Coffee and Pastries [8:30am – 9:15am, department lounge]
Gestural Mapping and Physical Modelling in Digital Instruments [9:15am – 10:45am, Room 9]
- Aida Khorsandi Ardebili, “Haptic Aurality: An Onto-Epistemological Inquiry in Gesture-Controlled DMIs”
- Doug Barrett, “Laetitia Sonami’s Lady’s Glove and the Hand as Digital Interface”
- Michele Ducceschi, “Physical Modelling: Enabling Ideas and Current Directions”
Workshop: Accessibility, Technology and Solidarity: An Emerging Institutional Praxis for Musicking [9:15am – 10:45am, Room 4]
- Nasim Niknafs and Ely Lyonblum
Workshop: Body/ Bodily Resonance [9:15am – 10:45am, Holden Chapel]
- seah (aka Chelsea Heikes)
Organs [10:00am – 12:00pm, Room 6)
- Annie Garlid, “Viral Organs: Materiality and Sacrality in Contemporary Experimental Music”
- Alan van Keeken, “A Democratic Interface for Popular Music?”
- Fanny Gribenski, “The Organ as Colonial Infrastructure: Instruments, Empire, and Maintenance”
- George Rahi, “Phantoms in the Machine: Mediation and the 21st Century ‘Hyper-Organ’”
Politics of Musical Infrastructures [11:00am – 12:30pm, Room 9]
- Raphael Börger, “Smart Musical Infrastructures and “Infrastructuralization” – The Case of the Internet of Musical Things (IoMusT)”
- Daniel Villegas Vélez, “Timbral Manipulations, Determined Unpredictability, and the Anthropocene in a Colombian Sound Installation”
- Brian House, “Macrophone Project”
Analyzing Instrumental Affordances in Contemporary Music [11:00am – 12:30pm, Room 4]
- Noah Kahrs, “Oscillators’ Affordances in Ryoji Ikeda’s and Maryanne Amacher’s Compositional Theories”
- Nathan Cobb, “Becoming Machine Becoming Human: Unstable Interfaces in Kaija Saariaho’s Amers (1992)”
- Mingyeon Son, “Recontextualization of Korean Woman Composers’ Traditional Instruments in the Global Era: With a Focus on Unsuk Chin and Jin Hi Kim”
Workshop: Live-Coding Practices [11:00am – 12:30pm, Holden Chapel]
- Ian Hattwick
Temporalities of Music-Media infrastructure [1:45pm – 3:15pm, Room 9]
- Steffen Just, “Machines that Make Time: Addressing the Technology of the Player Piano and Piano Rolls”
- Florian Walch, “The Record Player as Gateway to Future Extremes: Time Axis Manipulation as Creativity in Early Extreme Metal”
- Christopher Klauke and Valentin Ris, “Interfacing Micro-Time Machines 1900/2000: The cultural techniques of the tonometer and DAW”
Disability Studies and Musical Interfaces [1:45pm – 2:45pm, Room 6]
- Rachel Hottle, “Joni Mitchell, the Guitar/Body Interface, and Musical Composition as Life Writing”
- Stephanie Probst, “From Blind Writing to Hyper-Visuality: Intersections between Music, Dis/Ability, and Tactile Interfaces in (Musical) Typewriters”
Noisy Interfaces [1:45pm – 2:45pm, Room 4]
- Joseph Auner, “Feedback as Interface”
- Richard Beaudoin, “Wax Cylinder Music: Surface Noise as Fluttering Wings in Anna Krushelnytska’s Ukrainian Lament”
Workshop: New Instruments [1:45pm – 5:00pm, Holden Chapel]
- Habeen Chang, “Rhythm Games: Musical Instrument or Controller Without Control?”
- Alyssa Aska, Klaus Lang, Pablo Abelardo Mariña Montalvo, and Martin Ritter, “FRESCOBALDI2: Enharmonic enhancement for keyboard instruments”
- Dan Freeman, “Future Instruments”
- Sabe, “How does the voice, the body and the no-input mixing interconnect in a live audiovisual performance?”
- Alexander Ishov (aka Sasha) and Theocharis Papatrechas, “PrismaSonus: Unmasking and Choreographing Hidden Nuances in Flute Playing via Microphone Placement”
- Luciano Azzigotti and Jack Adler-McKean, “Electroacoustic Resonators in Incursion”
Techno-Vocality [3:00pm – 5:00pm, Room 6]
- Cathy Lucas, “Performing Speech: Voice as Instrument in Wolfgang Von Kempelen’s Mechanical Speech Project”
- Will Mason, “Holly, Plus Whom?: The Holly+ Deepfake and Musical Labor Under Artificial Intelligence”
- Zeynep Bulut, “Biosensing Musical Interface as Tactile Speech”
- Stefan Greenfield-Casas, “Virtual Ventriloquism: The Live-2D Hyperreal”
Networked Communities of Instrumental Theory and Practice [3:30pm – 5:00pm, Room 9]
- Ian Hattwick, “Musicking on the Web: An Investigation Into Current and Emerging Practices”
- Kate Galloway, “Instrumentality and the Digital Animal: Audiovisual Memes, Synthesized Animals, and the Timbral Treatment of the Nonhuman in Viral Media”
- William O’Hara, “Solfeggio Tones: Digital Mythology and the History of Music Theory”
KEYNOTE 3: Infrastructures [5:30pm – 6:30pm, Yenching Auditorium]
- Sumanth Gopinath, “Digital Music Commodity Chains and Asset Chains: Listening to the Warp and Woof of the Capitalist World System” (paper co-authored with Eric Drott)
>> Concerts 3a and 3b [7:30pm and 9:30pm, HYDRA @ Paine Hall]
Both concerts will feature the HYDRA loudspeaker orchestra, but the early concert highlights student improvisations and fixed-media compositions, while the late concert centers on two solo works using live-electronics:
- Hans Tutschku, Herkunft-entschlüsseln-entbehren (2019) for cello and 9-channel live-electronics (w/ Martina Schucan)
- Georgia Spiropoulos, Roll… n’Roll… n’Roll (2015) for harp and electronics (w/ Alex Tibbitts and Frédéric Le Bel)
>> Closing Reception
Audio-Visual Installations [3 Days, Music Building]
- Sebastian Adams, Stolen Music
- Stefanie Egedy, BODIES AND SUBWOOFERS (B.A.S.)
- Weilu Ge and Kelon Cen, FEED 3.0
- Seah (Chelsea Heikes), Conduits of the Hydrosphere: Dinosaur Piss Runs Through Our Veins