a straight line” was selected for the 14th WRO International Media Art Biennale in Poland. He has recorded on the Wergo, EMF, Circumvention, and SEAMUS labels. 

The design of sensor hardware and wireless microcontroller systems for musical performance represents a central part of Rovan’s creative work, which has yielded two patents. Among his most recent projects are the TOSHI, a new conductor interface for orchestral synthesis, and a new accessible technology that allows non-sighted composers to program interactive computer music. His research has been featured in The Computer Music Journal, including in a special anthology presenting his custom GLOBE controller. A seminal essay written with Vincent Hayward was highly influential for the field of haptics, and a later piece on alternate controllers was included in Riley and Hunter’s “Mapping Landscapes for Performance as Research,” published by Palgrave Macmillan. 

Earlier in his career, Rovan served as compositeur en recherche with the Real-Time Systems Team at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris, and then as a faculty member at Florida State University and the University of North Texas, where he headed the Center for Experimental Music and Intermedia. At Brown, he directed the Brown Arts Initiative from 2016-19, where he was instrumental in the design and planning of the Lindemann Performing Arts Center.

This Performance presents an artistic research project exploring the performance of John Cage’s “Solo for Sliding Trombone” using AI generative tools within the Somax2 environment. The performance investigates the interplay between human interpretation, AI-assisted performance, and Cage’s core concepts of silence, indeterminacy, and unintentionality. By integrating AI agents as virtual performers and employing techniques like “coloring the silence” and “expansions,” the research aims to push the boundaries of Cage’s indeterminacy. This artistic research resulted in a unique set of improvised performances, captured and presented in a box set with 7 distinct tracks, showcasing the dynamic interplay between human and AI creativity within the framework of Cage’s innovative musical philosophy.

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage’s romantic partner for most of their lives.

Cage’s teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage’s major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951.[7] The I Ching, an ancient Chinese classic text and decision-making tool, became Cage’s standard composition tool for the rest of his life.[8] In a 1957 lecture, “Experimental Music”, he described music as “a purposeless play” which is “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living”.

Cage’s best known work is the 1952 composition 4′33″, a piece performed in the absence of deliberate sound; musicians who perform the work do nothing but be present for the duration specified by the title. The content of the composition is intended to be the sounds of the environment heard by the audience during performance.[10][11] The work’s challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. These include Sonatas and Interludes (1946–48).

https://en.wikipedia.org/wiki/John_Cage

On the occasion of Luigi Nono’s birth centenary, I respond to his classic work for piano and tape, “..sofferte onde serene..” (1976-77), with a new work, which extends Nono’s techniques through live AI tools and interactive multimedia. The work reflects on problems of authorship, authenticity and authority in musical AI, namely the disturbing potential of human inferiority – the fact that we all are potentially “bugs” (with its multiple connotations), and we might have to accept a lower status in a new (or not so new) hierarchy. To do so, the work assumes an AI, as if alien, invasion of sorts, inspired by the “dark forest hypothesis”, term coined by the Chinese sci-fi author Liu Cixin as a response to the Fermi paradox. The musical score consists of a dense interactive video featuring borrowed cinematic materials of authoritative figures conducting, instructing, ordering, insulting and abusing the performer; augmented interactive tablatures; music notation and video synths, projected in real-time, and driving a combination of improvised, comprovised and fixed musical materials. These include the author’s previous recordings of works by Luigi Nono, Iannis Xenakis, Maurice Ravel, which are remixed through a combination of SOMAX2 and GesTCom, and live controlled through inertial sensors and an MPE controllers. Thus, both human and machine are trained and constrained, and sparks of resistance are not missing: More than following, GesTCom here has a function of unfollowing: the learned gestures are intentionally obstructed, or the tolerance of the motion follower algorithm is set extremely low, so that the system cannot follow, thus sabotaging its initial intent. As a result, various drones occur, as the supervp.scrub~ object allows resynthesized audio output to be time-stretched, transposed in pitch and undergo several spectral envelope transformations. The virtuosity involved in controlling the SOMAX2 in live settings is nontrivial, and so is the possibility to enter a dialogue with materials already learned and recorded, but also to surprise the system as well as the human performer with alien materials not featuring in the Nono score or in the recordings. Several degrees of distancing (same, similar and alien material) of the human pianist from the original material used to train SOMAX2 result in a variety of interactions, reflecting the echoes and resonances of Nono’s own political aesthetics.

Pavlos Antoniadis is a contemporary music pianist, musicologist and creative technologist, currently Associate Professor of Music Communication and Technology at the University of Ioannina, research collaborator with the team ISMM and the ERC REACH at IRCAM, and PhD supervisor and visiting lecturer at Lund University, Malmö. His artistic programming features complexity, extremes of physicality, live electronics, multimedia, sensors, XR and AI. His research focuses on 4E cognition, on computational applications for technology-enhanced learning and performance, and on music biopolitics. Ηe has performed in Europe, North & South America and Asia with the new music ensembles Work in Progress-Berlin, Kammerensemble Neue Musik Berlin, Phorminx, ERGON, Accroche Note, Contemporary Insights. As a soloist, he has worked with composers such as Mark Andre, Helmut Lachenmann, Brian Ferneyhough, Wolfgang Rihm, Tristan Murail, Richard Barrett, Walter Zimmermann, Wieland Hoban, and he has premiered solo piano works by James Erber, Nicolas Tzortzis, Andrew R. Noble, Luis Antunes Pena, Dominik Karski, Lula Romero, Frank Cox, Michael Edward Edgerton among others. He has recorded for Mode (2015 German Recording Critics Award/Deutscheschallplattenkritikspreis), Wergo and Diatribe Records. He is the author of two forthcoming monographs from Wolke Verlag and EUR-ArTeC and a collective volume on the music of Anestis Logothetis. Pavlos studied the piano with Chryssi Partheniade, Ian Pace, Geoffrey Douglas Madge and Aleck Karis. In ensemble performance, he was a Fellow of Ensemble Modern and Klangforum Wien. He holds a prize-winning PhD in musicology from the University of Strasbourg in co-direction with the IRCAM, an MA in piano performance from the University of California, San Diego on a Fulbright Scholarship, and an MA in music studies from the University of Athens. He has conducted post-doctoral research at EUR-ArTeC, Université Paris 8 and at the TU Berlin – Audiokommunikation.

“Echoes of the Machine Mind I” is an improvised set of music. It is numbered as it is an evolving project. Being improvised is different every time even though I have written out structures (that I change and modulate) that work as a framework. Each structured is divided in what I call Scenarios; I can get from one to another even changing the order extemporaneously and each scenario has a set of mapped elements or changes in the parameters in the Max patch.

“Echoes of the Machine Mind I” makes use of a Max patch that integrates Somax2. The Somax2 system is structured with a Server and Players corresponding to voice modules in the modular synth, a samples player and a doublebass player into which I also record corpuses in real time.
The rest of the patch includes processes and effects on the doublebass, a 2 head looper with speed control and processes on each of the synth voices.

In this way I have control over the sounds generated (in the Max patch and through the eurorack synth patching) but still I have a lot of extemporaneous interaction through the use of Agents, which are interconnected, for generation and modulation.

In the improvisation of “Echoes of the Machine Mind I” I use various combinations. The doublebass is played with the bow and processed while interacting with the player controlling the E330 module (a two voice digital cloud module) with modulations coming from Lfos and by converting the loudness and pitch of the bass in CV. I also have the Agent PlayerBass playing a corpus made from a recorded improvisation of myself playing Pizzicato Harmonics. I also record in real time the sound of the bass that becomes a corpus for the player, used somehow like an intelligent looper. During the performance I modify the activity of Players at times between reactive and continuous playing, change probability, continuity and internal and external influences according to the scenarios and change their reference influencers (and what to listen from them).

For the modular voices I use a sub-patch for midi to cv conversion sending cvs through an Expert Sleepers module.

The concept wants to achieve a certain level of freedom and of unexpectedness in the performance of my improvisation with agents. I can of course control the parameters through the midi controllers (a hands-on and a foot controller) and create the framework for the improvised solo set but I (and the listener hopefully) can also enjoy playing without knowing what the agent will be playing, having a dialogue with it and taking the music in a direction or another.

Ferdinando Romano is a double bass player, composer and improviser active mainly in the contemporary and avant-garde jazz scene. In addition to double bass he has a great passion for modular synthesizers and electronic music, and he is carrying out PhD studies at the Department of Electronic Music of the Como Conservatory investigating the possibilities of integrating Artificial Intelligence in improvisational practice in collaboration with some important European realities.

In Top Jazz 2023, the critics’ referendum held by the historic magazine Musica Jazz, he won important awards, placing second in the Italian Musician of the Year category. His album Invisible Painters ranked among the Italian Albums of the Year and among the Italian Ensembles of the Year.
With his debut album Totem feat. Ralph Alessi, Romano had won numerous awards such as first place as “Best New Italian Talent 2020” in Musica Jazz magazine’s annual Top Jazz, the SIAE 2021 Award and was one of the winners of the Nuova Generazione Jazz program.

He has received wide international acclaim from leading magazines and journals. He has been described as “a poetic bassist, an inspired composer and an intriguing arranger” (T. Conrad, Stereophile), “A brilliant record, an expression of clear talent” (Musica Jazz).

Ferdinando performs extensively live and in the studio, both as leader and sideman, collaborating with such musicians as Ralph Alessi, Enrico Rava, Robin Eubanks, Benny Golson, Alexander Hawkins, Glenn Ferris, Logan Richardson, Elias Stemeseder, Jerome Sabbagh, Yuhan Su, Ben Van Gelder, Napoleon Murphy Brock, Tom Ollendorff, Marc Michel, Kirke Karja, Veli Kujala, Camila Nebbia..
He is a member of bands such as Alexander Hawkins Dialect Quintet (with Alexander Hawkins, Camila Nebbia, Giacomo Zanus, and Francesca Remigi) and Nazareno Caputo’s trio Phylum, honored in 2021 by the New York City Jazz Record as one of the best debuts of the year

Our artistic research is conducted in a telematic environment, with Mikhail based in France and Cássia Carrascoza in Brazil. This geographic separation enables us to explore sonic and visual elements specific to virtual space. The project investigates key concepts in telematics, such as sound space and the creation of virtual stage elements, while experimenting with binaural formats (SPAT), real-time electronic synthesis, and telematic interaction mediated by AI and machine learning tools like SOMAX2. We also work with computer agents to construct musical narratives in real time.

Central to our creative process are collaborative listening, emotional response, and improvisation. In adapting our telematic performances for in-person settings, we preserve their poetic structure. Our work is inspired by Tibetan/Bön cosmology, which views the universe as composed of five elements—space, air, fire, water, and earth—each shaping the material and phenomenal worlds. We select musical and visual materials to reflectively engage with these elements.

Performances unfold as improvisations within a pre-structured poetic-musical narrative, incorporating excerpts of canonical works, original recordings, flute, percussion, voice, and environmental soundscapes. The video component includes two layers: one generated by AI, the other featuring Brazilian landscapes that evoke the five elements. The narrative bridges virtual and natural realms through imagery of Amazonian Indigenous peoples, the Rio Negro, the boto cor-de-rosa, and central Brazilian landscapes. The final section expands into AI-generated landscapes, merging reality with imaginative constructs. We employ a system developed by Guilherme Zanchetta using TouchDesigner software, specifically designed for audiovisual performance. This system enables real-time control over video transitions, responding dynamically to sensory stimuli. It avoids repetitive sequencing and enhances visual variation in accordance with the performer’s actions.

Cássia Carrascoza – Flute improvising
Mikhail Malt – Performance improvising, Somax2, Spat
Excerpts employed in Somax2 (corpus)
Pauline Oliveros – Sound Patterns (1961)
Different Breathing Patterns, Recorded at IRCAM
Mario Davidovsky – Synchronism No. 1 (1962) for flute and pre-recorded electronic sounds.
Bülent Arel – Electronic Music No. 1 (1962)
Flute Whistletones, Recordings
György Ligeti – Glissandi (1957)
BowHeadWale Recordings from “Watkins Collection of Marine Mammal Sound Recordings, Australia”
Flute Pizzicato, Staccato, and Other Articulations, Recordings
Nana Vasconcelos, Berimbau Performance, Africadeus (1973)

Cássia Carrascoza is a Brazilian flutist, educator, and researcher with an international career in classical music and networked arts. She is a professor in the Department of Music at the University of São Paulo (USP), where she actively promotes Brazilian contemporary music and explores the integration of technology into musical performance. From 1999 to 2018, she served as principal flutist of the São Paulo Municipal Theater Symphony Orchestra. Her performance career has included appearances in countries such as Hungary, the Netherlands, France, Portugal, Belgium, the United States, Argentina, and China. Carrascoza’s current academic and artistic work centers on collaborative composition, telematic audiovisual performance, and improvisation involving electronic media and artificial intelligence. She currently serves as Director of the USP Symphony Orchestra (OSUSP).

Mikhail Malt – With a dual scientific and musical background in engineering, composition and conducting, Mikhail Malt began his musical career in Brazil as a flautist and conductor. He is the author of a thesis in musicology, at the École des hautes études en sciences sociales, on the use of mathematical models in computer-assisted composition, as well as an HDR (Habilitation à diriger des recherches). He was an associate professor at the Sorbonne Paris IV from 2006 to 2012, and a lecturer in computer music at the pedagogical department of Ircam, Paris-France until 2021. He is currently composer in research in the Musical Representations team at Ircam and a research associate at iReMus-Sorbonne in Paris. Furthermore, he pursues his creative and research activities on generative music, creative systems, the epistemology of representation and different listening strategies.

This piece is a meditation on a composition by Thelonious Monk called “Introspection.” It involves three improvisors: Somax2 (the improvising application developed at IRCAM), Dogstar (a generative machine made by Miles Okazaki), and Okazaki himself on guitar. All three improvisors are creating and reacting spontaneously to each other’s output. The source material for the performance is drawn from the original Monk composition, manipulated and recombined in a variety of ways.

Miles Okazaki is a NYC-based guitarist originally from Port Townsend, a small seaside town in Washington State. His approach to the guitar is described by the New York Times as “utterly contemporary, free from the expectations of what it means to play a guitar in a group setting — not just in jazz, but any kind.” His sideman experience over the last two decades covers a broad spectrum, from standards to experimental music (Kenny Barron, John Zorn, Steve Coleman, Stanley Turrentine, Henry Threadgill, Dan Weiss, Matt Mitchell, Jonathan Finlayson, Anthony Tidd, Jane Monheit, Amir ElSaffar, Darcy James Argue, and many others). He has released ten albums of original compositions over the last 12 years on the Sunnyside, Pi, and Cygnus labels. In 2018 Okazaki received wide critical acclaim for his six-album recording of the complete compositions of Thelonious Monk for solo guitar, an unprecedented project that Nate Chinen called “the six-string equivalent of a free solo climb up El Capitan.” That year, Okazaki was voted the #1 rising star guitarist in the Downbeat Magazine critic’s poll. Other projects include a longstanding duo with drummer Dan Weiss, a duo with percussionist Rajna Swaminathan, and a published book, Fundamentals of Guitar, with Mel Bay. He taught guitar and rhythmic theory at the University of Michigan from 2013-22, joined the faculty at Princeton University in 2021, and holds degrees from Harvard University, Manhattan School of Music, and the Juilliard School.

Juan Harald Bode (1909–1987) was a seminal figure in the history of electronic and computer music, whose work laid foundational principles for voltage-controlled synthesis and modular design. Trained in physics and mathematics, Bode began designing electronic instruments in 1935, including the innovative Warbo-Formant Organ and later the Melodium, both precursors to fully electronic sound generation.

After WWII, he introduced the Melochord, one of the earliest post-war electronic instruments, which was later installed at the Studio für Elektronische Musik in Cologne. In 1954, Bode emigrated to the U.S., joining the Estey Organ Company, where he helped design advanced electronic organs and explored cost-effective mass production techniques.

Bode’s most influential contribution came in 1960 with his Audio System Synthesizer, the first modular synthesizer to implement control voltage—an approach that shaped the development of modern synthesis. This work directly inspired figures like Bob Moog and Don Buchla. Bode also developed core audio processors such as the ring modulator, frequency shifter, and vocoder, many of which remain essential tools in electronic and computer music.

A relentless innovator, Bode later embraced digital computing, developing hardware and software on early home computers. His legacy endures in the architecture of sound synthesis and the ethos of exploratory design.

Dynamic itineraries, was composed in 2024. The aim of the work is to develop the timbric and spatial dimension through innovation. To do this, trajectories are deployed in space with textural concepts. The spatiality of sound will be considered based on the analytical approach proposed by Gary Kendall (2009). Curiosity about the transformation of sound motivated the timbric treatment of this work. This approach allows the interpretation and study of the transformation of sound material and the disturbance of spatial schemes. 

The acoustic parameters -physical and perceptual-, regardless of a specific architectural space, will allow to be used as a source of compositional structure generation. The sound creation of the work for electronic sounds will contemplate the “play” between the spatial location of the sound, the textural space and the interior field of the architectural structure through acoustics. The relationship between conceptual sources and acoustic environment analyzed based on cognitive content-container schemes (Kendall 2009): interplay forms/resources with perceptual grouping from the disruption between container-content schemes. 

The organization of the speech will be based on the holophonic musical texture, developed by Panayiotis Kokoras. The composer expresses that he considers it as the next stage of evolution of the musical texture, continuing with the paradigms of monophony, polyphony and homophony. He thus also clarifies that the holophonic musical texture is not related to holophony as an acoustic reference to holography. He explains that the listener is focused on the synthesis of sound currents in simultaneous layers and their morphopoiesis over time. Panayiotis Kokoras with the concept of morphopoiesis refers to instrumental, vocal and electroacoustic music that focuses his interest on the internal and external attributes of sound through time. It alludes to a general procedure for structuring musical form and is mainly related to timbre. He details that morphopoiesis provides a principle whose objective is to identify and clarify a general procedure that provides an explanation of the relationship between content and form (Kokoras 2005).

Argentine composer graduated from the Conservatory of Music “Manuel de Falla”. Degree in Electroacoustic Composition by the National University of Quilmes (UNQ) in Argentina. Participates in the research program “Temporal Systems and Spatial Synthesis at Sound Art” (UNQ). Ph.D Candidate in Music: Composition (Pontifical Catholic University of Argentina – UCA). The topic of study is: The Spatial Dimension of Music for Mixed Media and Architectural Acoustics. 

She has composed works for solo instruments, ensembles, orchestra, chamber choir, electroacoustic and mixed media works. Her works are released by renowned performers and presented in prestigious venues in Argentina in major concert series. Her work “Modos en decantación” was selected to participate in the workshop for composers conducted in 2013 by the Arditti Quartet (UNQ). Her work “Espacio Onírico”, composed by the commission of the Swiss duo UMS ‘n JIP to be part of The Latino America Projet (2019), was premiered and performed in Switzerland in the cities of Bern, Basel, Brig-Glis and Zürich. 

Her works have been selected to participate in international festivals: 41st International Computer Music Conference (USA) in 2015, L’Acusmonium AUDIOR (Italy) in 2015 and 2017, New York City Electroacoustic Music Festival 2016, 2017 and 2018 (USA), MUSLAB (Mexico, England and France ) in 2016 and 2018, Bernaola Festival XIV Edition, AKUSMA (Spain) in 2017, Delian Academy for New Music (Grecia) in 2018 and 2024, 43rd International Computer Music Conference (Daegu, South Korea) in 2018, Mixtur 2019, 2021 and 2022 (Spain), ACMC 2019 (Australia), Impuls, 13th international Ensemble and Composers Academy for Contemporary Music (Graz – Austria) in 2023, 50th International Computer Music Conference (Seul, South Korea) in 2024, Internationales Digitalkunst Festival (Stuttgart- Germany) in 2024 and Curs Internacional de Composició Barcelona Modern (Barcelona – Spain) in 2025, among others.

The work presents itself as an allegory of the concept of conflict, understood in its most intimate sense. A descent into the abyss of discord, where acoustic entities battle for supremacy. There is no redemption, only blind fury, untamed and unyielding, that moves toward the destruction of the other. What remains is pure silence. 

The entire composition employs concrete samples of percussion, metal objects, and sine wave frequencies. Signal processing techniques include time-stretching and granular synthesis. The concrete samples processed with granular synthesis were broken down into tiny fragments through manual editing and then reassembled with a new temporal order through a kind of micro-editing.

Nicola Fumo Frattegiani is an electroacoustic and audio-visual composer living in Perugia, Italy. His works have been presented at various national and international festivals, among the most important and prestigious of electroacoustic music and experimental arts. 

Author and performer, his research deals with electroacoustic music, sound for images, video, art exhibitions and compositions for theatrical performances. 

He was Subject Expert in “Electroacoustic” and “Computer Music” at the Conservatory of Music of Perugia. He held the chair of Electroacoustic Music Composition at the Conservatory of Music in Messina and he was professor of Sound design at the Academy of Fine Arts in Macerata. 

He is currently professor of Audio & Mixing and Sound Space Design at the Academy of Fine Arts in Perugia and holds the chair of Electroacoustic Music Composition at the Conservatory of Music in Palermo.

Spectre is an abstract work which is horror inspired. It is loosely inspired by the works of Edgar Varese. Also, I was influenced by the works of H.P.Lovecraft, weird horror short stories

Nate Sassoon is a composer/producer/pianist/harpsichordist from New York City. Classically trained pianist, Nate has been composing/producing electronic music since 2015, starting in high school. Albums released: Miscellaneous Catalog, Volume 1 and 2, (2023), Cold Shadows and Warm Rays (2020), Umba (2020), Taste The Machines (2020), Conductive (2019), What floor am I on (2018), multiple singles. Total of over 300 compositions. Concert music written for Organ, Piano, Violin, Trumpet, Trombone, sextet. Genres: neo classical, modern, neo baroque, pop, rock. EDM, Electro acoustic works performed at JSoM, 2023, 2024, 2025. Also, harpsichordist, basso continuo with Baroque Orchestra, solo recitals as a pianist in New York, Russia, Mexico, UK and Jamaica. Tours in France and Russia Jacobs School of Music, MM Composition, MM Computer Music Composition, MM Historical Performance in Fortepiano. (Summer 2025 University of Oxford, B.A. (Hon) Music (2021) Phillips Exeter Academy, High school diploma (2018).

Self-censorship is a multimedia performance representing disenfranchised and oppressed voices. It combines a loosely improvised violin performance with live processing and fixed media featuring a bamboo flute. The live violin music interacts with the visual elements in real-time. This piece depicts the push to silence minorities, women, and other marginalized groups. While there is a strong desire to speak up, one pulls back due to fear, force, and the possibility of retribution and negative consequences. Overall, this piece depicts the tyranny and frustration that stem from having to exercise self-censorship while empowering underrepresented and powerless groups to speak up.

Cecilia Suhr is an award-winning intermedia artist, researcher, and multi-instrumentalist (violin, cello, voice, piano, bamboo flute). Her interdisciplinary work spans music, visual art, interactive media, and academic research. Her accolades include the Pauline Oliveros Award from the IAWM, a MacArthur Foundation Digital Media and Learning Grant, an Honorable Mention from the American Prize, and medals from the Cambridge Music Competition and the Global Music Awards, among others. Her music has been showcased internationally at leading festivals and conferences such as ICMC, SEAMUS, NYCEMF, Mise-En Music Festival, New Music on the Bayou, Performing Media Art Festival, Hot Air Music Festival, Splice Festival, Mantis Festival, TENOR, EMM, SCI, BEAST Feast, MoXsonic, and more. She is also the author of Social Media and Music (Peter Lang, 2012) and Evaluation and Credentialing in Digital Music Communities (MIT Press, 2014). She currently serves as a full professor in the Department of Humanities and Creative Arts at Miami University Regionals.

This work was inspired by impressions of the natural landscape of the Lake District, closely associated with the English poet William Wordsworth. The text is drawn from stanzas III, IV, and V of The Thorn (1798), a poem by the same poet. 

Both the premiere and revised premiere took place in Japan, where neither the composer nor the audience was a native speaker of English. Therefore, the piece was composed by focusing on the phonetic qualities of the text—particularly as foreign speech whose direct meaning is not immediately accessible—and by treating these phonetic sounds as musical elements, which were processed and developed as sonic material. 

For this performance, however, the work will be presented to an audience largely composed of native English speakers. The composer hopes that this context will allow for a deeper appreciation of the piece, including its textual meaning. 

The revised premiere (2019) took place on a Noh stage and featured a more representational approach: it included scenes where the singer walked along the hashigakari, the bridgeway leading from the mirror room to the main stage, accompanied by projected images of the Lake District. In contrast, the current version revised for the ICMC 2025 is shorter and closer to the original premiere, with a greater focus on the music itself. 

The sound processing techniques employed include primarily granular synthesis and FM synthesis. A pseudo-echo effect was also developed. This function generates synthesized timbres that follow the magnitude of the singer’s voice in real time, using FM synthesis to create echo-like textures that repeat and reflect the original soprano voice. In this broader sense, the function could also be considered an example of audio mosaicing. Max and Audacity are used as digital tools. Below are the texts of stanzas III to V referred to in the piece.

The Thorn 

III 

High on a mountain’s highest ridge, 

Where oft the stormy winter gale 

Cuts like a scythe, while through the clouds 

It sweeps from vale to vale; 

Not five yards from the mountain-path, 

This thorn you on your left espy; 

And to the left, three yards beyond, 

You see a little muddy pond 

Of water, never dry; 

I’ve measured it from side to side: 

’Tis three feet long, and two feet wide. 

IV 

And close beside this aged thorn, 

There is a fresh and lovely sight, 

A beauteous heap, a hill of moss, 

Just half a foot in height. 

All lovely colours there you see, 

All colours that were ever seen, 

And mossy network too is there, 

As if by hand of lady fair 

The work had woven been, 

And cups, the darlings of the eye 

So deep is their vermilion dye. 

V 

Ah me! 

What a lovely tints are there! 

Of olive-green and scarlet bright, 

In spikes, in branches, and in stars, Green, red, and dpearly white, 

This heap of earth o’ergrown with moss 

Which close beside the thorn you see, 

So fresh in all its beauteous dyes, 

Is like an infant’s grave in size 

As like as like can be: 

But never, never any where, 

An infant’s grave was half so fair..

Naotoshi Osaka received his M.S. degree in electrical engineering from Waseda University in 1978. He worked at the Electrical Communication Laboratories of NTT in Tokyo, Japan, from 1978 to 2003, and earned his Doctor of Engineering degree in 1994. His research has focused on audio effect technology. He has studied sound morphing and sound hybridization, and his recent interest is in audio mosaicing, which expresses environmental sounds in terms of instrumental sounds. Moreover, his interests have expanded to include AI-based music composition using deep learning. Since 1990, he has focused mainly on composing computer music and developing related sound synthesis technologies. 

His compositional works include Sound Textile for piano and computer (1998), Shizuku no Kuzushi for violin, computer, and orchestra (1999), and Piano Concerto No. 2 (2021) and No. 3 (2022). He has participated in the ICMC in 1993, 2003, 2008, and 2024, and in the New York City Electroacoustic Music Festival (NYCEMF) in 2016, 2017, and 2019. 

He is currently Professor Emeritus at Tokyo Denki University. He served as the Asia/Oceania Regional Director of the International Computer Music Association (ICMA) from 2002 to 2009, and was President of the Japanese Society of Sonic Arts (JSSA) from 2009 to 2018.

This piece is a transformation of a duo for flute and piano named “El reino del rêve” , a pun mixing spanish and French that plays with the name of a song “The Kingdom of the Upside Down” and the “The Kingdom of dreams” 

The continuous transformation of a set of gestures, rewritten again and again obsessively and projected in the composition of the tape part, that avoids any sampled sound, were part of a process in which the polarities between sound forms seemed to be irreductible. 

The piece is torn in one side by the exploration of the instrumental energetic modalities, in the other side the search for a goal oriented syntax and the need of the use harmonic to organize the musical space. 

Esquisse-o-phrenia was premiered in Buenos Aires by Alkünoir duo and played around the world and recorded by Proyecto Laberinto ( Andrea Escobar and Rodrigo Evangelista) for Elektramusic Label.

Buenos Aires (1959) Studied composition with Francisco Kröpfl in Buenos Aires and with Marcelle Deschênes at Université de Montreal. His music has been programmed in Festivals and concerts around the world such L´espace du son (Bruxelles) , Korea World Music Days, Seoul Computer Music Festival, (Korea), Aspekte (Austria), Festival de Bourges (France), Festival de Música Contemporánea de Caracas , (Venezuela), Festival Musica Nova (Brazil), Multiphonies, Radio France, Paris , Centro de Experimentación del Teatro Colón, Festival Internacional de Teatro de Buenos Aires , ICMC Utrecht among many others 

He received comissions and /or worked in artist residencies at GRM(Paris, France) , Musiques & Recherches (Ohain, Bélgium) Phonos (Barcelona, Spain) , CCRMA (Stanford, U.S.) , LIEM(Madrid, Spain). 

His works have been played by renowned musicians like Ensamble Gest (u)alt , James Baker, Eduardo Moguillansky , Alejo Pérez Pouilleux ,Edelton Gloeden, Baiba Oshina , Josetxo Silguero, Cuarteto Untref, Diego Castro Magas , Shao Wei Chu , Reinhold Westerheide, Andrea Escobar, Juliana Moreno, Natalia Cappa among many others. 

He has been awarded the First Prize at Buenos Aires City Composition Contest , 2nd Prize at the Xicoatl International Composition Contest (Salzbourg, 2009), also has been awarded Honorable mentions at Xicoatl International Composition Contest (Salzbourg, 2005), Pierre Schaeffer International Competition (Pescara, 2001) , Métamorphoses d´Orphée International Competition (Ohain,2000) ACREQ International Composition for audioclip,(Québéc,1993), Finalist at Musica Nova International Contest (2000,2009,2010) Bourges International Contest (1999,2003,2005), Luigi Russollo International Contest (1995). 

His music is published by BabelScores and Luscinia Discos (Spain). He´s currently teaching Musical semiotics at Universidad Nacional de Tres de Febrero and electroacoustic composition at Conservatorio Alberto Ginastera.

I am never quite sure what to think when listeners describe my music using the term ‘filmic’. Are they referring to a certain sense of space that is, perhaps, similar in both electroacoustic music and film..? Or perhaps it is a sense of dramaturgy or narrative that they find similar..? I am not sure. But whatever the case, my very first piece was described as ‘filmic’, and such comparisons continue to this day. Between Pictures is the first of my pieces that is intentionally filmic. It was my attempt to think through filmic connections in my music, and electroacoustic music more generally. It was also an opportunity for me to explore certain sounds that I previously recorded and composed for film but, sadly, never used.

Adam Stanović composes music with recorded sound. In recent years, his music has drawn from both studio and location recordings, using both digital and analogue technologies. Adam’s music follows in the traditions of musique concrète, in the sense that it involves the direct (physical) manipulation of sound in ways that have been compared to the plastic arts, such as sculpture, painting, and pottery. His music always employs a fixed medium, but is sometimes accompanied by instruments, electronics, film, and animation. To date, he has won prizes, residencies, and mentions at competitions around the world, including: Prix CIME (France); IMEB (France); Metamophoses (Belgium); Destellos (Argentina); Contemporanea (Italy); Computer Space (Bulgaria); Ise-Shima (Japan); SYNC (Russia); Musica Viva (Portugal); Musica Nova (Czech Republic); Ars Electronica Forum Wallis (Switzerland); KEAR (USA); MusicAcoustica (China); Prix Russolo (France), Red Jasper Award (USA); Uljus (Serbia). Many of his pieces have been composed in studios around the world, including those of the IMEB (France); Musiques & Recherches (Belgium); VICC (Sweden); EMS (Sweden); Leeds College of Music (UK); CMMAS (Mexico); Holst House (UK); Mise-En_Place Bushwick (USA); Bowling Green State University (USA); Sydney Conservatorium of Music (Australia); and GRM (France). 

Adam is Director of Sound and Music at the University of the Arts, London, and co-Director of the British ElectroAcoustic Network. For more information, visit: www.adamstanovic.com

Both the words and the music are fragmented into small pieces and put back together to form new, coherent phrases. Through this process, a new expressive potential is pursued.

Deniz Aslan is a composer and a bassoonist specializing in new music. He was born in 1997 in Ankara, Turkey. Classically trained in bassoon for ten years, he received his Bachelor’s and Master’s degrees in composition from Bilkent University under the supervision of Tolga Yayalar. As of 2025, he is a DMA student and an Assistant Instructor at the University of Texas at Austin and continuing his studies under the supervision of Januibe Tejera. 

Deniz has worked with ensembles such as Arditti Quartet, Black Pencil, Yurodny Ensemble, Collegium Novum, HANATSUmiroir, United Instruments of Lucilin, Splinter Reeds, Oerknal, MotoContrario, Reverberation Percussion, Anatolian Wind Quintet, Hezarfen Ensemble, and his music has been performed in Turkey, United States, Brazil, Mexico, Italy, and Luxembourg. 

Deniz was a finalist in the 2023 Prix CIME Electronic Music Competition and the 2021 Balkan Composer Competition in Prishtina.

Con Anima is a musical work composed for violin and live electronics. From the perspective of structural design, the piece aims to explore and experiment with the conflicts and instability between rhythm, repetition, musical transformation, and visual illusions. It involves real-time pitch transformation and layering of sound parts based on signals captured by the microphone. The deeper objective is to seamlessly integrate the acoustic and electronic components, making them inseparable and fully unified. While the title Con Anima may at first recall the familiar musical expression marking “with lively energy” in this work it draws more explicitly from the original Italian meaning—”with soul.” This notion is reflected not only in the emotional character of the music but also in the profound interaction between the performer and the responsive electronic system. The piece in the end concludes with a quote from German philosopher Martin Heidegger — “Der Tod ist die Möglichkeit der schlechthinnigen Unmöglichkeit des Daseins.”

Piao Yisong is a composer specializing in electro-acoustic and instrumental music based in Seoul, Korea. He is the researcher at the Center for Research in Electro-Acoustic Music and Audio (CREAMA) ,the founder of Huintokki,(an independent music art group). 

His works have been showcased at prestigious events like the International Computer Music Conference (ICMC 2023，China；ICMC 2024 Korea) in China and Korea, highlighting his innovative approach to integrating real-time computer processing with traditional instruments. 

His individual style and artistic approach have been deeply influenced by Western Baroque, early Classical music, late European music, and American modern music spanning the period 1940-1990. His recent focus is on exploring microtonality and the possibilities of algorithmic approaches in composition.

Florilegium – a collection of flowers. This piece explores some of my interests regarding combining a solo instrument with live computer interaction to create a slowly-evolving tapestry of sound. The piece takes the idea of bariolage between violin strings as a starting point, and uses both pitch-tracking and tempo detection to recognize a series of predetermined motivic “cues” to advance the live sound processing non-linearly through a series of “events” and to create a tight fusion of the live violin and its real-time transposed sound. The simple video projection is a direct visual representation of the parameters used to create of the transposed violin sounds, which use cyclic patterns of different lengths inspired by the ubiquitous isorhythmic techniques found in medieval music. This work was made possible through the generous support of Hanyang University’s Performance Exhibition Support Project (Grant No. 202400000001682).

Richard Dudas holds degrees in Music Composition from The Peabody Conservatory of Music of the Johns Hopkins University, and from The University of California, Berkeley. He additionally studied at the Franz Liszt Academy of Music in Budapest, Hungary and the National Regional Conservatory of Nice, France. In addition to composing music for acoustic instruments, he has been actively involved with music technology since the late 1980s. As a computer musician, he has taught courses at IRCAM, and developed musical tools for Cycling ’74. Since 2007 he has been teaching music composition and computer music at Hanyang University in Seoul, Korea.