Music and Installation Programme
The Sound and Music Computing Conference 2023
At The Royal College of Music and
The KTH Royal Institute of Technology
in Stockholm, Sweden
Last revision: June 16, 2023.

Concerts
Thursday, June 15

17:30 Lilla Salen, KMH
Matters 5 (12’46”) – Daniel Mayer
Stoppages Vol. 1 (11’14”) – Hunter Brown
Windmills of Lapua (6’56”) – Nikki ShethEPL (7’00”) – Mattias Hållsten
In Summer Rain (9’14”) – John Gibson
21:00 R1 Reactor Hall, KTH
Orchid Music: Florida Orchid DNA Synthesizer and Sequencer Performance (15’00”) – Juraj Kojs
licebyc~ (10’00”) – Giovanni Onorato
Dancing Dots (15’00”) – Olof Misgeld
Fail More (12’00”) – Mike Mulshine
Chopper (8’00”) – Chris Chafe
New Rachel Pull (12’00”) – sun til threads

Friday, June 16

12:00 Nathan Milstein, KMH
Community Dialogue (15’00”) – Barbara Nerness and Takako Fujioka
Der hohle Zahn (4’44”) – Nicola Fumo Frattegiani
Elevator Pitch (13”00”) – Fabio Cifariello Ciardi
15:30 Lilla Salen, KMH
Glitch Mass (11’52”) – Davide Vannuccini
La Mer Emeraude (11’30”) – João Oliveira
17:30 Lilla Salen, KMH
Morphogenesis (8’16”) – Enrico Dorigatti
You are the Flower (20’00”) – Lise-Lott Norelius
Backlash (10’00”) – Tommaso Settini and Mattia Parisse
Catástrofes (2023) (11’19”) – Danilo Rossetti

2Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Saturday, June 17

12:00 Nathan Milstein, KMH
A Dialogue, In Linear A (9’17”) – Andrew Watts and Davor Vincze
Pagoda (6’17”) – Chi Wang
Post-Music #33:2.2 (15’15”) – Constantin Basica
15:30 Lilla Salen, KMH
Self-built Instrument (10’00”) – Jiyun Park
The Eighth Island (9’09”) – Lidia ZielińskaSTATUS I (8’35”) – Alessandro Fiordelmondo
16:00 Kungasalen, KMH Music As Script (8’00”) – Johan Fröst, Claudio Pannariell

Installations
All You Need Is Lunch – Kerry Hagan and Miller Puckette
June 16, 12:00, Kungsalen.
Elephant Ears on the Brain – Sophia Alexandersson, Nigel Osborne,
Patricia Alessandrini, Barbara Nerness and Michael Mulshine
June 15, 17:00, KMH foyer.
Tropós – Daniele Pozzi
June 15-17, all day, The Yard.
Die Zusammensetzung der Welt – Christian Dimpkaer
June 16-17, Blackbox.
The installation is open at:• 10:15-11:00• 13:15-14:00• 16:30-17:30

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Concomitant Variations – Ted Apel
June 15-17, KMH Atrium (see map below).
Spatial Entanglements – A Relational Musical Instrument – Florian Goeschke
June 16-17, Lilla Salen-Nathan Milstein Foyer.
The installation is showed primarily before and after the concerts in Lilla Salen.

Off SMC
sys|calls – Jaime Reyes and the re|thread collective
June 15, 17, 18 in the Turbine Hall, KTH.

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Venues

VenuesInstallations

A Kungasalen

1 Ted ApelB Nathan Milstein

2 Christian Dimpker

C Lilla Salen

3 Florian Goeschke

D Svarta lådan

4 Daniele Pozzi

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Concomitant Variations

June 15-17
Atrium, KMH
9:30-17:00

Ted Apel

Concomitant Variations is a sound installation in which vellum paper tubes are used as chambers to impart strong resonances on sounds produced by feedback circuits in each tube. Eachcircuit delays sounds that derive from a combination of sounds present in the environment.
These sounds include the people and ambient sounds of the space, the sounds produced by
the other tubes, and the resonated sounds of the tube itself. The resultant sounds are forever
evolving in variations derived from interlacing interactions of prior sounds.
In this installation the physical materials of the work are highlighted by the specific resonant sounds produced. This is different from the traditional use of a loudspeaker as an inconspicuous sound reproducer. This connection between the visual and audible material allow us
to understand that the combined sounds heard from the work are an emergent property of thetubes, that is, each tubes sound is dependent on the contributions of the others.
Ted Apel is a sound artist whose sculptures and installations focus on the audio transducing element as
the source of visual and sonic material. He has exhibited his work at sound art festivals and exhibits
including the SoundCulture festival in San Francisco;
the Ussachevsky Festival in Claremont, California; theAudio Art Festival in Krakow, Poland; the Sound Symposium in St. John’s Newfoundland; the O.K. Center for Contemporary Art in Linz, Austria; and theAcademy of Arts, Berlin.
He was twice a prizewinner at the Bourges International Electroacoustic Music Competition
for his sound installations; his sound installation received an honorary mention at the Prix Ars
Electronica 2001; his sound installation won the grand prize in the 2004 Idaho Triennial; andhe won the first annual FETA prize for sound art in 2013.
Ted Apel received his M.A. in electroacoustic music at Dartmouth College studying with
Jon Appleton, Larry Polansky, Kathryn Alexander, and Christian Wolff. He received his Ph.D.
in computer music at the University of California, San Diego studying with Miller Puckette,
Shlomo Dubnov, Haim Steinbach, George Lewis, Charles Curtis, and F. Richard Moore. He
has been a Lecturer in Sonic Arts and Electronic Music at The University of Wellington in New
Zealand. He is a Clinical Associate Professor in the Games, Interactive Media, and Mobile Technology (GIMM) program at Boise State University.
> vud.org

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

7Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Post-Music #33:2.2

Friday, June 16
Nathan Milstein, KMH

Constantin Basica

12:00—12:45/In a post-apocalyptic world, a man scavenges for sound-making objects to soothe his child. /This piece is a shortened version of ’Post-Music #33’, originally commissioned and premiered by BRD Scene9 Residency, Bucharest (RO) in March 2021. It is however a reworked,
stand-alone piece, and can be played back as such without reference to the longer version.
Constantin Basica is a Romanian composer livingin the San Francisco Bay Area, whose current work
focuses on symbiotic interrelations between music,
video, and performers. His portfolio includes pieces
for solo instruments, chamber ensembles, orchestra, electronics, and video. His works have been performed in Europe, North America, and Asia by artists
and ensembles such as Ensemble Dal Niente, Ensemble Liminar, ELISION Ensemble, Distractfold, Mocrep,
JACK Quartet, Spektral Quartet, RAGE Thormbones,
line upon line, Retro Disco, Fresh Squeezed Opera,
Séverine Ballon, and Tony Arnold. Among the festivals and conferences that have featured his works are the MATA Festival (NY), Currents New
Media Festival (NM), the International Week of New Music (RO), InnerSound New Arts Festival (RO), the International Festival for Video Art and Visual Music (MX), Aveiro Síntese Biennale for Electroacoustic Music (PT), the 2017 and 2018 International Computer Music Conference (CN and KR) and the 2016 Sound and Music Computing Conference (DE). He received the
ICMA Award for Best Submission from Europe at the 42nd ICMC in Shanghai (CN). Constantin
earned a DMA in Composition at Stanford University under the guidance of Jaroslaw Kapuscinski, Brian Ferneyhough, Mark Applebaum, and Erik Ulman. He holds an MA degree from theHamburg University of Music and Drama (DE), as well as two BA degrees in Composition andConducting from the National University of Music Bucharest (RO). Currently, Constantin is a
postdoctoral scholar, lecturer, and the concert coordinator at Stanford’s Center for Computer
Research in Music and Acoustics (CCRMA).
> www.constantinbasica.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Stoppages Vol. 1

Thursday, June 15
Lilla Salen, KMH
17:30—18:30

Hunter Brown

Stoppages Vol. 1 is a collection of unedited recordings synthesized by a digital feedback circuit that exposes the material limitations of a computer’s CPU. Every piece of data generated,
stored, or received by a computer is physically represented as an electrical charge within apiece of silicon. Like any other physical material, silicon has a finite amount of change it canhandle at a given moment. This digital circuit asks a silicon constructed microprocessor to
output an audio signal of a size and intensity that this CPU cannot physically reproduce. Inturn, the CPU reaches a physical limit, a stoppage. This stoppage allows the computer’s sonicidentity to emerge, a state of hysteresis where fractures and discontinuities are amplified andbrought to the ear’s attention as a result of the CPU’s physical inability to reproduce this audio
data. This music exposes the material collapse of a silicon microprocessor pushed to its limit.
The duration of each track is the length of time the code ran before crashing.
Hunter Brown is a composer, improviser, and audio engineer based in Chicago, Illinois. His
practice is focused on creating unpredictable, idiosyncratic, and unruly interactions with digital technology. In particular, he is interested in exploring the unstable material properties ofdigital systems though technological mediated listening and by pushing the physical mechanisms of digital technology to the threshold of failure.
Hunter’s work has been presented internationally at festivals, conferences, and universities
such as: Big Ears Festival, Ear Taxi Festival, High Desert Soundings, Conference on AI Music
Creativity, Line Upon Line Composer Festival, University of Huddersfield’s FluCoMa Plenary,
New Interfaces for Musical Expression, International Workshop on Multilayer Music Representation and Processing, International Computer Music Conference, Society for Electro-Acoustic
Music in the United States National Conference, IRCAM Manifeste, and more.
In Chicago, Hunter is a freelance audio engineer who focuses primarily on recording andmixing contemporary classical music, jazz, improvised music, and electroacoustic music. He
also serves as the technical director for Ensemble Dal Niente and runs the computer music
focused record label Party Perfect!!! alongside collaborator Dominic Coles. Currently he is a
Visiting Assistant Professor of Computer Music at the Oberlin Conservatory of Music and a PhD
Student at the University of Chicago.
> www.hunterbrownsound.com

9Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Thursday, June 17

Chopper

R1 Reactorhall, KTH
22:30

Chris Chafe

Chopper (2009 / 2018 / 2023) is back in a trio setting featuring Henrik Frisk on tenor sax. Accompanists are Marise van Zyl (computer detonator) and Chris Chafe (celletto beaming in from
California). The approximately 12-minute performance utilizes the R1 Hall’s lovingly restored
Wurlitzer Theater Organ. It is connected to real-time nuclear fission simulation software. Detonations and changing experimental conditions are in Marise’s hands. Actual experiments in
R1 were used to verify early fission models running on 1960’s mainframe computers. Their
modern counterpart is a visualization by Alex Wellerstein. The Mighty Wurlitzer was reconstructed to fit in an organ chamber reminiscent of the shape and size of the original reactor
core. The reaction time theme of Chopper has the central soloist triggering sounds from theother players who respond as fast as possible despite network and other delays.1

Chris Chafe is a composer, improvisor, and cellist,
developing much of his music alongside computerbased research. He is Director of Stanford University’s Center for Computer Research in Music andAcoustics (CCRMA). In 2019, he was International Visiting Research Scholar at the Peter Wall Institute forAdvanced Studies The University of British Columbia,
Visiting Professor at the Politecnico di Torino, andEdgard- Varèse Guest Professor at the Technical University of Berlin. At IRCAM (Paris) and The Banff
Centre (Alberta), he has pursued methods for digitalsynthesis, music performance and real-time internet
collaboration. CCRMA’s jacktrip project involves live
concertizing with musicians the world over.
Online collaboration software and research into
latency factors continue to evolve.

An active per-former either on the net or physically present, hismusic reaches audiences in sometimes novel venues.
An early network project was a simultaneous five1

See L. Handberg, L. Elblaus, C. Chafe, “Op 1254: Music for Neutrons, Networks and Solenoids using a Restored

Organ in a Nuclear Reactor” Twelfth International Conference on Tangible, Embedded and Embodied Interactions, Stockholm, 2018, and E. Johansson, E. Lampa, N. G. Sjöstrand ”A Fast Chopper and Its Use in the Measurement of Neutron
Spectra” Arkiv för Fysik 18(36), Stockholm, 1960.

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

country concert was hosted at the United Nations in 2009. Chafe’s works include gallery andmuseum music installations which are now into their third decade with “musifications” resulting from collaborations with artists, scientists and MD’s. Recent work includes the Earth Symphony projects, Brain Stethoscope projects, PolarTide for the 2013 Venice Biennale, Tomato
Quintet for the transLife:media Festival at the National Art Museum of China and Sun Shot
played by the horns of large ships in the port of St. Johns, Newfoundland.
> chrischafe.net

11Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Friday, June 16

Elevator Pitch

Nathan Milstein, KMH

Fabio Cifariello Ciardi

12:00—12:45

An elevator opens on three wars of our present. The voices are those of a bunch of very young
witnesses. Who cries out their plight? Who is listening to their ”elevator pitches”? ”Elevator Pitch” uses methods applied in auditory phonetics to analyse and increase the emotional
content of speech in traumatised young boys and girls coming from three war torn countries:
Nagorno-Karabakh, Ukraine and Syria. The clarinet ideally moves along the designed soundscape as an empathetic companion of wounded souls.
Fabio Cifariello Ciardi (1960) is a composer interested in using sound and technology to minereal-world phenomena. Since 2006 he has been interested in the instrumental transcriptionof speech. He studied with Tristan Murail, Philippe Manoury (IRCAM), Franco Donatoni (Accademia S.Cecilia). His compositions have been awarded at competitions such as L. Russolo
1992, ICMC 1993 CD-selection, IMEB-Bourges 1998, Valentino Bucchi 1999, AITS “Best soundin Italian motion pictures 2011” (Rome, Italy), and commissioned by Venice Biennale, Orchestra Haydn di Trento e Bolzano, Divertimento Ensemble - Ernst von Siemens Music Foundation,
Instituts für Neue Musik Friburg, Singapore University, Stockholm Electronic Music Studio,
IMEB Bourges. In 2006 Arte.tv has produced the Piroschka Dossi’s and Nico Weber’s documentary about Cifariello Ciardi’s sonifications of stock market data. He has developed software algorithms for dissonance calculation, sound spatialization, financial data sonification,
speech instrumental transcription, and several computer-aided composition tools.
In 2021, his paper Strategies and tools for the sonification of prosodic data: a composer’s
perspective has won the Best Paper Award at the 26th International Conference on Auditory
Display. Cifariello Ciardi is a tenured professor of Composition at Trento Conservatory and heis one of the founding members of Edison Studio.
In 2023 he will work on Circus Audienti, a one-day long performance commissioned by Festival Aperto for a large ensemble distributed into the urban area of Reggio Emilia (Italy).
> www.fabiocifariellociardi.com

Roberta Gottardi’s interests range from late baroque music, performed on historical instruments, to the music of today, which she performs both as a soloist and in ensembles. A leading performer in Karlheinz Stockhausen’s musical theatre work Harlekin, conceived for a solo
clarinetist-dancer-mime, and winner of first prize in the competition organised by the Stockhausen Foundation, she also collaborates with other composers (including Sciarrino, Battistelli, Fedele, Cifariello Ciardi), whose pieces she has premiered and which have been dedicated12Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

to her. As a soloist and in various ensembles she has performed in some of the most importantmusic seasons and festivals in Europe, from the Maggio Musicale Fiorentino to the Muenchener
Biennale, from the Bologna Festival to the Venice Biennale and the Gaudeamus Muziekweek in
Amsterdam, from the Warsaw Autumn to the MusikTriennale in Cologne and the Holland Festival. In 2017, he played the part of the mime in Karlheinz Stockhausen’s INORI in the opening
concert of the Venice Biennale.
A former member of Algoritmo and now of Ensemble Prometeo, he is a clarinet professor
at the Bolzano Conservatory.
> www.robertagottardi.it

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Die Zusammensetzung der Welt
Christian Dimpker

June 16--17
Blackbox, KMH
10:15, 13:15 and 16:30

The light quartet Die Zusammensetzung der Welt penetrates into the depths of our existence– which is a realm of incredible beauty. And be aware: the further you dig, the more of thatbeauty reveals itself. The work explores this depth by means of prepared light microscopes,
which uncover samples of various inorganic and organic substances and send their discoveries
to TVs and projectors, while the viewers themselves become a screen and immerse themselvesin the work. The sound increasingly delves into the background, but at the same time also into
the substance of the world. The listener sinks into the depths of the ocean, climbs up to theheights of winds, listens to animated soil and burns in a roaring fire. In addition, the actionsof the players are inspected by means of contact microphones. However, the focus is on thevisual level, which – like all sounds – completely ascends from the art of the notation and thus
can be perceived in two ways. During the performance, however, the players do not work withthe score. They receive their instructions from the conductors and the light tubes underneaththe table, which emit polarised as well as unpolarised light of various kinds and enables themto access the samples in always different manners.
Christian Dimpker is a composer and art theorist withacademic studies in Philosophy, History and Sound
Studies as well as a doctoral dissertation in Musicology / Composition. Dimpker’s compositions explore
unconventional fields of notation. This is enabled
by an extensive notation system for extended playing
techniques and electroacoustic music. This treatisewith the title Extended notation: The depiction of theunconventional has been released by the LIT Verlag
publishers. Currently, Dimpker further extends thisresearch to the fields of visual arts, theatre and movement. The monograph Kinetic notations for the visualand performing arts forms the basis of this work (release date tba. Scores are published by Universal Edition Vienna. Residencies inter alia at Cité des Arts Paris, EMS Stockholm, Asia Culture Center, Tokyo Arts and Space, Kuenstlerdorf Schoeppingen. Grants by the Berlin senate, German
government, E.ON foundation, Lotto foundation, German Artist Fund, Musikfonds, GEMA. Performances in Germany, Japan, Spain, Portugal, Romania, Serbia, the USA, Australia and South
Korea (International Contemporary Ensemble / Contemporary Insights / Elision Ensemble /Ensemble 2e2m / Ensemble Resonanz). Scores are distributed by the Universal Edition. En-

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

graving works include Helmut Lachenmann’s Schreiben for Breitkopf and Härtel and teachingassignments have been held in the UK, Germany, Hong Kong and Sweden.
> christiandimpker.de

Sayaka Nojiri started to play the marimba from 4
years old and performed in other country, such as
Japan, Austria, France and U.S. She studied at theMusashino Academia Musicae and Diploma course
and wined the scholarship. After graduating, she received Grand Prix and Iwaki prize in Japan Percussion New Artist Competition 2007, Matsukata Music first prize in percussion 2008, Contemporary Music Competition selection prize 2008 and more. She
picked up on TV and any other media. Sayaka Nojiri performed solo and ensemble at many concerts
and festivals, and continue the recital from 2007.
Her ground is so wide and she has energetically
performed classical, contemporary, introduced newcompositions, and also her original compositions andarrangements. Her collaborations had been with live
painting art, Museum, Temples, Illustration, Books, Planetarium and etc. In 2019, She wasinvitated the concerts in Germany. She is supported by KOROGI(Marimba), REMO(World Percussion) and ProtectionRackets(Case). And she thinks it is important that the concert as wellas the outreach activity in schools or any other place. She produces some project “Smile Music” and ”Next Music” and various creative concerts. She’s also involved in Outreache & Concert Project by Japan Foundation for Regional Art-Activities and Universal Project for kids by
Agency for Cultural Affairs. Sayaka Nojiri has also released 4 CDs at fontec record. 1st CD ”My
Percussion World” and 3rd CD”Luna~Crossover Vibraphone” is received the Great recording
prize. 2nd CD ”Marimba Classics” is the first prize of 2011 at the stereo magazine. 4th CD”Marimba Smile” is recommended by many music magazines and shops.
> www.sayakanojiri.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Morphogenesis

Friday, June 16
Lilla Salen, KMH

Enrico Dorigatti

17:30—18:30

Morphogenesis is an acousmatic composition named after the homonymous biological process through which a complex living organism takes its shape thanks to the cooperative workof a number of simpler entities. By taking inspiration from this process, this composition aims
to highlight the importance of the small elementary sounds shaping its grand structure while
not forgetting the fundamental role played by the latter. It aims, therefore, to present different levels of magnifying at once, from the micro to the macro and encompassing everything
in-between. At the ground of the composition, there are field-recorded everyday sounds, successively manipulated through iterative processes and mostly making use of simple sounddesign techniques. Overall, this whole workflow, from choosing to work with usually overlooked sounds to employing unsophisticated processes, reflects, once again, the concept underpinning Morphogenesis—the importance given to the micro level whilst building a macro
structure—and the ecological reflections from that originated.
Enrico Dorigatti is an experimental sound artist andcreative technologist. He is especially interested in
the interaction between audio and visuals, generative systems, and shared agency between humans andmachines in the artistic creation process.
As a PhD candidate at the University of Portsmouth(UK), he is currently conducting a research project
revolving around repurposing sounds and objects
in the context of sound art to foster reflection,
through the artistic experience, on environmental and social issues related to the tech industry.
> www.enricodorigatti.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Thursday, June 15

STATUS I

Lilla Salen, KMH

Alessandro Fiordelmondo

17:30—18:30

The work is a study on spatialisation techniques and consists of nine stereophonic tracks andfifteen statuses. The horizontal structure is given by the succession of statuses representing
different perspectives of a sound sculpture (never presented in its entirety). Like a successionof images that, through different perspectives, show a set of details of a marble sculpture. Similarly, the statuses consist of a vertical layering of sound elements (one per track) frozen in timeand determining the sound sculpture from certain listening points. The performer’s function
is to experience each sound status through diffusion and spatialisation in space (spatialisation as a form of augmented listening). The performer must choose the spatial interpretationof each status, the spatialisation strategy to be applied and the sound system in which to perform the piece.
Alessandro Fiordelmondo is a PhD researcher student in the field of New Media Art and Computer Music. He deals with the composition and performanceof electronic music, often in connection with othermedia, such as video and the Internet. He studied at
the Conservatory of Padua where he received his master’s degree with honours in Electronic Music Composition. Among others, he studied with Nicola Bernardini, Alvise Vidolin and Alberto Novello. Since 2019,he has been involved in audio/video performance andproduction, reactivation of multimedia installations
and multimedia software development at CSC (Centro
di Sonologia Computazionale), the sound and music computing laboratory of the University of
Padua, and Audio Innova, a spinoff of the same University. He is currently attending an interdisciplinary PhD research project with the University of Udine, where he is working on thereactivation and preservation of new art forms.
> alessandrofiordelmondo92@gmail.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Der hohle Zahn

Friday, June 16
Nathan Milstein, KMH

Nicola Fumo Frattegiani

12:00—12:45

Der hohle Zahn is inspired by Wings of Desire by Wim Wenders filmed in 1987. Der hohle Zahn
is how Berliners nicknamed Kaiser-Wilhelm-Gedächtniskirche church after it was bombed in1943. It’s from the ruins of the bell tower, the hollow tooth, that Damiel the angel observes
the movement of human life. The chaotic and magmatic flux of the souls corrupted by theirown carnality. The entire composition presents exclusively acoustic materials of flugelhorn.
The natural sound of the instrument symbolises the vitality and conflictual nature of the men
while manipulated sounds represent the gaze of the angel which stares back at humanity, at
the wideness of its vision. A few instrumental gestures, just like the few and essential reasonsof the insatiable crisis of the man, and his recurrent mal de vivre. The incipit and conclusionof the composition overlap, the circle is born and dies within the same instant and at the same
point. When does time start? Where does space end?
Nicola Fumo Frattegiani is an electroacoustic andaudio-visual composer living in Perugia, Italy. His
works have been presented at various national andinternational festivals including ICMC, SEAMUS Conference, Mise en Music Festival, Earth Day Art Model,
SMC, Atemporánea Festival, CCMC ContemporaryComputer Music Concert, Festival Futura, Finale
Prix Russolo, MUSLAB, Audio Mostly, Convergence,
SOUND/IMAGE, WOCMAT, ACMC, Matera Intermedia
Festival, Arte Scienza Festival. Author and performer,
his research deals with electroacoustic music, sound for images, video, art exhibitions andcompositions for theatrical performances.
He is a Subject Expert in ”Electroacoustic” and “Computer Music” at the Conservatory ofMusic of Perugia. He held the chair of Electroacoustic Music Composition at the Conservatoryof Music of Messina. He is currently professor of Sound design at the Academy of Fine Arts inMacerata.
> www.nicolafumofrattegiani.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Music as Script

Johan Fröst & Claudio
PannarielloKungasalen

MAS (Music As Script) is a project that aims to develop a method to augment and deepen spectators musical experience and increase accessibility to the music message. This is achievedby leveraging on inter-modality between hearing and seeing) to illuminate musical narrative,
events, architecture, and form.
The method is based on visual representations generated from C. Debussy’s complete setof “Images” performed by Johan Fröst. Visual raw video material is generated from events
that are present and essentially related to the music performance such as mechanical partsof the grand piano, moving limbs as well as aspects and effects of added lighting. In the production phase the music structure is used as a script for organizing the raw pictorial material
into a multilayered visual representation. The project has also started to intensify matters ofremediation that arise when the music and the video interact with each other. To what extent
does each of the media retain its identity and when, and to what extent, does something new
emerge. Therefore, several developments have originated, where the film is approached without the intended music. Through sonification of the video, the piano work ”Dans mon rêve,j’étais deux chats et je jouais l’un avec l’autre” (2022), for piano and video, has been composed.
One of the visual representations (without the intended music) has also served as a model inthe compositional process of new EAM (Electro Acoustic Music). The latter has resulted in thework “Image Scheme” by Henrik Frisk.
Johan Fröst received first prize in 1997 in St. Charles International Piano Competition, Chicago
Illinois, USA and first prize in the Scandinavian piano competition in 1990. In 2001 he received
his doctorate in piano performance at Rice University, Houston, Texas, USA and defended his
dissertation the same year. Since then, he has performed and been a guest teacher in Canada
and the USA, as well as throughout Scandinavia, Belgium, England, Germany, Spain, Hong
Kong, the United Arab Emirates and Russia and has been a guest at several international music
festivals in Europe and the USA. In the US he also founded the Mimir Chamber Music Festival,
Fort-Worth, Texas, USA, for which he was artistic director 1998–2000. Johan has collaborated
with many prominent instrumentalists and conductors and has been responsible for several
Swedish premieres by prominent composers. He has also made notable recordings with piano and chamber music by, among others, Stravinsky, Rachmaninov, K. H. Stockhausen and
Chick Corea. In 1992, Johan Fröst received his soloist diploma at the Royal Academy of Musicin Stockholm and made his debut the same year with the Swedish Radio Symphony Orchestra
under the direction of Raphael Frübeck de Burgos. Johan is a associate professor in piano at
the classical department at the Royal Academy of Music in Stockholm, where he also runs theresearch project ”Music as a script.” In the project, classical art (piano) music is investigated19Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

in relation to moving image and the intermodal connections between hearing and sight. The
project has contributed new piano music as well as new electro acoustic music. Johan Fröst
presented on the labels Ton-Art production, Key 89, and Court House Music.
> frostClaudio Pannariello was born in Naples in 1989. His music has been performed by Divertimento Ensemble, Ensemble SuonoGiallo, mdi ensemble, Neue Vocalsolisten Stuttgart, Ensemble Mise-En, Ensemble United Instruments of Lucilin, etc. and at festivals such as ”MiseEn Music Festival” in New York, ”Rondò” ” and “Sound of Wander” in Milan, “Festival delle
Nazioni” in Citta di Castello, “Casa del Quartetto - Fondazione I Teatri” in Reggio Emilia, “Risuonanze” in Udine, etc. His music has been performed by Divertimento Ensemble, Ensemble
SuonoGiallo, mdi ensemble, Neue Vocalsolisten Stuttgart, Ensemble Mise-En, Ensemble United
Instruments of Lucilin, etc. and at festivals such as ”Mise-En Music Festival” in New York,”Rondò” ” and “Sound of Wander” in Milan, “Festival delle Nazioni” in Citta di Castello, “Casadel Quartetto - Fondazione I Teatri” in Reggio Emilia, “Risuonanze” in Udine, etc. He has also
worked in the field of sound installation with ”Fewy”, exhibited in Sol LeWitt Hall at the Museo
Madre (NA), ”Studio in tre fasi”, a site-specific sound installation at the Goethe Institut in Romefor the ArteScienza Festival 2017, and ”A mic in a box” for Ars Cyber Dystopian at Incóntemporanea Festival 2020. In 2017 he received first pros in the Divertimento Ensemble’s ”Concorso
di Composizione AFAM” for young composers. He is currently a PhD student in sound and music at the Royal Institute of Technology in Stockholm, focusing on musical adaptive systems.
> claudiop

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Saturday, June 17

EPL

Lilla Salen, KMH

Mattias Hållsten

15:30—16:15

With the use of phase-locked oscillators, the already large amount of timbral control affordedby justly tuned intervals is increased, allowing for greater precision of both the spectral andspatial qualities of the sounds produced. In EPL, Mattias Hållsten combines this with the specific affective qualities of seven-limit just intonation, creating a music that enables each listener an individual experience in harmony, time and space.
Mattias Hållsten (1997) is a Swedish composer and musican. His music explores auditory perception and the boundary between acoustic and electronic sound, using different synthesis
techniques and instrumentations combined with just intonation. Hållsten has a masters degree in electroacoustic composition from the Royal College of Music, Stockholm, and is currently studying the musical instrument shō for the Japanese musician Ishikawa Ko.
Recent projects include performing with Catherine Christer Hennix’s Kamigaku Ensemble during the Sixth Edition Festival (2023) and at the Munch Museum in Oslo (2023), as well as various
collaborations with musicians in the Stockholm improvised music scene. In 2023, Hållsten
made his debut release on Stockholm-based label Thanatosis with the album Breathing, bowing, featuring works for shō and viola da gamba.
> mattiashallsten.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

In Summer Rain

Saturday, June 17
Lilla Salen, KMH
15:30—16:15

John Gibson

In Summer Rain is a fixed-media eight-channel composition that explores the sound of a rainstorm, from realistic soundscape to remote transformations. Rilke’s poem, “Before Summer
Rain,” evokes the odd feeling we get when we sense that rain is coming. My piece begins like
this, in a typical suburban setting, but soon the downpour rushes us into an imaginary interior
world, where harmony colors the rhythm of rainfall, and thunder and lightning take on newforms. The opening gesture — the sound of someone leaving the confines of indoor space towelcome the sweet summer air — occured during a pandemic lockdown, adding another dimension to the meaning of the piece.
This is one of a series of my pieces that weaves in and out of natural soundscape, using it toprompt memories and associations while experimenting with its ability to take on harmoniccolor and animate rhythm. I think of this music as a form of magical realism, and I hope listeners enjoy entering and leaving the make-believe realm.
Much of the pitched sound you will hear comes from recordings of rainfall, subjected toprecisely tuned filters and a process of spectral analysis and recomposition.
John Gibson composes electronic music, which he often combines with instrumental soloists
or ensembles. He also creates fixed-media audio or audiovisual works that focus on environmental soundscape. His portrait CD, Traces, is available on the Innova label, along with otherrecordings on the Centaur, Everglade, Innova, and SEAMUS labels. Audiences across the world
have heard his music, in venues including the D-22 punk rock club in Beijing, the Palazzo
Pisani in Venice, and the U.S. Botanic Garden in Washington, D.C. Presentations of his electroacoustic music include concerts at the Seoul International Computer Music Festival, the Bourges
Synthèse Festival in France, the Brazilian Symposium on Computer Music, the Australasian
Computer Music Conference, and many ICMC and SEAMUS conferences. Significant awards
include a Guggenheim Fellowship, a Charles Ives Scholarship from the American Academy andInstitute of Arts and Letters, the Paul Jacobs Memorial Fund Commission from the Tanglewood
Music Center, and a residency in the south of France from the Camargo Foundation. He was a
Mentoring Artist at the Atlantic Center for the Arts in May 2017. Gibson is associate professorof music and director of the Center for Electronic and Computer Music (cecm.indiana.edu) at
the Indiana University Jacobs School of Music.
> john-gibson.com

22Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Spatial Entanglements – A Relational MusicalInstrument

June 16-17
KMH Foyer
14:45 and 16:30

Florian Goeschke

Multichannel spatial audio and Ambisonics as a repro-duction format have received increasing attention in re-cent decades. However, tangible interfaces for interacting with spatial audio in real time are rare, and in most cases dedicated only for solo performers. Since space isconsid-ered a sonic and social construct in spatial theories and sound art practices, it seems
evident to develop interfaces for multiple players to collaboratively interact with im-mersive
sound. The performative installation ”Spatial Entanglements” provides a series of tangibleinterfaces for interacting with spatial audio reproduced on a spherical Ambisonics dome. Together, the interfaces, the sound processing software and the speaker system form a rela-tional
Digital Musical Instrument that invites participants to collaborate in order to temporarily forma spatial audio ensemble.
Florian Goeschke is a composer and sound artist.
He studied electroacoustic composition at the University of Music and Performing Arts Vienna andSound Studies at the Berlin University of the Arts.
His artistic practice ranges from site-specific interventions to spatial compositions. In his current dissertation project, he is researching and developing
tangible instruments for sonic collaborations with
more-than-human-worlds under the notion of relational instruments.

His work has been shown in-

ternationally at art galleries, festivals and conferences.
> tamlab.kunstuni-linz.at/team/florian-goeschke

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Orchid Music: Florida Orchid DNA Synthesizer and Sequencer Performance

Thursday, June 17
R1 Reactorhall, KTH
21:00

Juraj Kojš

I explore the fields of music, sound art, poetry, mixed media, multimedia, theater and technologies as a maker and performer. Hence, I am an artphibian, my own term for an artist whose
practice is defined by migration between art disciplines and strong commitment to engagement. Producing other people’s works, doing scholarly research and teaching also give me joy,
while living in Miami, FL.
My works received awards at Europe—A Sound Panorama, Miami New Times Best Off Award,
Eastman Electroacoustic Composition and Performance Competition and the Digital Art Award.
Miami New Times described my muscle-powered multimedia Neraissance as “striking andunforgettable,” and MiamiArtzine called Signals “enthralling and immersive.” Miami Herald
praised Bang for the Train as “the most profound…unexpected and enjoyable.”
Players who performed my music include Tomoko Mukaiyama, Blair McMillen, Margaret
Lancaster, Madeleine Shapiro, Keve Wilson, Robert Black, Jennifer Beattie and Adam Marks,
Michael Straus, Susan Fancher, Eugen Prochac, Canticum Ostrava, Atticus Brass Quintet, IKTUS Percussion Quartet, The Quiet Music Ensemble, Ensemble s21, Talujon Percussion, Cassatt String Quartet, Ensemble Pamplemousse, the Now Ensemble, Yale Gamelan Suprabanggo,
Splinter Reeds, Switch~ Ensemble and the Deering Estate Chamber Ensemble.
My research articles appeared in journals such as Organized Sound, Digital Creativity, Leonardo
Music Journal, Journal of New Music Research, Computer Music Journal and International
Journal of Arts and Technology.
> www.kojs.net

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Thursday, June 15

Matters 5

Lilla Salen, KMH
17:30—18:30

Daniel Mayer

Materia (lat., substance, cause) – what other, than sound, could be the matter of music? Of
course much more: rhythmic, harmonic and melodic structures, every kind of music, evenrests. Possible, but I wouldn’t like to premise that as given, whose novel malleability, owed tothe computer, opens so many spaces as hardly anything else in the history of music. Moreover:no imaginations and ideas that detract from the essence.
Gérard Grisey: ” … our model is sound not literature, sound not mathematics, soundnot theatre, visual arts, quantum physics, geology, astrology or acupuncture.”Sound as mutual matter, it shall determine everything else: constellation and process, theyought to emerge from it, equitable, because without unfolding in time even the most sounding
remains silent.
How do I find what I like?
Not at all, as I like what I find and I’m searching without knowing for what. It appears andqueries me wordlessly, the talk develops within the experiment, the algorithms of transformation and organisation. Whatever in the end maybe – only just – can pass or, simpler then, can’t
pass in the face of that, what already exists and whereby the new scratches along trundling –that is determined by another matter: me – and in turn not; contingent and only seemingly
private are memory and decision. Matters 5 is a fixed media composition for a flexible setup
from 8 up to 24 speakers. The piece formally consists of two parts, algorithmically generated
with similar granular synthesis based on two short double bass samples (Uli Fussenegger), a
noisy and a pitched one. The scattered groups of grains – statistically distributed following
combinatorial rules – have been processed by 24 reverb units with independent and partiallyextreme parameter changes. The intended room impression is one of surreality and blurring,corresponding to the formal development.
Daniel Mayer (*1967) is a composer with a focus onworks including electro-acoustics. He is active in thefields of sound synthesis and generative computer algorithms, where he is developing dedicated software.
His music has been performed at numerous international festivals of electronic and contemporary music and was rewarded with the Giga-Hertz production
prize for electronic music 2007 at the Center for Art and Media Karlsruhe (ZKM). He studied pure mathematics and philosophy at the University of Graz (MSc, MPhil) and music composition (MA) with Gerd Kühr at the University of Music and Performing Arts Graz, Austria.

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
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2001/02 postgraduate study at the electronic studio of the Music Academy of Basel, Switzerland, with Hanspeter Kyburz. Since 2011 working at the University of Music and Performing
Arts Graz/IEM, from 2011-2014 scientific cooperation within the FWF-funded artistic research
project Patterns of Intuition, since October 2016 visiting professor for electro-acoustic composition. From 2014-2017 curatorial work at Kulturzentrum bei den Minoriten, since 2016
together with Gerhard Eckel and Marko Ciciliani for the concert series signalegraz. In the winter term 2022/23, he was Edgard-Varèse guest professor of DAAD at TU Berlin.
> daniel-mayer.at

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Thursday, June 17

Dancing Dots

R1 Reactorhall, KTH
21:40

Olof Misgeld• Olof Misgeld - fiddle and concept• Ami Dregelid - dance• Andreas Berchtold - dance• Hadrian Prett - sound and light design
The performance Dancing Dots - the exhibition aims to explore new artistic expression in
Swedish folk music by combining live performing (playing and dancing) with auditory and visual displays of motion capture recorded movement. The performance has been constructedin a collaborative process with musicians and dancers using optical Mocap data as a source
material for exploring the interactions between sound and movements in their performance.
For the performance, movement data have been used to generate synchronized visualizations
and sonifications to create a spatial sound and light world that is controlled in interaction withthe performance of the dancers and musicians.
The motivation for the performance has been to explore new ways for artistic expressions
by transferring traditional folk music and dance movements into other auditory and visual
domains, to challenge the roles and rules of dancing and playing by adding visual and sonicmaterial from pre-recorded dance movements; and to bridge across performance contexts,
moving the traditional social dance into another kind of immersive visual/sonic performance
space. Thus, the overarching aim is to explore methods for an open-ended development ofartistic expression with traditional practice both as a departure point and a primary source ofinspiration.
Olof Misgeld, born 1973 in Uppsala, Sweden is a folk
violinist and senior lecturer of Folk Music Theory at
the Department of Folk Music at the Royal College ofMusic in Stockholm (KMH) . In his artistic practice heis strongly influenced by traditional fiddle styles fromdifferent parts of Sweden, where the relationship between music and dance is central. Exploring the expressional possibilities of such oral tradition is central to his research, and artistic and pedagogical work
– with new technology, in new ensemble forms andin interactions with dance. Olof’s artistic portfolio includes being awarded ”Riksspelman” for his traditional fiddle playing, performing in stage the-27

Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholmatre and dance works, and with ensembles such as Oleman, BerndalenLindvallMisgeld, Bowing
9, Stockholm Vodou Ensemble and Fri Form Folk.
Olof Misgeld is currently pursuing a PhD at KTH Royal Institute of Technology with the title Oral Music Theory – music theoretical tools for performance expression within folk music,
and the research is centered around the performance practice of playing for dancing within
Swedish Folk Music tradition.
> www.kth.se/profile/misgeld

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Thursday, June 17

Fail More

R1 Reactorhall, KTH
22:00

Mike Mulshine

Fail More explores themes of failure and self-acceptance through a hybridized sound installation turned instrumental composition. The piece aims to renavigate and flatten the set ofhierarchical relationships between composer, performer, and audience members, as well as
blend the social spaces in and outside the performance space. As you enter, please feel free towalk around, explore, and play with the lighting around the performers; in doing so, you may
join us in creating the work.
Mike Mulshine (he/him) is a composer-songwriterperformer and music technologist whose work rethinks traditional musical relationships and explores
themes of emotional vulnerability, identity, andgroup belonging. He produces interactive audiovisual
works that aim to expose accessible, engaging, andempowering new modes of experiencing or (co-) creating media. These range from web-based interactive albums to physical sound installations
and musical compositions blending vernacular and experimental media. He is currently pursuing a PhD in Computer-Based Music Theory and Acoustics and a Diploma in Music Composition at Stanford University.
> mikemulshine.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Community Dialogue

Friday, June 16
Nathan Milstein, KMH

Barbara Nerness and Takako Fujioka

12:00—12:45

We will perform the following tasks together as a group. Each task will last 1 minute unlessotherwise noted, and an audio track with background music will provide cues for each task.
1. Close your eyes (30 sec)
2. Open your eyes and just rest (30 sec)
3. Focus on your breath: focus your attention on each breath in and out. If you lose focus,
gently return your attention to the breath.
4. Listen to all sounds: expand your field of awareness to include all sounds in the environment
5. Make sound: with each breath out, hum any pitch that you choose.
6. Imagine: with each breath out, imagine humming any pitch you choose. This should feelvery similar to making sound, except you do not engage your vocal chords. Please do notmake sound.
7. Make sound
8. Imagine
9. Listen to all sounds
10. Focus on your breath
11. Open your eyes and just rest (30 sec)
12. Close your eyes (30 sec)
In 1973, composer-improviser Pauline Oliveros was interested in the science of musiccentered meditation. She engaged musicians and non-musicians over ten weeks with meditative listening and participatory vocalizations from her Sonic Meditations, along with othermovement exercises. Before and after the project, she recorded participants’ electroencephalography (EEG) at two electrode sites at the back of the head with a paper-based system, but thetask markings during recording (eyes open/closed, mental math, music listening) were inconsistent. Oliveros hypothesized that alpha activity (8-13 Hz) would change after the ten weeks,
but never analyzed the data quantitatively. We digitized her paper EEG, but found no changes
after the ten-week period. However, recent literature suggests reliable alpha power changes
during meditation and music improvisation, supporting Oliveros’ examination of task-related
EEG changes. We designed a follow-up study adapting tasks from Oliveros’ Sonic Meditation

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

XIII: Environmental Dialogue, to examine EEG alpha power during listening, focusing on breath,humming, or imagining humming. In Fall 2022, we collected data from 20 individuals, withpreliminary results showing alpha power was greater during imagining humming comparedto eyes open.
For SMC, we want to conduct a 10-minute participatory performance, because group performance was an integral part of Oliveros’ practice. We will record live EEG data from one
participant during the performance.
Barbara Nerness is an artist, researcher, and PhD candidate at Stanford University’s Center for
Computer Research in Music and Acoustics (CCRMA). Her research focuses on brain dynamics
measured by EEG during music improvisation, and she also writes, performs, and improvises
her own music using custom controllers and acoustic instruments. She has performed at local
venues in California, as well as the Brooklyn Academy of Music, NY, ZKM (Center for Art andMedia), Karlsruhe, and the Sonic Arts Research Centre (SARC), Belfast. She holds an M.A. in
Music, Science, and Technology from Stanford University and a B.A. in Mathematics from UC
Berkeley.
> www.barbaranerness.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, StockholmElephant Ears on the Brain

Thursday, June 15
Main Foyer, KMH

Barbara Nerness + Elefantöra (Sayam Chortip,
Liv Dahlstrand, Ewe Larsson, Joel Mansour)

17:00--17:30

Elephant Ears on the Brain is a live telematic performance by Elefantöra Electronic Music Ensemble in collaboration with artist Barbara Nerness. Some members of Elefantöra will be performing via JackTrip from Göteborg, Sweden. The performance employs a live feedback loopof biodata consisting of brainwaves (EEG), heartbeat sensors, and breath, which were exploredduring Barbara Nerness’ residency with ShareMusic & Performing Arts, June 5-9th, 2023.
Do these biosignals enhance our connection to remote bodies, and their connection tous?
This project was generously funded by ShareMusic & Performing Arts.
Elefantöra – the ensemble that shifts the order of the musical space. With their strong musicality and attentiveness, they disrespectfully move through the cracks of the thin walls between
the analogue and the digital. Expect rich contrasts and cross-border meetings when Elefantöra
challenges, stretches and breaks the box of what music can be – with a soundscape that makes
you listen.
Elefantöra is a creative music ensemble with a focus on music technology. They mainly
use iPads in their music creation, but also experiment with other ways of making music. In
collaboration with orchestras, sound artists, dancers, researchers and composers, they havedeveloped new music and explored artistic processes.
As a result, the ensemble has cultivated an exciting and multifaceted soundscape that offers inspiring encounters with traditional instruments. Through experience, laboratory artistic processes have become the ensemble’s core competency. The ensemble belongs to the expanding post-digital genre that explores the musical expression through instrumentation as
well as working methods and notation. The listening always controls how the musical spaceshifts in size and density, changing with Elefantöra’s personal sound design.
> www.sharemusic.se

Barbara Nerness is an artist, researcher, and PhD candidate at Stanford University’s Center for
Computer Research in Music and Acoustics (CCRMA). Her research focuses on brain dynamics
measured by EEG during music improvisation, and she also writes, performs, and improvises
her own music using custom controllers and acoustic instruments. She has performed at local
venues in California, as well as the Brooklyn Academy of Music, NY, ZKM (Center for Art andMedia), Karlsruhe, and the Sonic Arts Research Centre (SARC), Belfast. She holds an M.A. in

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Music, Science, and Technology from Stanford University and a B.A. in Mathematics from UC
Berkeley.
> www.barbaranerness.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

You are the Flower

Friday, June 16
Lilla Salen, KMH

Lise-Lotte Norelius

17:30—18:30

You Are The Flower 19’38’’ was composed for the Klangdom at ZKM (Karlsruhe) 2014. During my residency I was learning the panning software Zirkonium, which I also used in thiswork. As an experiment, a few tracks was panned with arduino and simple sensors, recorded in
Max/MSP. The sound material comes from small home made noisy devices and some Max/MSP
oscillators and resulted in a very nature romantic piece. I´m quite surprised myself. You may
think that the first part is a field recording from the woods in northern Scandinavia and the second part, some kind of strange folk music, inspired of hurdy-gurdy. Just lean back and imagine
for a moment that you are the centre of the world, or the flower on the ground.
Lise-Lotte Norelius (b. 1961) is a composer and performer based in Stockholm and active in the fields of
EAM, live electronics and Sound art. As a performer
she works both as solo artist and in various collaboration projects. She is one of the founders of the
DIY ensemble Syntjuntan who has got a lot of attention for their workshops and concerts with textile instruments. LLN has a long history as percussionist
with great experience from different fields like traditional african music, experimental rock, free improvised music and from combining percussion andsampled sounds in the group Anitas Livs. She studied
electroacoustic composition at Royal College in Stockholm 1998-2002 and developed her work with liveelectronics and realtime processing of percussion as well as other sound sources. Since then,she has composed music for speakers (EAM), musicians and live-electronics, installations, theater, poetry and dance performances. Her penchant for small, pitiful or ugly sounds, rhythmic structures, layers and long lines characterize her music, which can be both beautiful,harsh and brutal. The last years she has been exploring controllable motors, home made noisy
devices, synth jewelry, vacuum cleaners and floppy drives, usually in combination with her
Max/MSP software, various sensors and effect boxes.
> www.lise-lottenorelius.se34

Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Thursday, June 17

licebyc~

R1 Reactorhall, KTH

Giovanni Onorato

21:15

licebyc~ is a condensed and noisy iteration of my previous performance, celycib~, which evolved
during my master’s degree. It has been performed at events like the MainOFF festival in Palermo,
the Les Digitales Festival in Biel/Bienne, as well as in cities such as Stockholm and Bologna.
In licebyc~, I explore the bicycle as an experimental instrument, uncovering its inherent auditory capabilities. Through digital manipulation and transformation of the expected bicycle
sounds, the performance takes a unique sound-based approach in a live context.
By embracing the familiar soundscape of the bicycle, licebyc~ ventures into new sonic territories using electronic and digital tools. The performance invites the audience on a multisensory journey, where the bicycle itself, the performative actions surrounding the object, and theresulting sonic palette intertwine to create an uncommon performance.
Giovanni Onorato (1995) is a sort of weird musician
from Palermo and based in Stockholm, working withperception of objects and things. He holds an Electronic Music bachelor’s degree at Conservatorio G.B.
Martini in Bologna and a master’s in Electroacoustic Composition at Royal College of Music in Stockholm. He is a founding member of Elettronica Collettiva Bologna, a collective promoting electroacoustic music, and Senza Distinzione di Genere lab, afree-improvisation workshop taking place at Làbas in
Bologna.
> gionogio.github.io/giovanni-onorato

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Saturday, June 17

Self-built Instrument

Lilla Salen, KMH
15:30—16:15

Jiyun Park

This work is focused on sound performance with an experimental instrument which is composed of strings and metallic sound box, producing overtones, harmonics and feedback. It iscapable to play with different sound colours: Resonances by cooper, bowing on strings, overtones and feedback. All of factors triggers each others sound. It is not a point to play a specific tone or to make a musical harmony, because the instrument is not able to perfectly control. Playing this Instrument is a challenge to your capacity, such as gestures and sonic phenomenon following sense and space. The artist composed a piece and use few repertoire partly,
however, mostly it is interesting to find what kind of sound comes to nest in mesh. The Artist
tried to get over typical aesthetics of classical music, such as using precise pitches, melodies,and read scores. Instead of that, her approach towards to discover unusual sound elements
which are considered as mistake in traditional way. And play with them, for instance, strings
without tuning, hitting a stuffs, unorganized pitch, also so-called clicker which happens unskilled.
It is musically composed of circulation of swerving sound and embrace internal and external sound in space. The coupling of acoustic and electronic resonances in a performableinstrument that has an almost sculpture like quality is intriguing. The sounds range from complex and exquisite to banal and cliche, and therefore, keep the interest going
Jiyun Park (1990, South Korea) is a sound artist
and composer living in Cologne, Germany.

Af-

ter her academic training in multimedia design at
Hanyang University in South Korea, she deepened
her exploration of media art at the Academy of Media Arts in Cologne.

There she developed an ap-

proach to sound that is characterised by spatial composition, self-made instruments, voice and synthesizers. By experimenting with different materials, she
explores sensory and synaesthetic states in searchof hidden and inherent sounds, spatial acoustics
and performances to cross borders in relation to
space and time. Her works are mostly influenced
by the threshold of perception in her environment.
She also initiates collaborative performances that often communicate via data or human-sound interaction.

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

> www.jiyunportfolio.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

June 15--17

TróposThe yard, KMH
All day

Daniele Pozzi

Trópos is a multichannel generative sound installation for public spaces. It is based on a number of mobile sound elements – small photovoltaic computers, equipped with microphones
and loudspeakers - that sonically adapt to the soundscape around them. Each element independently interacts with the sounds picked up by the microphone, generating emergent sounddevelopments which are strongly dependent on the acoustic environment in which the pieceis installed. The specific architectural, spatial and acoustic characteristics of the ambienceinscribe themselves in Trópos, creating a form of aesthetic interdependency and generative
co-existence of site and work. The way the agents react to their environment, embedding themselves ecologically within it, is a central aesthetic question in Trópos.
I’m a sound artist and researcher based in Graz, Austria. I mostly compose sound installations and I play
improvised electronic music in which sound is conceived as a material relational element. I often workwith self-made hardware and software, and I’m interested in the intertwinement of technical development
and aesthetic reflection. I’m a doctoral candidate incomputer music and sound art at the doctoral schoolfor artistic research (KWDS) of the Univeristy of Musicand Performing Arts Graz (KUG).
> www.danielepozzi.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

All You Need Is Lunch

Thursday, June 15
Main Foyer, KMH

Miller Puckette and Kerry Hagan

12:30--12:50‘All You Need is Lunch’ is the latest theatrical production by the Higgs whatever, presented asa fixed-medium audiovisual work due to the pandemic. It was developed, composed, shot andedited between California, USA and Ireland. It relies on a posteriori phase vocoding to altera montage of popular music songs, which are then the basis for the visual component. This
work is being submitted in parallel with the paper ’Post-mix Vocoding and the making of All
You Need Is Lunch’. This piece should ideally be played just before lunch.
Long-time friends, Puckette and Hagan began focused collaborations on academic and musical projects
in 2014. Together their duo has performed in North
America and Europe. They have introduced novel
synthesis algorithms through new performances.
Their work explores timbre, spatialization, real-time
computer processes, algorithms, interaction design,
performance practice, and performance systems.
> msp.ucsd.edu

39Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

La Mer Émeraude

Friday, June 16
Lilla Salen, KMH

João Pedro Oliveira

15:30—16:15

Let us imagine a small invented world, a micro universe where everything exists… matter,energy, spirit, telluric movements, mysteries, natural and supernatural forces. That world iswhole and from afar, whoever watches, sees it as a living ocean. This work was composed in theMusiques-Recherches studio and is dedicated to Annette Vande Gorne and Francis Dhomont.
It received the second prize at SIME Competition 2019, the first Prize at Cittá di Udine Competition 2020, the first prize at Destellos Competition 2020 and the first prize at the Chicago
Composers Consortium Competition 2021.
Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition and architecture in Lisbon. He
completed a PhD in Music at the University of New
York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music and experimental video. He has received
over 70 international prizes and awards for his works,
including three Prizes at Bourges Electroacoustic Music Competition, the prestigious Magisterium Prizeand Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prize in Yamaha-Visiones
Sonoras Competition, 1st Prize in Musica Nova competition. He taught at Aveiro University (Portugal) andFederal University of Minas Gerais (Brazil). His publications include several articles in journals and a bookon 20th century music theory.
> www.jpoliveira.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Catástrofes (2023)

Friday, June 16
Lilla Salen, KMH
17:30—18:30

Danilo Rossetti

Catástrofes (2023) is a work composed for multichannel system array, programmed in Max/MSP
combining different types of sound synthesis and ambisonics spatialization. The piece is malleable regarding the spatialization possibilities, considering ambisonics orders, 2D or 3D soundfields, and multichannel diffusion. The term “catástrofes” alludes to the “catastrophes” concept by René Thom, referring to dynamic systems that present ruptures when critique points
are reached, such as continuity breaks resulting in perceptive qualitative leaps. The pieceis conceived as a sound continuum in which the textures and sound masses are graduallyachieved and transformed from the addition of up to 26 voices employing different synthesis
techniques. Three main sound masses are juxtaposed, formed by different superpositions ofpartials, and their transitions are gradually performed through timbre interpolation. From thisstructure, psychoacoustic phenomena such as roughness and beats emerge as saliences andruptures in listening. This composition was conceived in a multidisciplinary research using
computer tools, combining artistic and technological methodologies. Emphasis in perception
features were strongly considered during the creative process through an active listening with
operational features, searching for articulations, transversal connections, layers, and emergent phenomena that may appear during the performance.
Danilo Rossetti is a composer and researcher withfocus in the use of technology and interdisciplinary
research in creative processes and musical analyses
performances, Danilo Rossetti is author of musicalworks for different formations (solo, ensembles, andorchestra), acousmatic, live electronics and multimodal (audiovisual installations, music and dance,
networked and telematic music), and author andcoauthor of several articles concerning creative processes in music and musical analyses. He is Assistant Professor at the Department of Arts of
the Federal University of Mato Grosso (department chair between 2021-23), and collaborator
professor at the Graduate Music Studies Program of the Institute of Arts at the State Universityof Campinas. He earned his Ph.D in Music Composition at UNICAMP, with a research stage at
the Centre de Recherche Informatique et Création Musicale (CICM) of Paris 8 University, andhe completed a postdoctoral research at NICS-UNICAMP, funded by FAPESP. He coordinates
the Muscom Research Group “Composition, Analysis, and Performance with computational
methodologies” (UFMT-CNPq). His compositions have been played in several international
events and festivals.

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

> www.danilorossetti.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Friday, June 16

Backlash

Lilla Salen, KMH

Tommaso Settimi and Mattia Parisse

17:30—18:30

Backlash is an idiomatic performance to the KMH Klangkupolen where the sound system is nolonger a mere spatialisation tool but becomes the medium of a site-specific dynamical system generating sound that evolves and self-adapts in a decentralised manner. Each of the 29
loudspeakers of the Klangkupolen is associated with a specific deformation of the temporaldevelopment of the sound, with a view to fostering the emergence of spatial and temporal perceptual phenomena that do not correspond to the sum of the individual elements but rather
to the collective result of the entire system. In “Backlash”, the models of sound generation in
micro-temporality coincide with the models of musical organisation and temporal development, whereby the conformation of the acoustic space and the sound reproduction system inquestion are at the centre of these models. The idea of developing spatialisation of a soundimage, in which the idea of a sound pre-existing to it is implicit, is not present here; rather,
the spatial qualities of the composition result from the complex interactions of the system thatshapes the sound as a constantly changing frame. The non-linear nature of the system puts thetwo performers in the situation of no longer being the dominators of a system meant to be controlled, but rather, they favour unpredictable behaviour and a situation of constant interaction
is established here.
Tommaso Settimi (*1998) is an Italian composer andperformer of instrumental and electronic music. He
studied Instrumental Composition, Electronic Musicand Computer Music at the Conservatorio F. Morlacchi in Perugia and the University of Music and Performing Arts Graz / IEM Graz under the guidance ofthe professors Marko Ciciliani, Edgar Alandia and Simone Pappalardo. He is currently studying in themaster course ’Sound and Music Computing’ at thePompeu Fabra University in Barcelona. The concepts
of instability, transformation and impermanence are central to his work; in particular, in addition to instrumental sound, part of his research on electronic sound makes use of implementations of dynamic systems and numerical simulation in the field of algorithmic composition andimmersive audio. His music has been performed at international festivals and concert halls
such as Elevate Festival Graz, ChampdAction Festival Antwerp, Darmstädter Ferienkurse, Vondelkerk Amsterdam, Incòntemporanea Festival, MODU Festival Perugia, Dom im Berg Graz,
DeSingel Art Center.

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

> soundcloud.com/tommaso-settimi

Mattia Parisse (*1998) is an Italian composer, performer and sound artist. He studied electronic music at the Conservatory of Perugia with Simone Pappalardo (110/110 summa cum laude). Creates mixedmusic and electroacoustic music compositions, interactive sound installations, audiovisual works andaugmented musical instruments.
He is interested in the new and unconventional
digital sound production techniques as well in thedesign and self-constructive research of instruments
and their relationship with the technological medium.
Winner of the XVI Premio Nazionale delle Arti; Winner of Prize ”Teresa Rampazzi ”for the XXIII
CIM (Colloquio di Informatica Musicale); Winner of the ”Premio Rotonda” of the city of Livorno.
His music has been performed at international festivals and events come il CUVO Festival 2021
(Madrid), Festival SIIDS 2020 (Portugal), Festival Artescienza 2021 (Rome - Goethe InstitutRom), Orizzonti Festival 2021 (Perugia), Festival AiMaako 2021 (Chile), ID2021 (Stuttgart), New
Media Fest 2020, IDKF 2020 (Stuttgart), Simultan Festival 2021 (Romania), Festival Ecos.
> www.mattiaparisse.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Windmills of Lapua

Thursday, June 15
Lilla Salen, KMH
17:30—18:30

Nikki Sheth“Direct impacts of wind farms can include collision and barotrauma (damage to tissues fromair pressure changes around turbines); indirect impacts can include habitat loss (roosts, commuting routes and foraging areas) and fragmentation.” – bats.org.uk
This piece comments on the impact of wind farms on the bat population. It uses field recordings of windmills taken in Lapua, Finland using microphones that pick up normally inaudible
frequencies (such as contact and electromagnetic mics), combined with various field recordings of bats.
Originally, the piece explores the use of field recordings with the 3D IKO speaker and investigates how a sense of place can be created using a speaker that projects sound from the inside
outwards using the sound reflections of the performance space. This work was made possible
thanks to the Develop your Creative Practice grant from Arts Council England.
Nikki Sheth is an internationally recognised sound artist and composer. Her practice involves
field recording, soundscape composition, multimedia installations, sound mapping and soundwalking. She uses sound as a medium to bring a voice to the environment and encourage awider awareness of the natural world.
She has received international recognition for the quality of her field recordings and soundscape compositions and her work has been performed worldwide. In 2020 she was awarded
a Sound and Music award, nominated for the Phonurgia Nova Awards in the Field Recording:Soundscape category and was an Honourable Mention for the Sound of the Year Awards in the
Composed with Sound category. In 2021 she was nominated for an Ivor Novello ComposerAward in the Sound Art Category.
Her work has been presented at BEAST FEAST (UK), Sonic Territories (Germany), Pitea Performing Arts Biennial (Sweden), KMH (Stockholm), Spektra Festival (Columbia), Ecoacoustic
Congress (Brisbane), The Global Composition (Germany), DLR Lexicon (Dublin), Perspectives
on Listening (Brisbane), Balance Unbalance (UK), Sound + Environment (UK) and more. She
has been featured on Framework Radio, Clydebuilt Radio, Resonance FM and BBC Radio 3 andher work has been published with a variety of labels.
> www.gre.ac.uk/people/rep/las/nikki-sheth

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

New Rachel Pull

Thursday, June 17
R1 Reactorhall, KTH

sun til threads

New Rachel Pull is a piece composed during the simularr (PEEK AR 714-G) artistic research
residency in Hotel Pupik (Scheifling, Austria), April 2023. During this artistic residency, Pozzi
and Elblaus collaborated on new experimental techniques for synthesis, using the SuperCollider programming language, incorporating room-scale acoustic feedback processes.
sun til threads is a collaboration between Daniele
Pozzi (AT) and Ludvig Elblaus (SE). Together, they
explore feedback systems based on simple units ofaudio signal processing, in search of liminal statesand emergent cyclical variation with long periodicity, focusing on the emergent qualities of site-specificshared listening.
In the project, the line between synthesis and composition blurs as the custom built digital instrumentsinteract because they both play into, and listen to, the same acoustic space. Sometimes interlocking, sometimes pushing each other into new territory, they combine to form the pieces thatbear the names of the two particular instruments used.
> sun til threads on Bandcamp

46Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Friday, June 16

Glitch Mass

Lilla Salen, KMH

Davide Vannuccini

15:30—16:15

Glitch Mass is an electro-acoustic acousmatic live performance where the term ”glitch” represents waste sound material derived from editing processes and organized as a liturgy. The
sacredness of what we cannot see, the inner presence of what is usually called “absence” lives
and changes inside the virtual and physical space of that work, it moves into a place that wants
to resemble a temple.
The idea of this composition starts from two purposes: the first is to represent the concept
of “absence” using “recycled” sound materials from various editing processes of many soundsources; the second is to organize them as a liturgy, using voices and space (both virtual andphysical) as a living place to give new life to something that would have remained hidden. Mostof the sound material used in the composition was taken from liturgical recordings like thefamous five sequences wich “survived” the Council of Trent (1545-1563): Dies Irae, Victimae
paschali laudes, Lauda Sion Salvatorem, Veni Sancte Spiritus, Stabat Mater; pre- processedusing de-hum, de-noiser etc. in order to use the residual material as a starting place for a live
improvisation.
Davide Vannuccini is a musician, sound designer
and visual artist. He obtained the I level Academic
diploma in Saxophone in 2011 and the II level in Music and New Technologies in 2023 after having developed an interest in applied music and sound design over the years. He has participated in important advertising projects as a composer and sounddesigner (Tradecenter, Hyundai, Loro Piana, Timberland, Trenitalia); at the same time he dedicatedhimself to teaching music and electroacoustic music production performing as a live performer (soloand ensemble: “Ensemble degli Intrigati”) in places
such as: Cantiere Internazionale d’Arte di Montepulciano, Tearto del Maggio Musicale Fiorentino, Italian Institute of Culture of Brussels, Musikakademie
in Rheinsberg, Tehran International Music Festival,
Luigi Cherubini Conservatory of Florence. Currently
he is dedicating himself to the composition of electroacoustic music, live performances and sound design, site specific acousmatic works withparticular attention to the aspect of spatialization.

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

> www.davidevannuccini.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

A Dialogue, In Linear A

Friday, June 16
Nathan Milstein, KMH

Andrew Watts and Davor Vincze

12:00—12:45

Linear A is a writing system that was used by the Minoans (Cretans) from 1800 to 1450 BCE towrite the hypothesized Minoan language. Linear A was the primary script used in palace andreligious writings of the Minoan civilization. It was succeeded by Linear B, which was used by
the Mycenaeans to write an early form of Greek. No texts in Linear A have been deciphered,and thus, it is unknown what this dead language should sound like.
A Dialogue, In Linear A utilizes text from libation artifacts and (presumably) religious objects, imagining what these fragments might have sounded like when spoken by various textto-speech dialects. A heightened ritual is created, trading any semblance of semantic content for timbral transformation of the voice. A Dialogue, In Linear A seeks to blend features ofmusique concrète, aural theatre, vocal synthesis, field recordings, and an unknowable ceremonial rite among the sands of time.
The aim of the video was to connect mouth positions with syllables, by matching the soundgenerated by the text-to-speech converter with the audio of unrelated speech video clips videos.
We decided to divide the audio in 40 millisecond fragments as it corresponded with a single
frame, so as to have the same index for each audio and video segment. The idea was to perform
similarity matching between the sound from the converter as a target and use the video soundas a corpus. Davor Vincze designed a Max patch using camu tools within MuBu library, suchthat it automatically recorded the index of the selected corpus segment while I was feeding the
CSS system with the recording of the target soundfile. After several tries, we concluded thatthe matching was most successful according to centroid and loudness as search descriptors.
With the resulting lists of segmented indices, Andrew Watts was able to cut and reshuffle thesix videos in the exact same order. He then montaged the alternative soundfile (from text-tospeech converter) to the newly montaged video. The result was fascinating, as it was obviousthat there is congruence between the mouth movements on the video and the character of thesound. However, the fact that the video frames were no more in its nominal order, createduncanny mouth movements as would be expected by something alien or otherworldly.
Andrew A. Watts is a composer of chamber, symphonic, multimedia, and electro-acoustic works regularly performed throughout North America, Europe,and Asia.

His compositions have been premiered

at world-renowned venues such as Burning Man,
Ravinia, Boston’s Jordan Hall, Darmstadt, and the
Holywell Music Room. Watts has written for manyof the top new music groups today including Ensem-

49Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholmble Dal Niente, Ekmeles Vocal Ensemble, Proton Bern,Distractfold Ensemble, RAGE Thormbones, Splinter Reeds, Quince Vocal Ensemble, and Line
Upon Line. Recently, Watts premiered a large-scale work Silicon Valley Requiem, blending
synthesized and live voices. He completed his D.M.A. in Composition at Stanford, received
his master’s with distinction from Oxford, and his bachelor’s with academic honors from the
New England Conservatory. He has been a featured composer at the MATA Festival (USA), impuls Academy (Austria), Rainy Days Festival (Luxembourg), Delian Academy (Greece), Young
Composers Meeting (Netherlands), Cheltenham Music Festival (England), Course for New Music at Darmstadt (Germany), Composit Festival (Italy), Ostrava Days Institute (Czech Republic),
highSCORE Festival (Italy), Wellesley Composers Conference (USA), Etchings Festival (France),
Fresh Inc. Festival (USA), New Music on the Point (USA), and Atlantic Music Festival (USA).
Watts is currently a Lecturer in Music Composition at UCSB’s College of Creative Studies.
> www.andrewawatts.com

Davor Vincze is a composer of contemporary music and artistic director of Novalis Festival, focusing
on meta-reality and musical narrative. His compositional strategy ‘microllage’ recycles musical material and looks for latent acoustic spaces in referenced
pieces. In hazy textures, Vincze explores the parallax effect, creating a meta-reality with multiple layers of ambiguous meaning. After completing his composition studies in Graz and Stuttgart, he specialized
in electronic music at Ircam and earned his doctorate at Stanford University. His compositions have been performed by renowned international musicians and ensembles at festivals
such as Présences, Impuls, MATA, Manifeste, Darmstadt, and Zagreb Biennale. In 2014, helaunched the international contemporary music festival Novalis. Vincze’s works are publishedby Maison ONA, and he has won numerous prizes, including the Alain Louvier Prize, 2nd prize
Stuttgart Composition Competition, and 2nd prize at the Pre-Art Composition Competition. In
2020/21, he won the ”Boris Papandopulo Prize” for the best Croatian composer of contemporary music, the European Contemporary Composition Orchestra competition, and the bestaudiovisual work at the International Competition Città di Udine. Additionally, he was selected
for artist residencies at the Institute of Electronic Music in Graz (2021) and SWR Experimentalstudio (2022).
> www.db-vincze.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

Friday, June 16

PagodaNathan Milstein, KMH
12:00—12:45

Chi Wang

Pagoda as a piece of architecture reflects history, aesthetics, religion, philosophy among manyother cultural elements. Pagoda as a concept reminds me of each unique yet contemplative
journey visiting different temples. The rituals of recitation and chanting practice in the temples offer the observers interfaces connecting themselves and the surroundings in different
ways. In this piece, the impressions of the three pagodas are depicted in different audiovisualapproaches through the real-time interactive performance.
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, the Society for ElectroAcoustic Music in the United States, Musicacoustica–
Beijing, the New York City Electroacoustic Music Festival, New Interface for Musical Expression International Conference, MA/IN Festival, Kyma International Sound Symposium, International Confederation of Electro-Acoustic Music, Electronic
Music Midwest Festival, Third Practice Festival, and Electroacoustic Barn Dance. Chi’s composition was selected for inclusion on the music from SEAMUS CD Volume 28. She is the recipient for the Best Composition from the Americas at the 2018 International Computer Music
Conference. Chi received her D.M.A. at the University of Oregon. Chi is currently an assistantprofessor of music (composition: electronic and computer music) at the Indiana University Jacobs School of Music.
> www.chiwang.info

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

The Eighth Island

Saturday, June 17
Lilla Salen, KMH
15:30—16:15

Lidia Zielińska

The immediate inspiration was the ouvrage of Joseph Conrad, Polish-English writer from the
XIX/XX century. Joseph Conrad’s complete works in Polish may be downloaded from the Internet. Electronic Conrad for the people, and the people fly to exotic vacations. Conrad: timelessand old-fashioned. He was a great writer, final stop: thousands and thousands of pages on
moral dilemmas and choices, thousands of suggestive depictions on the anxious beauty of theoceans. But also a shocking lack of proportion, at least for me as a reader, when Conrad’s ships
approach the coast, a terrible lack of political correctness, and a total lack of curiosity of theworld. Euroocentric criteria and judgments. The twilight of ’drawing room anthropology‘. I
have switched off the potentiometers of Conrad’s ships and crew, and tried to hear what Conrad himself deemed uninteresting, although it must have been audible then – and is lost today.
The traces of this hearing are included in my 9-minute nocturne The Eighth Island. Irrespective of the inspiration of Joseph Conrad, my piece is in fact an impression on the cultures thatare disappearing in front of our eyes because of our abandonment, lack of interest, ignorance,
hypocrisy of political correctness and climate change.
Lidia Zielińska is a Polish composer. She graduated from the State High School of Music in
Poznan, where she studied composition with Andrzej Koszewski. She has worked at the electronic music studios of State High School of Music in Cracow, Stuttgart, Swedish Radio Malmoe,
Experimental Studio of Polish Radio in Warsaw, IPEM/BRT in Ghent, EMS in Stockholm, ZKM
in Karlsruhe and Experimentalstudio des SWR Freiburg.
Her works have been performed at festivals in many countries in Europe, Asia, Australia,
New Zealand and the Americas. In 2007 she received the Polish Composers’ Union Award forher outstanding and comprehensive compositional achievements.
Lidia Zielińska currently holds the post of professor of composition and head of the SMEAMuz Studio of Electroacoustic Music at Poznan’s Music Academy; she also was a professor insonology at the Academy of Fine Arts in Poznan (1989-92 and 2001-10).
She has published and lectured extensively on contemporary Polish music, electroacoustic
music, the history of experimental music, sound ecology and traditional Japanese music, on
the invitation of universities in Europe, Americas, Asia, Australia and New Zealand. She has
conducted summer courses, workshops and seminars in Poland and abroad. She serves as a
juror, curator, expert and consultant to many musical, intermedial and educational enterprises
in many countries in Europe.
For many years, Lidia Zielińska has fulfilled many official functions; she is currently VicePresident of the Polish Association for Electroacoustic Music, former (-2013) Vice-Presidentof the Board of the Polish Composers’ Union. She has served as a member of the programme

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

committee of the Warsaw Autumn Festival (1989–92 and 1996–2005), of the ISCM World Music Days in Warsaw, of the Musica Electronica Nova in Wroclaw, as artistic director of MusicalSpring Contemporary Music Festival in Poznań (1989–92), Child and Sound international festival in Poznań. After the political breakthrough of 1989 she was the initiator and co-founderof the BREVIS Music Publishers (1990), Child and Sound Foundation (1991), music quarterly“Monochord” (1993), Friends of Warsaw Autumn Foundation (1998), “Zachęta“ Greater Poland
Region Fine Arts Society (2004), Polish Society for Electroacoustic Music (2005) and other associations.
> lidiazielinska.wordpress.com

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm

OffSMC, Turbine Hall,

sys|calls

KTH

Jaime Reyes and the re|thread collective

sys|calls is a live audiovisual installation that reveals this intangible and extraordinary software activity in real-time. An artist performs mundane software activities that produce a flowof system calls that are turned into a live artwork. Visuals are generated live and projected on
the ground on a 5.5m x 14m surface in the KTH Turbine Hall. Music is generated, in synchwith the visuals, and broadcasted through mutliple speakers in the room. The audience is immersed in the vast software activity and can walk in the system calls through the hall or lay
inside the inner workings of software. The processes to generate visuals and music live, fromthe system calls, are programmed specifically for this installation, by the artists.
sys|calls is designed, developed and developed by Jaime Reyes and the re|thread collective:
Erik Natanael Gustafsson, Maria Kling, Roni Kaufman, and Benoit Baudry.
> rethread.art

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Music and Installation Programme for the 2023 Sound and Music Computing Conference
Royal College of Music in Stockholm& The KTH Royal Institute of Technology, Stockholm