ICMC BOSTON 2025
Online Listening Room
Curiosity, Play, Innovation - A 50th Anniversary Celebration of Creativity in Music, Science, and Technology
June 8-14, 2025

ICMC BOSTON 2025: Online Listening Room #2
ID#: 448
Arctic Circle (2011-2021) ; 42:06
by Jan Jacob Hofmann
Independent Artist
“Hrafntinnusker”: The name “Hrafntinnusker” (Raven-stone-scissor”) refers to a volcanically active region, more precisely, a mountain in Iceland. The elevation Hrafntinnusker is exceptionally rich in obsidian, a kind of glassy solidified lava. On the way to that area, the Laugavegur leads through an area in which the local mountains seemed to be able to perform the technique of grannular synthesis perfectly: grained rhyolite rock is superimposed in light and dark distribution patterns by apparently stochastic laws to create in regard to an artistic point of view an extraordinarily sophisticated designed landscape. “Námaskarð”: In the north of Iceland there is an active and ever-changing field of hot springs called “Námaskarð”. It is part of the Krafla volcanic system. The area is characterized by a variety of different thermal springs, boiling mud pools and mud pots, as well as fumaroles and solfatars. The area is also acoustically interesting, each mud pot has its own tone and rhythm, the air is filled with the hissing of escaping vapors. Around the fumaroles, minerals and salts crystallize into ordered patterns in iridescent colors. This composition was created with the gentle support of the Musikfonds Germany. “Ódáðahraun”: Ódáðahraun is a desert-like, flat and very extensive area of volcanic origin located roughly in the middle of Iceland. Water seeps into the ground immediately, which is covered with grainy lava sand, and vegetation is accordingly sparse. Scattered throughout are the rounded lava rocks from various volcanic eruptions. The name supposedly comes from the fact that “miscreants” who had been condemned to be outlaws fled to the lava desert and hid there because they could be killed by anyone as outlaws. This composition was created with the gentle support of the German Music Fund. “Skeiðarársandur”: Skeiðarársandur is end of Skeiðarárjökull, a glacier disbanding towards the Atlantic that is part of the huge Vatnajökull glacier. The ground where it is not criss-crossed by meandering paths of accumulating meltwater is mostly flat. The bottom consists of dark gravel and sand sediments of all grain sizes. Due to water currents, these have arranged themselves according to their own laws in terms of size and weight. In this way, sometimes complex and regularly ordered areas have arisen amidst the otherwise evenly randomly distributed deposits, a kind of land art based on physical laws. This composition was created with the gentle support of the Hessian Cultural Foundation. “Vatnajökull”: Vatnajökull (Islandic: Vatna= water, Jökull= glacier) is Iceland’s and Europe’s largest glacier. It currently has a volume of around 3300 cubic kilometres.
The piece takes the listener inside the glacier. Beginning with the stress cracks common to slow glacier movement, the glacier becomes progressively unstable. A dissolution process begins. This composition was created with the gentle support of the Musikfonds Germany.

Jan Jacob Hofmann
Jan Jacob Hofmann was born 1966 in Germany. Diploma, branch of architecture at the Fachhochschule Frankfurt am Main, University Of Applied Sciences in 1995, worked then at an office for architecture. Entered the class of Peter Cook and Enric Miralles at the Staedelschule Art School Frankfurt am Main in 1995, a postgraduate class of conceptual design and architecture. Diploma at the Staedelschule in 1997. Works as a composer, photographer and architect since. Sound and composition: Since 1986 dealing with sound- composition and electronic music. Starting with a Korg MS20 analog-modulae synth and a 4-track tape machine he created sound-environments for performances. In April 2000 he switched to computer and Csound and started his work and research on spatialisation of sound. First presentation of the “Sonic Architecture” -Project in 2nd order Ambisonics generated by self conceived Csound-code at the19th AES Conference for spatialisation of sound, sound engineering and recording in June 2001. Several international performances in America, Europe and Asia since. The research on Ambisonic and other spatialisation techniques continued in the following years: Development and publication of Csound based tools for spatialisation via higher order Ambisonic, a spatial reverb and several methods of simulating early reflections in space. Latest development are instruments for spatial granular synthesis via Ambisonic 7th order. Became associate researcher in summer 2005 at the „Signal Processing Applications Research Group“, University of Derby, England. 2006-2023 Member of the executive committee of the German Society of Electro acoustic Music, DEGEM. Awards: Nominated for the German Prize For Sonic Arts of the Museum for Sculpture “Glaskasten” of the City of Marl in April 2006. The work “Licht aus – Klang an!” has been awarded with the Gold-Award in the category “Spaces” by the Deutscher Designer Club in 2018.
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