Linux Audio Conference 2011
The Open Source Music and Sound Conference
May 6-8 2011, Maynooth, Ireland

Conference Programme - Clár na Comhdhála

Timetable Format: Plain List | List with Abstracts | Table | iCal | Printable Version

Concerts & Installations


Istn (installation, foyer of The Venue, SU, friday 21:30-23:30)
Michael Chinen

Concerto para Lanhouse (Music Technology Lab, all day, Fri -Sat -Sun)
Giuliano Obici, Flavio Schiavoni


There are two concerts - scheduled for Friday 19:30 and Saturday evening 20:00 - and a sound-night (Friday 21:30 - 23:30) at the LAC 2011. The concerts take place at the Aula Maxima, and the sound-night in the The Venue, Student Union. Entrace to all is gratis.

Day 1 - Friday 
19:30 Blue Water
 Massimo Fragala
This piece is an attempt to imagine life inside the water.‭ ‬Life inside the water is showed a surreal world full of reflected lights,‭ ‬strange codes,‭ ‬games of colours.‭ ‬Objects and people reflected in water,‭ ‬go into a new dimension where realize water is life,‭ ‬purity,‭ ‬vital energy,‭ ‬and also destructive nature force. All the sounds have been processed with Csound program.

Day 1 - Friday 
19:30 Superficies de Placer
 Luis Valdiva

Day 1 - Friday 
19:30 Aeolus Study
 Michael Gogins
The composition is both a self-similar or mensuration canon in which a copy of the motive is shrunk and stacked on top of each note of the motive, and so on for four layers (i.e., generated the same way as a Koch curve in fractal geometry), and also a regular canon, at the octave, of the self-similar canon. -- The composition was realized using‭ ‬the composer's Silencio system for algorithmic composition in Lua,‭ ‬which runs on Android smartphones as well as personal computer.

Day 1 - Friday 
19:30 Music for Flesh II
 Marco Donnarumma
Music for Flesh II is a solo piece for augmented muscles sounds,‭ ‬which aims at demonstrating an experimental coupling between theatrical gesture and biological sounds of human body. Composition was developed as a first milestone of the Xth Sense project,‭ ‬a broader ongoing research which investigates exploratory,‭ ‬open source applications of biophysical sound design for musical performance and responsive milieux. Presently Xth Sense technology consists of a low-cost,‭ ‬biosensing wearable device and a Pure Data-based framework for capture,‭ ‬analysis and real time processing of biological sounds. Performer’s voluntary muscles contractions produce kinetic energy,‭ ‬an acoustic sound which is captured by the biosensor and deployed as only sonic source.‭ ‬At the same time the biological signal undergoes a features extraction which provides several control parameters for the real time sound processing. Performer's body is not only a controller,‭ ‬but,‭ ‬more importantly,‭ ‬it becomes a truly real musical instrument‭; ‬performer is capable of actually crafting music exciting his muscles fibres.‭ Such paradigm attempts at informing classical gestural control of music‭; ‬during the concert both performer and listeners can perceive an authentic auditive and cognitive intimacy‭; ‬the neat and natural responsiveness of the system prompts a suggestive and unconventional sound-gestures coupling.

Day 1 - Friday 
19:30 Refract.ed
 Manuela Meier
The sound material of 'refract.ed' consists of audified and partly later signal processed seismometer recordings of the 2008 Sichuan Earthquake in China. Following 'underground sounds' - an electroacoustic piece also dealing with the audification of earthquake data - 'refract.ed' focuses even stronger on working with and listening to very specific sounds of an earthquake's process in order to further explore certain sonic textures. Therefore the entire piece is based on only one soundfile of a length of 20 seconds, in this case representing slightly less than half an hour of earthquake activity. The data for 'refract.ed' was provided via a real-time data server belonging to the GEOFON network of seismic stations and converted to audio data using programmes specifically developed for this purpose in the course of working on 'underground sounds'. Special thanks to Anna Saranti.

Day 1 - Friday 
19:30 Convergences
 Peiman Khosravi

Day 1 - Friday 
21:30 Little Soldier Joe
 Oyvind Brandtsegg, Carl Haakon Waadeland
Linux Sound Night

Day 1 - Friday 
21:30 Sublimation Revision/Transmittance
 Luka Princic // Nova DeViator
Linux Sound Night

Day 1 - Friday 
21:30 Notstandskomitee
 Malte Steiner
Linux Sound Night

Day 1 - Friday 
21:30 Improv Set
 Rory Walsh
Linux Sound Night

Day 1 - Friday 
21:30 The Infinite Repeat
 Jeremy Jongepier
Linux Sound Night

Day 1 - Friday 
21:30 Jazz Bending
 Krzysztof Gawlas
Linux Sound Night

Day 1 - Friday 
21:30 Improv
 Jesse Ronneau, Piaras Hoban
Linux Sound Night

Day 2 - Saturday 
20:00 Ambi-Schlagfluss
 Joachim Heintz
This piece is based on my imaginings of a fluid made of sound, nervous and excited. The elements of this fluid are small percussive sounds. The different branches of the fluid are performing different expressive movements and shapes. Sometimes they seem almost recognizable, but this remains uncertain because of their inherent restlessness. Sound spatialization is essential for the piece. The listener is inside of the sound and its different movements. I used ambisonic tools; I found them very suitable for my goals here. They were coded in Csound, based on the works at the ICST in Zurich (special thanks to Johannes Schuett). For controlling the sound fluid, I developed my own software instrument, with Lisp as programming language and Csound as audio engine.

Day 2 - Saturday 
20:00 Spherical Voices
 Krzysztof Gawlas
The musical material of the piece is formed of the opening chord from Chopin's nocturne in D flat major, which is the subject of transformations, mainly spectral shifting. The chord forms the sonority of the piece, and, contrary to Chopin, stays unresolved till the end. The harmonies begin with sharp attack of the piano and gradually transform into voices moving around. Several sound transformation techniques have been used - frequency shifting, granular synthesis, convolution, all realized with Supercollider.

Day 2 - Saturday 
20:00 Rrumpff tillff toooo?
 Hendrik Dingler
In the composition‭ ‬"Rrummpff tillff toooo‭ ?"‬ the composer used different speech fragments of the‭ "‬Sonate in Urlauten‭" ‬from the dadaist Kurt Schwitters and transformed these fragments by using different technics of digital sound synthesis as granular synthesis and phase vocoding.‭ ‬The software he used to construct his algorithmic framework for the transformation of speech fragments is the computer language‭ ‬scheme and the sound synthesis software‭ ‬CSound.

Day 2 - Saturday 
20:00 El Sonido Electrico
 Federico Barabino
"The daily electric sound,‎ ‏immersed in the atmosphere of the concert hall‭" ‬is a purely conceptual work.‭ ‬A need for a deep listening to the same sounds that surround the music to be heard.‭ ‬The title of the work is the concept of it.‭ ‬The work is completed only when reproduced,‭ ‬as it includes sounds that occur at the same time,‭ ‬making it always fresh and looking positively to the well known‭ "‬noises‭" ‬inside or outside the concert hall.‭ ‬Situations that are familiar as composers,‭ ‬sound scenarios that go far beyond a cell phone if it rings,‭ ‬someone sneezes or as a sweet or simple everyday electric sound of the place.‭ ‬Clearly suggest a new approach to the composer's more akin to the role of a free improvisations listens carefully before playing.

Day 2 - Saturday 
20:00 Circus
 Bjoern Lindig
This piece arose out of curiosity regarding the sound of a spinning
coin.‭ ‬The material consists of the directed,‭ ‬so to speak microscopic,‭
‬recordings of spinning objects on various smooth surfaces.‭ ‬The sounds of
timpani are used in contrast as a spacial component.‭ ‬Both the structure
of the movement and the sounds of the objects and the surface are
treated as themes,‭ ‬which are varied during the piece.‭ ‬The palette of
variations ranges from structural to sonical and implies variation of
speed,‭ ‬reverse playback,‭ ‬movement in space,‭ ‬gathering and separation of
parts,‭ ‬filtering,‭ ‬convolution and more.‭ ‬As the listener is encouraged to
try to follow the evolution of the different elements throughout the

Day 2 - Saturday 
20:00 Earth Songs
 Fernando Lopez-Lezscano
This is the first version of a series of pieces for processed sounds and computer that relate to creation, creatures and their meditation on existence. "Earth Songs", the first segment of a larger work, is a slow meditation on creation with a relentless metric structure that remains mostly unchanged through the piece. "Earth Songs" is rendered through analysis and resynthesis of voice and percussive sounds with particular inflections created through SuperCollider code, including data scanning functions driven by Gendy unit generators. The piece is played in real-time, with the performer executing pre-composed segments of SC code that represent utterances, phrases and rythmic structures and is spatialized around the audience using Ambisonics. -- In memory of Max Mathews, who lead the way in teaching computers how to sing.

The schedule is a major guideline. There is no guarantee events will take place at the announced timeslot.
Mar 28 2011, Victor Lazzarini, John Lato & Robin Gareus