Conference Schedule

The project is based on the TIN (chemical element) as a conceptual starting material and the analysis of the sound of "tin cry". TIN META-SONIFICATION SYNTH is a software written in SuperCollider based on two sonifications: the first is derived from the physical-chemical characteristics of the TIN, the second on the atomic number and atomic radius. The variation of pressure and temperature controls in real time the values of density, sound velocity, state of matter, boiling point and melting, which controls a first synth.
The atomic radius and atomic number are the basis of an additive synthesis complex, modulated in frequency, amplitude and phase. The generated sound is spatialized in ambisonics first order (ATK Ambisonic-Toolkit), according to the theory of atomic orbitals.
The composition/improvisation derivative, is a journey through the sonic dimensions of the TIN, it
creates a "bond" between the real sound of "tin cry" and an imaginary soundscape.

This is a version of the complete series of Kecapi I, II, III (2012-2013), that I recomposed for Gaudeamus Muziekdag (Gaudeamus Jonge Componistenbal) at Rasa theatre Utrecht 25 jan 2014.
Kecapi are series of electroacoustic composition that was begun since october 2012, and has been developed far into three different version, included complete series that has been finished in january 2014. The Sound Material of Kecapi is basically manipulated recorded sound of Kecapi Instrument that were recorded in Jogjakarta.
Each individual version of kecapi has difference approach, and concept.
Kecapi I was selected to be premiered on Sound Gallery During Wocmat 2012, Taiwan.
Kecapi II was selected to be world premier during WOCMAT 2013 Concert, also selected as Finalist of Taiwan International Electroacoustic Music Award.
Kecapi III was premiered on Behind The Score Concert at Codarts Rotterdam Conservatorium 2013.

The piece was written for Rei Nakamura, and her project Movement2Sound -Sound2Movement project. It was premiered during the IMATRONIK 2013 festival in the Piano+ Concerts. The piece uses an autonomous Pure Data patch that generates all the electroacoustic sounds. In was composed using the PSClib Pure Data library developed in UNQ-Argentina and many of the community based abstractions and external/libraries.

If we look at the human body closely, consider its visceral processes of self-regulation and perception, we soon realise that the body is an incomplete object. It is incomplete because it is constantly shifting between one state and the other, attempting as it does routinely, to keep itself intact and make a sense of the surrounding world. From this viewpoint, the human body is unfinished. Always adapting, changing, mutating and evolving. With this work, I wanted to create a musical performance that is, in the same way as the human body, incomplete, unfinished, emergent.
Music for Unfinished Body (Marco Donnarumma, in progress) is a physical performance of emergent music.The player wears two different types of biosensors, over 4 input channels. One pair of sensors capture the muscle acoustic energy using the Xth Sense1, and the register their electrical tension using custom hardware. A dedicated software extracts a set of feature from each of the channels. The features set is a computational model of the high-level characteristics of the player's movement, namely, tension, strength, complexity, and activation. Rather than mapping the set of features to sound control parameters, the feature set is fed to an unsupervised machine learning algorithm. The algorithm does not merely classify the performer's physical gesture, it rather continuously model the variations between one gesture and the other, learning in real time, one gesture after the other. The algorhitm evolves by looking for differences and emeregent behaviours of my muscle tissues. It looks at the unfinished movements and attempts to foresees what the performer will do next. Then, the algorithm creates gesture-to-sound mapping according to the recurrent patterns in the gesture variations, and use that information to modulate a music system based on iterative scanned wave synthesis. One sinewave at a time, the performer is able to build an increasingly complex sonic world which cannot be planned beforehand, but it rather emerges through the entanglement of physicality, effort, musical intention and computational modeling.

Decomposing sound into particles, sensitivity and masking effects in auditory perception, friction in bowed instruments are the themes getting intertwined in this composition and signed in the title: Haar, like Pferdehaar, Haarzelle, Alfréd Haar.
The sound actuation model is the bowed instrument's, yet it has been implemented through 50-70 cm long, thick, black human hairs gently rubbed against a moving magnet phono cartridge cantilever. The sonic characterization has been afterwards dramatically emphasized by means of a granular composition environment programmed in sclang. In this implementation, envelope, pitch, spatialization, indexing and further grain controls have been imposed by perceptual feature descriptors extracted by the very same sounds, with the result of an anamorphic and multidimensional micro-editing process.

sys_m1 is an eight-minute electroacoustic composition realized using systemic, a system I constructed for real-time composition, performance and sound spatialisation controlled via a physics-based visual environment. In systemic, physics-based algorithms govern the behaviour of objects in a visual system, and the movement of those visual objects controls the spatialisation, via vector-based amplitude panning, of corresponding sound objects over an 8-channel circular speaker configuration.
sys_m1 is composed from a number of recordings taken from systemic. The sonic material is a combination of pre-composed sound objects and real-time synthesized sound. By utilizing a physics-based visual system to control the spatialisation of sound, I am effectively removing decision-making from the spatialisation process.

Spaces explores the relation of two different sound objects in three different spaces. The inspiration to this piece stems from the mathematical theory of a "topological space", a structure that allows one to define notions such as connectedness, continuity, inside, outside, openness and closedness. The composition develops a path from the pure abstract space through the inside of an acoustically closed room into an outside scenery.
The composition is written completely in SuperCollider and runs on any up to date computer. It features aleatoric elements, so each performance differs in a subtle way from the other. The overall structure is fixed.

An international online orchestra developed by APO33 whose goal is to create a place for networked performance.
"Great International Audio Streaming Orchestra" uses a bidirectional multiplex platform to perform and mix different audio sources via streaming. Over the time of the performance, streams (web-transmission) are re-made in the local space using a system based on mixing multiple audio-streams through a spatial diffusion. GIASO creates a distributed orchestra, where musicians and composers can become virtual entities that emerge from a global community of nodes -- audio explorers and performers' networks.

Two players give a concert in a competitive manner. They put and rearrange colored shapes and symbols on an advertising column that slowly rotates. The surface of the column is scanned, and a computer program renders the shapes and symbols into sound, as they move under a virtual playhead cursor that is projected onto the column.
Since the players compete in uncoordinated fashion rather than cooperate, the overall picture grows wildly. Both players are struggling to dominate the system by putting as much information as possible onto the column. As their competition finally results in big chaos, the overall informational content approaches zero, resulting in random noise.

Vowelscape 1.0 is a collaborative audiovisual performance by Bruno Ruviaro (Santa Clara University) and Carr Wilkerson (CCRMA/Stanford). Strangled robotic voices and flickering letters are some of the building blocks of this study on the poetic resonances of isolated vowels.

We are two musicians based in Ljubjana working in different projects that involve free software. We recently decided to form a duet; Mauricio Valdés is a professional composer and Jure Pohleven is a PhD biochemist. We are working with free software in order to perform live improvised music. We are starting our project by playing and getting to know more what are the musical ideas of both of us. This is one of the musical outputs we are working on besides some draft ideas about how to join our ideas and link them (biochemistry and music). At the moment we are drawing lines to spread more into the scene of free software with Linux and this conference seems like the right place to go.

Panela de Pressão is an improvisation over the network with Bruno Ruviaro and Juan-Pablo Caceres. Juan-Pablo will be playing live from Santiago, Chile. The two musicians started playing together in 2004 when they first met in the United States. After a long hiatus, the duo finally resumed playing last year, now mostly through network performances using JackTrip. "Panela de pressão" means "pressure cooker" in Portuguese.

The project is a live, audiovisual, beat-and-noise-based performance work. The intention is to create a symbiotic system, in which live decision making by the performer impacts on both the audio and visual components of the work but also in which both the audio and visual components can interact with one another, causing behaviours that are not directly controlled by the system performer. There is also an element of chaotic behaviour built into the system, causing unpredictable audio and visual outcomes.

Audiovisual electroacoustic concert by Malte Steiner's project Elektronengehirn.
The input of piezo contact mics are taken and analyzed with Pure Data on Linux laptop controlling sound and graphics. The usage is between percussion trigger and pick up, sometimes the piezo sound is used directly, in other parts only as controldata for synthesis.

The piece works with Physical Modellings und was finished in January 2014. Xaev1uox was made with SuperCollider on Fedora.

Out of the Fridge was composed as a ballet-insertion for a new staging of Christoph-Willibald Gluck's opera „Il Parnaso Confuso", which was premiered in the Schönbrunner Schlosstheater in Vienna in 2011.
Alienated sounds from a refridgerator, like the fridge-buzzing, shaking ice cubes or the clicking noise inside the freezer are mainly the source material for the piece. (In the ballet, the refrigerator was an important part of the scenery). All sound processing was realised with the language Csound.
The first part of the work is about constructing and deconstructing, with a clear harmonic structure and some rhythmic elements. The second part dissolves the harmonic structure, it has more confusion and a processed collocation of the material.

Divertimento de Cocina ("Kitchen Divertimento" in English) stages several "kitchen scenes", with sounds and rhythms layered, controlled and triggered by a live performer. Kitchen utensils are mixed, transformed and orchestrated in real-time through a LaunchPad controller and a custom set of SuperCollider classes and programs. What are initially extremely simple rhythms get progressively more complicated as they are layered together in increasingly thicker textures in the initial section of the piece. While the performer walks you through different soundscapes, the initial rhythms form the backbone and guide for the rest of the piece. The SuperCollider program also spatializes all sounds under the control of the performer in a 3D soundscape that can be diffused through an arbitrary number of speakers (the original soundstream is internally generated in Ambisonics, with at least 3rd order periphonic resolution).

"rooms without walls" has been composed 2012 for an array of loudspeakers of 4 x 4 speakers build at the Platz der Weltausstellung (Expo 2000) in Hannover, Germany.
The arrangement of the 16 speakers / light steles in her sculptural appearance in Hanover is strictly geometric. In an abstract way it reminds to geometric spatial divisions in baroque gardens as today still can be found in the Royal Gardens in Hannover.
In the composition "rooms without walls" each four corners of a square define 14 square and overlapping areas of different size and position. In the great square, which forms the entire system, hence 4 medium and 9 small squares are included. These 14 rooms are implemented in a special acoustic method (Ambisonic) as sound "rooms" so that it is possible to place different sounds in each room and to move them in circular orbits simultaneously.
The purely electronically generated sound material (Csound) on which this composition is based upon has been designed in terms of its spectro-morphological development and its structure contrasting with the existing sound of the public space. The relationship of sound events with each other is as well contrasting and similar by varying development. 3rd-order ambisonic spatialization was done with Csound.
Due to the very unique setting of 4 x 4 loudspeakers at the city of Hannover, an 8-channel concert-version of the piece is played.

A thin light behind the fog for electronic sounds.

Free improvisation with Bernardo Barros (electronics, SuperCollider on Linux), Mário del Nunzio (electric guitar) and guests.

ENTROPIE is a noise and projection performance by Wolfgang Spahn.
Both, sound and projection are based on different analogue and digital machines developed by the artist. Each system generates simultaneously structured noise as well as abstract light pattern.
The invention of moving pictures went along with an artificial separation of sound and visuals. ENTROPIE merge them again. It makes the data stream of a digital projector hearable and gives an audio-visual presentation of the electromagnetic-fields of coils and motors.

This performance of improvised programming generates algorave, danceable percussive music emphasizing generative rhythms. The rapidly changing algorithmic bass music is intended to stimulate dancing.
Using a custom live coding system called Conductive with the Vim text editor and GHCi, the Haskell language interpreter, Bell manages multiple concurrent processes to trigger a SuperCollider-based software sampler loaded with thousands of audio samples. At least two methods of rhythm pattern generation will be used: stochastic methods and L-systems. Patterns from both are then processed to generate variations with higher and lower density, which are then chosen at will during the performance. The performance also involves programming to control other parameters. The programming activity is projected for the audience to see. That output has been refined for greater clarity for the programmer and audience about the operations being performed. The performance is 100 percent Linux!

A song composed by two people, recorded, edited, mixed, and mastered in Linux with Harrison Mixbus at Art City Sound in Springville, UT

A new remake of an old piece I recorded originally in 1997. Now produced with a new DAW and VST plug-ins. Melodic, and danceable music. The piece combines sentences and patterns from dance and house music together with a melodic, synthetic choir and orchestral phrases.

Unsound Scientist Selected Works, is a collection of pieces composed mostly during 2013. Consisting of about 10 songs. It represents the learning process of using Linux tools for music production and compositional exploration in general. All works were made entirely on with Linux software, mainly LMMS and Ardour along with ZynaddsubFX, AMsynth, Hydrogen, TAL noisemaker, Qtractor, Phasex, Synthv1 and other tools packaged with the KXstudio distribution. Live instrumentation along with software and hardware synthesizers were used as well.

Self-luminous 2 is a little bit different from first one because the way of controlling became more easy to take it in the show. I added an electronic compass to my instrument, so when I move it to different direction, some accidental sound (ex: some sound suddenly disappeared or the other sounds cover it...) will come from speakers. Sometime, it's "dangerous". However, some of my performance is impromptu. When I play it, it will be interesting that performance is intervened violently from the "self".
My instrument was built by Pure Data and Arduino.

Superdirt² - fascinating electro beats mixed in with virtuous performed cello sounds which give a result of a never achieved before dance ability! With Ras Tilo at the synthesizers and Käpt'n Dirt with the cello it provides a musical experience which is situated between drum'n'bass, jungle, dub, dubstep and even far beyond...

A musician with over 20 years of experience and a computer with Linux. That's what it boils down to. The result: conventional, decent song-writing, with an eclectic tinge because of the choice to not walk the threaded paths coupled with an auto-didactic background, an outspoken personal taste and an open-minded world-view.

The system mainly deals with machine-listening, complex audio/control signal routing, high level data mapping, and various wave shaping techniques using computer. Instead of aligning and layering musical "events" on linear fashion or repetition process (Reich), or based on arbitrary random process (Cage), Jae Ho Youn is working on "cause and effect" mechanism to implement on compositional practice. He is especially inspired by Buddhist notion of causality (pratityasamutpada): everything arises in dependence upon multiple causes and conditions; nothing exists as a singular, independent entity.
Such system, at least the first version has been developed using computer programming & DSP technique, allowing Jae Ho Youn to write various "units" that generates events depending on its parameters actively communicating with other units. Everything modifies everything in such environment, and as the complexity grows, the result would be highly unpredictable.
He's expecting to develop the whole environment further enough that it becomes "self-sustainable".
"Against All That Was" is the title of the event, given by the composer himself, trying to reject everything, including and especially his own past compositional practice, which was based on aesthetic/stylistic decisions, worked in a way of "making parts then assemble them"...

One man, 160 oscillators. An improvised live performance with a realtime synthesizer controlled by singing and beat-boxing, the subject of the workshop on May/1 14:45 in the Workshop-space.

Live performances based around monome hardware using renoise and ardour.

turbosampler is audio-video synchronized mashup. hard sound, freeze, matematik, stolen loops, freestyle, improvisation, realtime min generated compositions. hevy noiz / sweet disco

indusium is a work-in-progress; an audiovisual exploration of additive compositional process. Groups of material are added to and extended by step, the visuals reflecting the changing timbral colours caused through unexpected crossovers in pitch and rhythm.

Lighterature Reading: Chapter 12 is an ambient audio/visual luminoacoustic installation. Chapter 12 consists of nine solar panels that convert lights and video projection into sound images.
Composition is seventeen minutes long and is repeated in a loop. Duration was chosen as the ideal length of one side of vinyl LP record, twelve inch.
Beside the basic composition, which is fully programmed by authors, it also includes the audience intervention with different types of hand lamps, which they can choose at the entrance. Each visitor who wishes to intervene in the work can also enter personal email address on the computer near the entrance to get a snapshot of composition with his intervention as an audio recording via email. Duration of snapshot is three minutes, which is ideal duration of one side vinyl single, seven inch.

The Chimaera is a touch-less, expressive, polyphonic and electronic music controller based on magnetic field sensing. An array of linear hall-effect sensors and their vicinity make up a continuous two dimensional interaction space. The sensors are excited with Neodymium magnets worn on fingers. The device continuously tracks position and vicinity of multiple present magnets along the sensor array to produce event signals accordingly. It is a kind of mixed analog/digital offspring of the theremin and trautonium. These general-purpose event signals are transmitted via Open Sound Control to a Linux host running SuperCollider, translated into musical events and rendered to audio according to ever morphing mappings in respondence to the visitors input dynamics.
Visitors are not only free to interact with the instrument, they are also encouraged to hook up their own notebooks as NetJack2 slaves to intercept and process the original audio/MIDI/OSC data streams.

One at a time, a visitor kneels down on a pedestal embedded with a computer, the visitor's head is resting on a pedestal. The computer is filled with digital viruses gathered from the net. The viruses are transduced into infrasounds and low frequencies oscillations that mechanically resonate the visitor's bones and skull by means of high-power skeletal resonance. While the viruses are spread inside the visitor's body, the unique nature of the raw data they are composed of alters the rhythm of the body internal organs.
"Septic" was commissioned by Transmediale / Art Hack Day for the recent 2014 exhibition at the Haus der Kulturen der Welt, Berlin.