Im Rahmen des „Artist in Residence“-Programms des IEM werden regelmäßig Kunstschaffende eingeladen, im Austausch mit den Forschenden des Instituts künstlerische Projekte umzusetzen. Das Programm soll all jene ansprechen, die Projekte in den Bereichen Performance, Komposition, Installation und Klangkunst verwirklichen möchten, oder auch an der Entwicklung von Werkzeugen zur Kunstproduktion arbeiten. In regelmäßigen Zeitabständen werden die Residenzen offiziell ausgeschrieben, womit Künstlerinnen und Künstler aufgerufen werden, einen Projektvorschlag einzureichen, der Bezug zum künstlerischen Forschungsfeld des IEM aufweist.
Sonic Interaction Design
Standard and non-standard Sound Synthesis
June 2022 - August 2022
Project title: Dispersing Materialities
Abstract: This project aims to complement the already existing practice of room-scale acoustic feedback that Elblaus together with IEM professor Gerhard Eckel are exploring in the utrumque project. By adding digital and physical representations of solid objects, in contrast to the enclosed voids that have been central so far, into the utruchord system of synthesis and composition, new sonic territories will open up. Using dispersive waveguides, and filter banks for adaptive analysis, the aim is to quickly go beyond the representational and move into aural experiences that transcend the physically possible. Combining the digital objects with the physical voids point the way towards a relational understanding of ratios or scales that link the pitches two worlds. This in turn implies a harmonic understanding of space and time that links to the site-specificity and situatedness of the aesthetics of utrumque.
Biography: Ludvig Elblaus is an artist and researcher working primarily with computational materials to create acoustic and electronic music, sound art, audio-visual installations, museum exhibits as well as contributions to collaborative larger works in several traditions, e.g. opera, theatre, and dance. His artistic practice explores generative tools, complex systems, modelling as an artistic practice, the site-specific, emergence, and experiential aspects of very slow and drawn out temporal structures and deep listening.
March 2022 - Juni 2022
Project title: formuls
Abstract: An ongoing music interaction design project, formuls is a software-based environment for the composition, improvisation and performance of electronic music. The project explores how complex sound synthesis and audio processing parameters can be quickly and intuitively controlled using physical gestures through a touchscreen interface, enabling the performer to play the system as an instrument in a live setting without the need for presets. The formuls interface aims to remove technical barriers to creating rich electronic timbres, reducing the requirement for musicians to learn technical knowledge typically outside the domain of musical practice, and instead allowing sounds to be explored and manipulation quickly and tangibly.
During the residency a new composition and performance will be developed using formuls. The creative process will be used as a way to probe and test the current interface, exploring its affordances, both perceived and hidden, and provide insight into the future development of the system and musical interface design.
Biography: James Dooley is a musician, installation artist and researcher based in the UK, who also performs and releases electronic music under the pseudonym formuls. Primarily working in the medium of sound, his performance and installation works examine and combine interaction design, generative processes, and environmental elements. His music explores an amalgamation of ambient drones and glitchy sounds. Through digital conduits his practice exposes the characteristics, limitations and artefacts of the technologies and digital processes employed in his creative practice. James has performed and exhibited his work internationally at festivals including: Longyou Grottoes International Festival (CN), Birmingham Weekender (UK), Electric Nights (GR), SPECTRA (MY), SonADA (UK). He is Lecturer in Music Technology at The Open University and Visiting Lecturer at Royal Birmingham Conservatoire.
Abstract: Inspired by the string theory of particle physics that says that all atomic particles are essentially vibrations with different frequencies, I wish to explore the analogy of the so-called hidden dimensions of subatomic particles and the “hidden” partials that each sound possesses, yet our ear does not perceive them as separate units, but rather groups them as one sound. Through the means of feedback, one can enhance, diminish, filter or expose various parts of a sound spectrum.
Since spring coils have very rich sound spectrum, I wish to create an installation that uses multiple springs as a sound source, and audience’s presence and behavior as an activator of that sound. In a way I wish to create a continuously changing room acoustics that puts a listener in the center of a hypothetical atom that has been enlarged to the size of the exposition space.
To create this project, during my time at the IEM, I will be researching the feedback and noise cancellation so to create interesting sounds, but also neural networks and deep learning in order to enable an automated system that behaves like a living organism. This organism should be able to react and respond to what the audience is doing in the space. In this way, the audience will have a chance to interact with the installation by moving, clapping, singing, or touching the objects, and thus explore the hidden spectral dimensions of these hanging spring coils.
bio: Davor Branimir Vincze is an internationally active, versatile composer, with a vision of music as a multitude of points on a multidimensional space. To explore this imaginary space, Vincze conceptualizes various algorithms, of late more frequently integrating machine learning and AI models. After completing his composition studies in Graz and Stuttgart, Vincze specialized in electronic and algorithmic music at the Ircam in Paris and finally completed his doctorate at Stanford University in the class of Brian Ferneyhough. His compositions have been performed by renowned international musicians like Ensembles Modern, Recherche, and Intercontemporain, Klangforum Wien, Talea and Slagwerk den Haag, JACK, Mivos and Del Sol Quartet, Secession and No Borders Orchestra. Slovene and Zagreb Philharmonic etc, at festivals such as Présences, Impuls, MATA, Manifeste, Darmstadt, Zagreb Biennale and others. In 2014, he launched an international contemporary music festival - Novalis. His works are published by the French publishing house Maison ONA.
In 2020/21, Vincze was the winner of "Boris Papandopulo Prize” for the best Croatian composer of contemporary music, winner of the European Contemporary Composition Orchestra competition, winner of the best audiovisual work at the International Competition Città di Udine (Italy), as well as one of five awardees of 'New Music, New Paths' competition in Hong Kong, and he got selected for the artist residency both at the Institute of Electronic Music in Graz (2021) as well as at SWR Experimentalstudio (2022).
Abstract: The main objective of this project is research into algorithmic spatialization and synthesis generated from higher dimensional mathematical, geometric and algebraic structures and maps - which are then in various ways projected onto 3D or lower dimensions. Some mathematical keywords are: symmetry groups, root systems, graph theory, mathematical quasicrystals, projective and hyperbolic geometry. In many ways this project in ongoing. The overall theme offers research material enough for several lifetimes. The project relies on programming tools, which I have developed through the past years and aims at extending this 'toolbox'. As an example, something which has been very useful through this line of work is that I have written my own functions for rotations and reflections in any dimension using Clifford geometric algebra. With respect to audio implementation, then some central topics are time varying Feedback Delay Networks and Waveguides. Furthermore, experiments with audio synthesis can be connected with the idea of resonance and can also be generated from various maps - movements in higher dimensional spaces. As one venture into these abstract realms it becomes clear that each dimension has its own specific possibilities for geometric and algebraic structures. The research is inevitably connected with the production of some graphics. I use graphics as a part of the process to check and verify the code I write to realize algorithms. Several spatial audio compositions will emerge from this project. The project also aims at getting closer to actually share some tools for algorithmic spatialization, IEM being an optimal place to discuss how this could be done.
Bio: Born in Denmark 1967. I studied dance and improvisation at the SNDO Amsterdam. Studied classical singing and music by coloratura soprano Marianne Blok for more than a decade. I have been working in multimedia projects of all sorts and sizes since about 30 years. I am for a large part autodidact in mathematics and programming, but with respect to audio programming I have for sure taken benefit of living in the city of STEIM. My study of mathematics is ongoing, I have especially become fond of areas within algebra, algebraic geometry and number theory. I am an active performer of improvised music, mostly as vocalist and with an electronic setup, but now and then including movement / physical theater. In the recent years the creation of computer music has become very important for me. I have had many presentations of works at international conferences. And the composition of spatial audio works has been a natural extension of my mathematical interests. In many of my works I explore the relationship between consciousness and computation. In short I could say that it is my experience that consciousness lies beyond language, time and algorithm. In the beginning of 2020 I was 2 month at CCRMA, Stanford, as a visiting composer and scholar working on spatial audio. Besides this I have worked a little / on and off - in ecological farming for many decades.
Abstract Control Issues is projected to be a series of installation pieces in which the standard hierarchy of power between control devices to music software or even electronic music instruments is reversed: the controllers are being turned from interfaces into instruments, they are being liberated, removed from their states of passivity and put into a mode of action. In Control Issues, the reversal of power hierarchies is being put into a perceptible form that is playful and meaningful at the same time.
Modern hardware devices for controlling music software do not only have the ability to send data to software in order to control it and - by extension - the music. Very often they allow for the communication to flow in the other direction as well: they allow for the software to send data back to the controller in order to change the state of its control elements. Hence many fader boxes and other controller devices can be remote-controlled by software.
The installation pieces will all deal with topics within the following range: 1. reversal of power hierarchies, 2. machines as performers, 3. reinterpretation of existing and standard hierarchies, 4. transformation of well known forms/phenomena and/or musical pieces into controller-performed interpretations.
Info Maximilian Marcoll, composer, sound artist & performer, was born in 1981; He studied percussion, instrumental and electronic composition in Lübeck and Essen, Germany, lives in Berlin. The focus of his work is the political potential and the semantic contexts of sound and music. Latest works include the series “Amproprifications”, elaborate amplification layers for pre-existing pieces by other composers; and “Interlocks”, about non-hierarchical organisation of collective music making. He has held teaching positions in Bremen, Düsseldorf and Berlin and has given guest lectures and courses at numerous universities and institutions in Europe and abroad.
Abstract Recently it has become possible to store digital data on strands of DNA and to retrieve these data. The long-term goal of the project „Audiovisual Microarrays“ is to use this technology in order to manipulate audiovisual data stored on DNA by means of biochemical processes, and to make it possible to experience these data sonically and visually in real time. As a preparation, the short-term goal of the present project is to investigate possibilities to manipulate moleculobiological data biochemically as a tool for audio synthesis, algorithmic experimentation and live-coding. To this end, so-called microarrays, which make the real-time parallel analysis of biochemical reactions possible, will be used.
Info Kathrin Hunze has studied Arts and Media at the University of the Arts in Berlin as well as Communication Design at the HAW Hamburg. During her studies she was concerned with audiovisual media in space and specialized in trans- and interdisciplinary contexts at the department of modern media. Her topics such as social circumstances and phenomena in natural sciences are approached from design- and art-specific angles and put into a new context. In her conceptual works Hunze does not limit herself to a singular and definitive means of presentation, but experiments with analogue and digital media in space and considers the contextual aspect to be an important additional element.
Project: Material Aesthetics: The construction and balancing of abstract and concrete concerns for the IK
Abstract This project seeks to elicit creative possibilities within a technical framework for the IKO, and in doing so expose more of its affordances for composers working with recorded and synthesised sonic materials, combined. Based on the notion of art as experience, it documents both artist’s and audiences’ journeys, asking what impact movement towards or away from abstract and concrete sounds have, on aesthetic experience. It specifically addresses three-dimensional space through an exploration of the role of context - place - in the construction of a semantics about experience. Its materials - synthesised or organic - are themed around 'the everyday’ natural environment and its phenomena.
Info Angela is an artist, lecturer, and PhD student at Queen Mary University London. Her work draws from the technologies, perception and art of sound in space, to tackle an intersection of the three. In recent years she has been focused on the aesthetics of distance in spatial audio for immersive environments. She has worked in studio, live and location environments, and maintains a commitment to field recording as part of the compositional process. Her explorations centre around natural environments and micro listening.
The interdisciplinary imperatives of spatial audio have shaped her thinking and work, and she values an almost intertextual approach to working across different disciplines (such as conducting listening experiments with ‘ecologically valid’ stimuli - stimuli that have deliberately artistic or performative contexts...and do not stand up well to empirical tests!)
The current interest in 3D sound raises as many quesitons for her as it answers, particularly if one does not take context for granted. With a background in sound as well as image, she is interested in the assumed need for sound and image to synchretise, and adhere to realism. She challenges such notions by foregrounding the aesthetic potential inherent in the medium, and asking whether spatial audio attributes might not instead elicit new ways of listening. What does it mean to listen in three-dimensions?
She has recently worked with a US-based geo-scientist’s infrasonic recordings of the ocean, for an installation to highlight the impact of marine acoustic pollution. In 2017 she co-directed a Sheffield Docfest-shortlisted cinematic VR film, using interactive granular synthesis. Before spatial audio she used surround sound in audiovisual installations. She is working towards her PhD with Becky Stewart and Mark Sandler, both of the Centre for Digital Music and in the Media & Arts Tech programme. She completed her masters in the School of Music & Fine Art at the University of Kent with composer Claudia Molitor and fine artist Sarah Turner. She has lived mostly in London, but other places include New York, Canada, and Hong Kong. When time permits she enjoys running workshops, recording outdoors, and above all else, creating new works.
Abstract Within the project, I intent to pursue what might be called a personal transformation. Coming from a career in computer science and sonification, I am currently located much more in the sound art and design field (interaction design for musical instruments, building sound art interventions with a thematic focus on bio- and environmental art). I am increasingly interested to create a broader bond between these two (or three) fields; I want to integrate my previous occupation (sonification and tangible interfaces) with my current creative practice. Within the five months as a “Music Resident” at the IEM, I will therefore focus on integrating my knowledge on sonification, computer science and tangible interfaces with my current sound art and music practice. I plan to pursue this on three closely related areas:
integrate field recording with improvisational electronic music practice
introduce real-time sonification and its livecode-ability into sonic wilderness interventions
integrate generative behaviour models into my interactive sound sculptures
Info Till Bovermann studied and worked at Bielefeld University where he received a PhD for his work on Tangible Auditory Interfaces. He worked as a post-doctoral researcher on tangible and auditory interaction at the Media Lab of Aalto University, Finland and was the principal investigator/UdK Berlin of the project 3DMIN — Design, Development and Dissemination of New Musical Instruments, a collaboration between UdK Berlin and TU Berlin, funded by the Einsteinstiftung Berlin. Till has been teaching instrument design, dynamic systems and sound technology at international institutions, such as the institute for time-based media, UdK Berlin, Aalto University/Helsinki, Uniarts/Helsinki, IMM/Düsseldorf, and Bielefeld University. With his art works, he addresses relationship of contradictory elements such as urban/nature, digital/physical and algorithm/behavior. Till develops software in and for SuperCollider.
Abstract “24+1 of She” is a multichannel performative sound installation, a dialog between a narrator and 24 chosen women composers; eminent or underground; of the post 2nd WWR history.
It is a site specific work for the IEM cube to be pursued during the 2017 Residency in Graz. “24+1 of She” is centered around the major question of the place of the women and of their voices through the history of music, technology and composition. Invited to play in February ... for the Signale 1100, Stimme und Text, I discovered the great potential of the IEM cube. I could see the manifold possibilities of the cube as a composer. That was the starting point of “24+1 of She”. I decided to build a site specific work, focus on voices, on women voices and on their place in the electroacoustic music history. “24+1 of She” is an opera for 24 loudspeakers, each of them embodying a character. The +1 is the narrator, myself, on stage. In re-staging those 24 characters together with a narrator, the idea is to provoke a discussion between those historical figures and to interweave their story with my personal artistic path, as a woman composer. Working mainly with voice and language, my artistic approach is primarily text based, where music emerges from words and poetry. This narrator position (+1) will bring a performative dimension to this multichannel loudspeaker opera and propose to the public an intimate, personal point of view. The spatialization of the 24 voices is conceived to build a poetic a network among them and to reinforce the content of their ideas, in relation with my approach of composition. The idea is to collect different raw material on the 24 characters. Interviews, recordings, texts, videos and to raise bridges between their words and voices. I want to use as well the original voices of the 24, resynthesizes of their voices (with thoughtful use of technic in respect with the style of each composer) as well as recording of texts written by those women.
Info Born in Paris and living currently in Vienna. She works as a composer and performer. Her compositional output ranges from electroacoustic compositions, live electronic performances, vocal experimentations and visual works. She uses only self recorded material.
Project: "Small Small Things: Music and installation for humans and Drosophila” mit Mitwirkung von Dr. Robert Huber
Abstract Small Small Things: Music and installation for humans and Drosophila is an interdisciplinary performance through which the audience will explore surprisingly deep connections with fruit flies (drosophila). The performance consists in an orchestrated combination of site-specific acousmatic compositions, a digital slide presentation and a series of sound experimentations with drosophila.
Small Small Things is the product of a collaboration between composer/sound artist Reiko Yamada and biologist and fruit fly behavior specialist Robert Huber (Bowling Green State University). As an artist-in-residence at IEM this year, Yamada has been exploring new, hybrid media in her own work, and this performance will take place at IEM's CUBE, using a 24-channel hemisphere audio environment. This premiere performance is made possible with help from the Institute of Molecular Biosciences at University of Graz.
Info Dr. Reiko Yamada is originally from Hiroshima, Japan and currently resides in North America. Her works includes chamber, orchestral and electroacoustic music, sound art installations and interdisciplinary collaborations. In recent years, her work has centered on a research in the aesthetic concept of imperfection in a variety of contexts, all the while maintaining a constant concern for empathy and carefully honest representation of the human and geographical contexts from which she finds inspiration.
Yamada holds a D.Mus in composition from McGill University, and was a 2015-16 Fellow at the Radcliffe Institute for Advanced Study of Harvard University. She is currently the artist-in-residence at IEM (Institut für Elektronische Musik und Akustik) at University of Music and Performing Arts, Graz in Austria.
Project: "Exile and Other Syndromes” – 24-channels sound, 4-channels video
Abstract Object-disoriented Sound: Poetic Intervention in Listening and Meaning-making. We live in an era of pervasive connectivity that triggers perpetual dislocation, where perceptions constantly shift across places into unsettled geographies, producing meanings that at times are arguably independent from the locative sources. As increasingly migratory being, a wandering urban dweller of today’s post-global cities is sensitive to environmental sounds navigating through various urban sites considering them as spatio-temporally evolving but gradually disorienting auditory situations, juxtaposed with real-time spatial information, and memory of another place in another time. The nomadic subject relates to these situations through contemplation, mindfulness and contingent processes informed by an enhanced sense of de-territorialized mobility. ‘Exile and Other Syndromes’ (2015 – 2016) responds to this indisposition of migration, placeless-ness and nomadism – impulses of a contemporary condition that eventually blurs the boundaries between the digital and the corporeal, between local and the global, or between private and the ever growing public domain, helping the nomadic subject to emerge as an elevated, emancipated self. The project intends to examine these contemporary realities manifesting in a live installation-performance incorporating multi-channel sound diffusion, and visualization of field recordings in modulated text. The work considers mindful aspects of de-territorialized mode of listening, and explores its introspective capacity transcending the barrier of immediate meaning to touch the poetic sensibilities.
Info Budhaditya Chattopadhyay is an Indian-born artist, researcher, writer and theorist. He produces works for installation and live performance often dealing with contemporary social issues such as landscape changes, human intervention in the environment and ecology, urbanity, migration and exile. Conceptually, Chattopadhyay’s work questions the materiality, site-specificity and object-hood of sound, and addresses the aspects of contingency, contemplation, mindfulness and transcendence inherent in listening. His artistic practice intends to shift the emphasis from object to situation, and from immersion to discourse in the realm of sound. His sound-works are published by Gruenrekorder (Germany) and Touch (UK). Chattopadhyay is a Charles Wallace scholar, Prince Claus grantee, and Falling Walls fellow, and has received several residencies and international awards, notably a First Prize in Computer and Electronic Music category of Computer Space festival 2014, Sofia, and an Honorary Mention at PRIX Ars Electronica 2011, Linz. He has graduated from India’s national film school, specializing in sound, completed a Master of Arts degree in new media/sound art at Aarhus University, Denmark, and received a Ph.D. in sound studies from Leiden University, The Netherlands.
Abstract If one could touch sound, what would it feel like?
We are constantly touched by sound in the world around us. But it touches us, we don’t touch it. During an Artistic Music Residency at IEM, I propose the development of an interactive installation where participants would be allowed to do just that - touch a sound. Participants would place their hands inside of series of wooden boxes, which are lined with fabric and sensors embedded inside the material. They would push, pull, and stretch the material to manipulate the sounds coming through the headphones. They would be invited to discover what a sound might feel like if one could hold it in their hands.
Info Heather Frasch, is a composer of acoustic and electroacoustic concert music, performer/composer (flute, laptop/electronics & sonic objects), and creator of interactive sound installations and digital instruments. She co-runs mumei publishing, which publishes online journals and monographs that concern text-sound perceptions. She is interested in asking questions and finding the unexpected through a creative practice. By using different mediums, she is able to look at her investigations through various lenses. She is excited when previous notions are challenged and broken, making room for new ideas to emerge.
She holds a PhD from the University of California, Berkeley and further degrees from IRCAM, CNR de Lyon, and Temple University. Frasch was composer-in-residence at the IEM (Institüt für Musik und Akustik) in Graz, Austria (2015) and at the Villa Ruffieux, in Sierre, Switzerland (2017). Other honors include: artist residency at the EMS in Stockholm (2014), the George Ladd Prix de Paris in Composition (2008), International Sergei Slonimsky Composition Competition Prize (2012), and the Nicol DeLorernzo Prize in Composition (2010 and 2008). Her work has been performed at Moscow Autumn Festival, San Francisco Tape Festival, NYCEMF, Mixtur Festival, hcmf//, Akademie Schloss Solitude; and by the Ensemble SurPlus, sfSound, Vertixe Sonora, Adapter Ensemble, BCMP, among others.
Abstract I. Kaki Langit – Foot of the Sky "Flesh = Earth, Bone = Stone, Blood = Water, Eyes = Sun, Mind = Moon, Brain = Cloud, Head = Heaven, Breath = Wind” (Adams & Mallory, Encyclopedia of Indo-European Culture). The piece heard tonight is the first section of a larger work-in-progress based on the transformation of speech into sounding objects with carnal, cultural and environmental resonances. The texts are metaphors, in multiple languages, coupling the human body and the natural environment, aiming to dissolve “the barrier between ‘over here’ and ‘over there,’… the illusory boundary between ‘inside and outside’” (Timothy Morton).
Info Acting Director of the New Zealand School of Music and an active composer, sound artist and researcher whose output encompasses electronic, acoustic and text media, and often intersects these. Recent projects include Anthroposcenes, for counter-tenor Kai Wessel and electronics, commissioned by the Institute for Electronic Music and Acoustics (Graz, Austria), and This Storm Is Called Progress, a multimedia collaboration with filmmaker Grayson Cooke, exploring anthropogenic and geological temporalities. The project was selected as a finalist for the Waterhouse Natural Science Art Prize at the South Australian Museum. My recent writings focus on ecological and material practices in sound-based art.
I teach sonic art and composition at the New Zealand School of Music (Wellington, NZ), where I also direct the Lilburn Electroacoustic Music Studios.