Aaron Einbond’s work explores the intersection of instrumental music, sound installation, field recording, and technology, bringing the spontaneity of live performance together with computer interactivity. Chicago-based Ensemble Dal Niente released his portrait album Without Words on Carrier Records, SWR Experimentalstudio produced his Giga-Hertz prizewinning Cartographies for piano with two performers and electronics for the 47-loudspeaker Klangdom at ZKM in Karlsruhe, and the Académie du Festival d’Aix, and Opera Lab Berlin co-produced his site-specific ambient chamber opera Hidden in Plain Sight in the streets of Aix-en-Provence.
Recent projects include collaborations with Yarn/Wire, TwoNewDuo, loadbang, and the Riot Ensemble. He teaches Music Composition, Sound, and Technology at City, University of London and is Co-Artistic Director of ‘Qubit New Music Initiative’ with whom he curates and produces experimental media in New York.
Alain Bonardi, is a composer, computer music designer and Senior Lecturer in the Music Department of the University Paris 8. He belongs to MUSIDANSE Laboratory, internal team CICM, which stands for Research Center in Computer Science and Music Creation. He also is an associate researcher at Ircam in the Music Practices Analysis team.
His creations are linked to the researches he leads in the framework of the CICM. His research topics deal with spatial synthesis of sound, ambisonic spatialization in 2D and 3D (HOA project) and the realtime collaborative creation (MUSICOLL project).
Alexandros Spyrou is a Greek composer, founder and artistic director of the Delian Academy for New Music. His music has been performed in Europe and the USA by such ensembles as Klangforum Wien, JACK Quartet, Neue Vocalsolisten, MDI Ensemble, Ensemble SurPlus, Musica Nova and DissonArt. After undergraduate studies in Greece, Alexandros studied composition with Michael Finnissy in England, with Beat Furrer in Austria, and with David Gompper and Josh Levine in the USA
The Iranian-French composer Alireza Farhang comes from a family of musicians and began studying music with his father at the age of six. He went on to study the piano under Emmanuel Melikaslanian and Raphael Minaskanian, as well as composition with Alireza Machayeki at the University of Tehran. After successfully completing his university studies, he taught at the University of Tehran and founded his own music school. In 2002, he decided to pursue further studies in composition under Michel Merlet at the École Normale de Musique de Paris. He won the Albert Roussel scholarship, and obtained superior diplomas in composition and orchestration. Alireza persued his studies at the CNR de Strasbourg (class of Ivan Fedele) and had the opportunity to work with Brice Pauset and Joshua Fineberg, Toshio Hosokawa, Hans Peter Kyburz, Olga Neuwirth, Kaija Saariaho and Gérard Pesson, as well as with Tristan Murail, Michael Jarrell and Yan Maresz. He was subsequently accepted to read Musical Composition and Technologies as part of a new European Course (ECMCT) jointly developed by IRCAM, and the Technische Universität, Universität der Künst and Hochshule für Musik Hanns Eisler in Berlin. Traditional Persian music has strongly influenced his work. His training in Western and Persian music has enabled him to combine these two musical worlds. The question of cultural hybridity and the problem of incompatibility between traditional and modern values are a focus of his compositional research. Founder of the Musica Ficta Composition Contest, he also manages A-C-I-M-C (Association for Iranian Composers of Contemporary Music), as well as Resonanta, which consists of composers and musicologists.
Anders Lind is a sound artist/composer and situated as a senior artistic lecturer and researcher at the Department of Creative studies/ Umeå university/ Sweden. Lind creates interactive installations and composes music for orchestras, choirs, ensembles and soloists, preferably in combination with the use of electronics. Many of his later works have been focusing on animated music notation and how to develop his artistic expression by involving novel music instruments. www.soundslikelind.se
From 1994 to 2017 Bruno Friedmann (*1954, Bühl/Baden) was Professor at the Faculty of Digital Media, Furtwangen University.
During his basic studies (in the 1980th) at the Universität Karlsruhe and partly at the Hochschule für Musik Karlsruhe of communication technique, biomedical engineering and cybernetic, he already liked to focus on system theory and cybernetic aspects and its applications to human interaction like perception and making of sound and music, acting and reacting physically and mentally.
His interests and research topics are still within the frame of sound and space perception, cross-modal interactions, system theory, modelling and algorithmic composition. A comprising and exemplary project thereto is his composition Sequenza III spatialized: the music of the composition of Luciano Berio’s Sequenza III, is moved intensively in space, controlled by audio descriptors of the musical content itself. It was performed at the BEYOND festival 2013, ZKM Karlsruhe
Bruno Friedmann was co-founder of the bachelor study Musikdesign, a common project of Furtwangen University and Staatliche Hochschule für Musik Trossingen, focusing on computer-aided music, sound and multimedia enhancement.
Since he had spent a sabbatical at IRCAM 2007 he uses the comprehensive and distinguished IRCAM-Software and mostly Max/MSP to realise his ideas, compositions and musical software projects, which have been performed at Zentrum für Kunst und Medien (ZKM) Karlsruhe, Staatliche Hochschule für Musik, Trossingen, Theater Pforzheim, Le Séchoir, Mulhouse.
Clément Guitard (b. 1986, Neuilly-sur-Seine, France) is a music professor certified by the French educational system in 2014. Following his training in Paris, he has taught at the collège Jean-Baptiste Clément since 2016. This middle school is considered a “priority education” school in the Versailles region. At the school, he is the teacher responsible for culture and leads a chorus involved in several concerts in the area.
In 2017, he won two awards at the CNSMDP: Harmony and Theoretical and Applied Analysis. Guitard has studied with composers such as Claude Ledoux, Fabien Waksman, Pierre Pincemaille, and Bruno Ducol, pianists Yves Henry and Isabelle Duha, as well as the musicologist Claude Abromont.
As part of his doctorate, he wrote on a thesis November 21, 2016 entitled ” La 4X dans Répons de Boulez (1981)” tutored by Alain Bonardi (IRCAM / ICMC) and Jean-Marc Chouvel (IReMus, Sorbonne Paris IV). He spoke on June 12, 2017 at the CNSMDP during a study day, then at the symposium “Manière d’être du musical”, on November 17, 2017 at Saint-Denis Paris 8, and at the Contrepoint / texture seminar on December 12, 2017 (also at Paris 8), and finally at the international doctoral conference of music organized by the Sorbonne in Paris, on April 7, 2018. He will present the poster of his thesis project at the workshops of the IRCAM FORUM on March 29, 2019, and will participate in the seminar by Alain Bonardi, Analysis, re-coding and appropriation of the electronic part of the works of mixed music, on April 15, 2019.
Davíð Brynjar Franzson
Davíð Brynjar Franzson is a freelancing composer based in New York. Recent projects include the release of the Negotiation of Context by Yarn/Wire on WERGO; the cello concerto on Matter and Materiality, commissioned by the BBC Scottish Symphony Orchestra and the Icelandic National Radio’s commissioning fund; longitude, an installation based opera in collaboration with the Reykjavik based artist Angela Rawlings and the Berlin based Ensemble Adapter; and the Cartography of Time, an ongoing exploration of the experience of time, developed in collaboration with gnarwhallaby, Vicky Chow, Mariel Roberts, Matt Barbier & Weston Olencki, Matthias Engler, and Ingolfur Vilhjalmsson.
The Negotiation of Context was selected as one of the ten best contemporary releases of 2014 by the Wire, and has been described as ‘engagingly tactile’ by the NY Times, ‘compelling’ by the Wire and as ‘sonic art that is clearly going places’ by Gramophone.
Upcoming projects include new works for +/-, Ensemble Chromoson, Russell Greenberg, Ryan Muncy, Matt Barbier, as well as a new large scale project with Yarn|Wire. Davíð co-runs Carrier Records—a label for new and experimental music—with Sam Pluta and Jeff Snyder.
David Kim-Boyle is an Australian composer and new media artist whose music has received widespread recognition for its delicately nuanced sonic qualities and innovative use of technology. His work has been performed and presented throughout North America and Europe at various festivals and contemporary music events and he has been a guest artist/researcher at some of the world’s leading computer music research facilities including the Zentrum für Kunst und Medientechnologie (Karlsruhe), the Sonic Arts Research Centre (Belfast), STEIM (Amsterdam), and IRCAM (Paris). His creative practice explores the musical affordances of complex open-forms and non-linear temporal modalities through the use of generative graphic scores created in real-time and his research has been regularly presented at various forums such as the International Computer Music Conference, the Digital Audio FX Conference, SMC, TENOR, and NIME and published in journals such as Contemporary Music Review, Organised Sound, Leonardo Music Journal, and Tempo amongst others. Current projects include a work for the ELISION ensemble with a real-time reactive score, and a work for string quartet featuring the use of an immersive score displayed on Microsoft’s HoloLens.
David Zicarelli is the founder and CEO of Cycling ’74 and has been a driving force behind Max – the interactive programming environment – for the past 30 years.
Out of his house in Santa Cruz, California, Zicarelli coordinates a 100% distributed organization that has produced a series of innovative developments including MSP for audio (1997), Jitter for visual media (2001), Max for Live (2009) and Gen for DSP and shader code generation (2011).
Prior to working on Max and founding Cycling ’74, he wrote one of the first graphical editors for a MIDI synthesizer, the MIDIMAC DX7 Patch Editor with Opcode Systems (1985) and the interactive composition programs M, Jam Factory, and OvalTune with Intelligent Music (1987).
This year at Loop, David will take part in Cycling 74’s multi-channel audio demonstration on stage at EastWest Studio 1. (source)
Edo Fouilloux is Painter, sculptor, and programmer with more than ten years of experience working with teams. He explores perception by designing audio-visual interactive experiences.
His company, decochon is focused on designing playful software.
“We believe that craft and imagination, combined, is powerful. We create projects that inspire you to explore, to create, and to communicate with joy. We are the studio behind MuX.
We Craft Gameplay
From Denmark with Love”
Jan-Marc has a brilliant curiosity that has lead him to study and play with subjects like applied physics, classical drawing, and animation. Now he combines all these skills into powerful, interactive systems.
Frederick Rousseau Biography
Born in Paris in 1958, Frederick Rousseau belongs to the generation that witnessed the beginning of electronic music and the explosion of technologic applications to the entertainment world.
In 1980, he meets Francis Mandin, a young enthusiastic electronic fan, who convinces him to join in the creation of Music Land, a music store in Paris and a laboratory of futuristic electronic instruments.
In 1981, after working on the finalization of the first polyphonic sequenser by MDB, he meets Jean-Michel Jarre, who is looking for a musical programmor capable of manipulating this instrument for his China Tour. This unforgettable experience marks a turn in his carreer. Back to Paris, the adventure continues as he takes part in the recording of the live album « Concerts en Chine ».
Later during this memorable year, he meets Vangelis who is recording in Paris « Friends of Mr Cairo » at Studio Davout.
The following year, Fred is called back to London by Vangelis for the recording of the music score of « Blade Runner » by Ridley Scott. It is the prelude of a complementary work relation that will last for over 20 years.
Back to Paris, in 1984, he will lend his energy and creativity to Jean-Michel Jarre’s « ZOOLOOK » that he will noticeably mark with his imprint.
In 1987, associated with Thierry Rogen, he creates the last french great recording studio : Studio Mega. During four years, he will record the main french artists of the time : Mylene Farmer, Jean-Louis Murat, Louis Bertignac, Indochine, Kassav…
In 1990, Jean-Michel Jarre uses Frederick again to rewrite all the intros of the music for La Défense Concert. This concert will enter the Guiness book of records as the largest audience ever (2 500 000 people).
The year after, 1991, Vangelis moves to Paris and records the album « City » at Studio Mega. Frederick will follow the greek composer to Holland for « Eureka », the european community project initiated by François Mitterand on the theme of Industry and Transport. This imposing concert takes place on the Rotterdam docks of the industrial port and gathers 800 000 people. The Show is transmitted by satellite to all european countries.
Again, in 1997, Fred will join Vangelis in Athens for the opening ceremony of the world championship of athletics. The show is presented in the antique stadium of Panathanaikos to 75 000 people and transmitted by satellite to an audience of 820 000 000 throughout the world.
Meanwhile, Frederick composes the soundtracks for 40 ethno-zoological documentary films and releases in 1999 the collection of 5 albums « Terres de Légendes ».
Vangelis’ project « Mythodea » initiated in 1993, is finalized in 2001. Frederick coordinates the electro-orchestral show starring Jessye Norman and Kathleen Battle and performed by the London Metropolitan Orchestra, directed by Blake Neely. This music was chosen by NASA for the 2001 mission : « Mars Odyssey ».
2004 is marked by Oliver’s Stone « Alexander » of which Vangelis composes the soundtrack and by which Frederick adds a new string to his bow : musical supervisor. This massive project lasts over a year and represents an exceptional experience and a monumental work.
In 2005, Frederick Rousseau signs with Milan-Universal and comes back with a very personnal album : « Tears » which foretells a new turn in his artistic carreer.
In 2007, he works on El grecco movie with Vangelis and Join in 2008 Ircam the institute of reseach in Paris. This new approach offer to Frederick Rousseau an opportunity to design the future of electronic instruments.
In 2010 He created the collection IRCAM TOOLS and IRCAMAX for Musicians and sound designers and gived to music industrie an acces to ircam technologies.
In 2012, we works with Vangelis on « ORPHEDEA » a outdoor concert in DOHA for the opening of KATARA ( cultural center ) a CD and a DVD will be released in 2015.
Giovanni Santini is pursuing a PhD in Music at Hong Kong Baptist University, where he is addressing uses of Augmented and Virtual Reality in music. He has been Visiting Scholar at UC Berkeley at CNMAT and SCET.
Previously got a Master Degree in Composition in Lugano and one in Electronic Music in Basel and the Italian Diploma in La Spezia. Has been also student of G. Netti and S. Sciarrino. Attended to numerous masterclasses with some of the most achieved composers, like W. Rihm, P. Billone, C. Czernowin and many others.
His music has been performed in numerous countries (Italy, France, Germany, US, Argentina etc.) by ensembles as Talea, Phoenix, mdi, Laboratorium, Multilatérale etc. and soloists like M. Cesari, D. Ciampolini, D. Calderone etc.
Guillaume Loizillon lives in Paris and is involved with a range of artistic experiences: electronic music, improvisation, sound poetry, installations, and collaborations. He has worked with Merce Cunningham Dance Company, Barney Wilen, Joel Hubaut, Hector Zazou, Valère Novarina, and others.
– a lecturer in the music department at the University Paris 8.
– co-founder of the label TRACE.
– professor of electroacoustic music at the conservatoire de Gentilly.
Haig Armen is a Designer and Musician living in Vancouver, Canada. In 2010 Haig became a professor and has lead the Interaction Design program at Emily Carr University of Art + Design. His research explores the intersection of design and programming, focusing on data visualization, gestural interfaces and music technology. His most recent efforts are in design-led entrepreneurship and creating new musical instruments using emerging technologies.
Haig’s background is in music and architecture with an extensive career as a professional musician and composer. Over the past two decades Haig has designed interactive work for prestigious clients like CBC, BMW, Chanel & Nokia. As a producer of CBC Radio 3′s groundbreaking online magazine during 2001-2005, Haig has received international design awards including Webby Awards, Prix Italia and Art Director’s Club of New York. When Haig’s not teaching he can be found playing jazz guitar or hacking instruments.
I’m a recent graduate student primarily interested in the evolutionary origins of music and the psychoacoustic testings to measure individuals’ musical ability. During my Popular Music undergraduate at Goldsmiths, University of London, I became interested in the psychological aspects of music and this led me to complete a masters on Music, Mind and Brain. Currently, I’m working with Daniel Müllensiefen to develop a psychoacoustics test using Max MSP to assess timbre (instrumentation) discrimination ability among musicians and non-musicians.
I am a professional musician and I have a master degree in music, I am seeking for doctoral opportunities.
I spent the last 5 years as a professional musician, working on various projects, including my solo music project and music education. I have recently completed my master’s degree in music from Istanbul Technical University, Centre for Advanced Studies in Music MIAM. I received training on western music and jazz theory, musicology, ethnomusicology, orchestration and music business.
My research interests range from music cognition to improvisation, composition, performance practice, language, communication, speech prosody and speech melody.
J.J. Burred is an independent researcher, software developer and musician based in Paris. With a background in machine learning and signal processing, his work aims at developing innovative tools for music and sound creation, analysis and search. After earning a PhD from the Technical University of Berlin, he worked as a researcher at IRCAM and Audionamix, on topics such as source separation, automatic music analysis, sound classification, content-based search and sound synthesis. His current main activity concerns the exploration of machine learning techniques for new methods of sound analysis/synthesis aimed at musical creation.
Jakob Gruhl & Stephan Kloss
Stephan Kloss born in 1985, is the creator of Mazetools. The developer, artist and musician studied Multimedia & VR Design in Halle (Germany) is continuously working on hybrid applications between sound creation and multi-sensual interaction.
Jakob Gruhl born in 1986, is doing administrative and public relation work around Mazetools. The musician and sound designer studied Museology and gives workshops around electronic music for young people.
Jesper Nordin (born in 1971 in Stockholm) is a leading Swedish composer, and one who has garnered considerable international acclaim in recent years. His music, with its powerful emotional impact and traces of traditional Swedish folk music, rock music and improvised music, is broadcast and performed throughout the world. His music is performed by conductors like Esa-Pekka Salonen, Daniel Harding and Kent Nagano and musicians like Martin Fröst and Diego Tosi. His orchestral pieces have been played and/or commissioned by such orchestras as the Orchestre Philharmonique de Radio France, BBC Scottish Symphony Orchestra, Sinfonieorchester Basel, Royal Stockholm Philharmonic and the Swedish and Finnish radio orchestras.
He is also included in the repertoires of several of the world’s foremost contemporary music ensembles, amongst them, Ensemble Recherche, L’Itineraire, Ensemble Orchestral Contemporain, Quatuor Diotima, Talea and The San Francisco Contemporary Music Players.
His iOS apps Gestrument and ScaleGen are used by musicians and amateurs in many different genres.
José Augusto Mannis
Composer, electroacoustic performer, sound designer, radio producer, acoustics consultant, university professor and researcher. He studied music in Brazil (UNESP) and in France (CNSMDP) with Michel Philippot, Philippe Manoury, Conrado Silva, Guy Reibel, Daniel Teruggi and Laurent Cuniot. Master at the University of Paris VIII with Daniel Charles. PhD at Unicamp with Jonatas Manzolli. Post-Doctorate at UFF_Federale Fluminense University (Rio de Janeiro) with Tato Taborda. Worked at the Ensemble of the Route (1983-1987) INA / GRM (1987-1989). He has set up a branch of the Documentation Center for Contemporary Music (CDMC-Brazil / Unicamp) in Brazil, which he coordinated from 1989 to 2006 and continues to operate. He teaches composition, counterpoint, acoustics and audio technology and conducts research in the fields of music, creative processes, audio engineering, room acoustics, bioacoustics and librarianship. Ila idealized and coordinates the LASom – Laboratory of Acoustics and Sound Arts of the Music Department of the Arts Institute at Unicamp. Since 2008, she collaborates with the sound artist Janete El Haouli on radio performances of sound art, as well as the coordination and production of the Brazilian session of radio documenta 14 (Kassel-Athens) in 2017.
Llorenç Prats, born in Ibiza (Spain) in 1990, has been trained as a pianist and performer and actually develops parallelly several activities in music as teaching (chamber music associate professor at the Music University in Mallorca), studying/research (DLA in music performance at Franz Liszt Academy in Budapest) and improvisation/technical research with a set-up of piano+live electronics in mind. He studied composition for two years at the Franz Liszt Academy, doing a complete course of live electronics with Prof. Bálint Bolcsó. Among his sources of inspiration and concepts in this field we can find fractals and recursive processing, feedback, electro-acoustic phenomena, spectral processing and artificial intelligence.
Marco Bidin is a composer, organist, and harpsichord player.
After receiving his diploma in organ at the Conservatorio of Udine, he specialized in early music and organ at the MH Trossingen. He also earned a Master’s degree in contemporary music, composition and computer music at HMDK Stuttgart, where he is currently working as the tutor for the Studio for Electronic Music under the supervision of Professor Marco Stroppa.
He has given lectures and courses, has performed as a soloist in Europe and Asia, his compositions have been performed in Germany, France, Portugal, Italy, Canada, South Korea, and China, and he is pursuing a research-based PhD in music composition at the University of Huddersfield.
Marco Bidin is the founder and artistic director of the ALEA, a not-for-profit cultural association based in Italy.
Marco Antonio Suarez-Cifuentes
Born in Colombia, Marco Suárez-Cifuentes is a composer and a live electronics designer and performer. He studied at U. Javeriana de Bogotá, CNSMDP, IRCAM and the Royaumont Foundation. In 2017, he obtained the degree of Doctor of Arts and Creation, SACRe (ENS-ED 540 – PSL) / CNSMDP. His doctoral research entitled “Interactions, articulations and poetics of the instrumental, acoustic and electro-acoustic space”, was directed by Frédéric Bevilacqua (IRCAM) as well as by Stefano Gervasoni and Luis Naón (CNSMDP).
His music has been performed in Europe and Latin America by the musicians of the EIC, Le Balcon, Multilaterale, Itineraire, EOC, Instant Donnée, XAMP, Vortex, Contrechamps, Onyx, Decibelio. Since 2003, he has been artist-in-residence at GMEM, CMM of CENART in Mexico, MIA d’Annecy, Muse en Circuit, GRAME, Studio Art ZOYD; leading composer for Transforme 2008 (Royaumont); and composer in the IMTR team at IRCAM in 2010. His work is supported by the Ministry of Culture and Communication, IRCAM, Radio France, Voice News, SACEM the Ministry of Culture of Colombia , the Carolina Oramas, Mazda, Meyer and Tarrazi Foundations.
Suárez-Cifuentes taught composition at CRD Romainville and Laval (2008 – 2016). He is a visiting professor of composition at U. Javeriana.
Since 2017 he collaborates with the director Nieto on a visual and lyrical opera REVELO. He is a laureate of the PRRA of IRCAM and ZKM (2018-2019).
Matt is a musician/sound-artist based in the UK, he is co-founder of Call & Response, one of the UK’s only independent sound spaces. He has performed and exhibited nationally and internationally in countries including Austria, Brazil, Portugal, Serbia and the USA, in festivals and venues such as Whitechapel Gallery, Turner Contemporary, Café Oto, Tate Modern, MK Gallery and Centro Cultural Sao Paulo.He leads the Sound Pathway at the Royal College of Art in London
Fredrik Mathias Josefson
Fredrik Mathias Josefson holds a Master of Fine Arts from the Royal Institute of Art in Stockholm, a Master of Science from the Royal Institute of Technology in Stockholm. Currently, he is finalising a Master’s Degree in Electroacoustic Composition at the Royal College of Music in Stockholm with a focus on music spatialized through high-density loudspeaker arrays. He has also recently embarked on artistic research at the Hochschule für Musik und Theater Hamburg. He is a member of Fylkingen and active at Elektronmusikstudion (EMS). He has for many years been active in the international experimental and electroacoustic music scenes with over thirty album releases and over one hundred concerts.
Michelle Agnès Magalhaes
Born in Brazil, her music explores the limits between gesture and writing, composition and improvisation. In 2003, she was awarded a Unesco-Aschberg fellow. Between 2009 and 2011 she joined the improvised music ensemble Abaetetuba as pianist, and played in duo with Celio Barros. After studying at the University of Sao Paulo, she received regular compositions lessons from Salvatore Sciarrino (Accademia Chigiana di Siena and Conservatorio Statale di Musica, Latina). In 2014-2015 she joined the IRCAM’s Analysis of Musical Practices Team (APM) as part of the GEMME project (Musical Gesture: Models and Experiences). The following year she worked on a post-PhD musical composition project “À double Entente: The invention of dialogue writing – improvisation” (IRCAM’s Musical Representations team – RepMus / UPMC). She has collaborated as a composer with numerous ensembles (Abstraï, Percorso Ensemble, Arsenale, Accroche Note, Promenade Sauvage, ECCE, Bahia Blanca Soloists, Quarteto Prometeo, Flame Ensemble, Ensemble TaG Neue Musik, 20° dans le noir, Talea Ensemble, Ensemble L’Itinéraire and Ensemble Multilatérale). Since 2016 she collaborates with Béatrice Sauvageot in many projects that combine music and neurology, and in DysOrchestre, an ensemble of improvised music.
The work of Nadine Schütz (((Echora))) connects landscape architecture, environmental acoustics, music and psychoacoustics. Exploring the role of sound in landscape perception and design through both practical artistic creations and theoretical research, she carries out projects at various scales. Be it the implementation of audio installations, or the design of acoustic atmospheres and spatialities, her work combines technique and poetry and thus accompanies reflections on urbanity, humanity, landscape and society.
For four years, Nadine Schütz has been heading the MediaLab of the Institute of Landscape Architecture at ETH Zurich alongside Christophe Girot. For her design approach on landscape acoustics, she received the Young Researchers Thinking the Contemporary Landscape awarded 2013 by the Volkswagen Foundation. Her work has been installed in the Migros Museum for Contemporary Art (Zurich), in the Moscow Museum of Contemporary Art, at 3331 Arts Chiyoda (Tokyo) and during the Long Night of the Zurich Museums. In 2018, Nadine Schütz works, amongst others, on the forecourt of the new courthouse at Porte de Clichy in Paris, with Moreau Kusunoki, a land sound promenade for a 300 meters bridge in Saint-Denis by Marc Mimram, and an exhibition scenography about street life in Senegal. She collaborates with the Kyoto Institute of Technology on a repertoire of sonic elements in traditional Japanese gardens, and with BASE paysagistes on the renovation of the Place de la Défense. At ETH Zurich, she has recently accomplished her doctoral thesis on «The Acoustic Dimension of Landscape Architecture», which included the installation of a new lab for sonic landscape spatialization.
Nadine Schütz, born 1983 in Switzerland, lives in Zurich and Paris. She graduated in architecture at ETH Zurich with a diploma on urban landscape design, and complemented these studies with courses in acoustics and music at the ETH Signal and Information Processing Laboratory and at the Institute for Computer Music and Sound Technology at the Zurich University of the Arts. Thus, she has assembled a versatile set of conceptual, artistic and technical skills that allow her to operate towards a new field of environmental art that might be called the work of an architect of sound.
Núria Giménez-Comas studied piano and then composition in Barcelona with Christophe Havel and Mauricio Sotelo. After a one-year exchange in Geneva she continued studying for her Master’s degree in Mixed Composition at HEM in Geneva with Michael Jarrell, Luis Naon, and Eric Daubresse. Her final thesis examined points of sound perception as a “sound image” concept, masking effect, and sound illusions. Highly interested in mixed-music composition she took part in Cursus 1 and Cursus 2 at IRCAM. Her final project was carried out in collaboration with Royaumont on the subject of sound scenes and used spatialization system in 3D ambisonics. Interested in working with images she has was selected to take part in the ManiFeste academy’s In Vivo Video workshop working with images by Dan Browne. She continues the work on the space dealing with spoken voice and re-synthesis. Her acousmatic pieces have been played in several festivals such as Archipel (Geneva) and SON (Madrid). And her instrumental and mixed music pieces have been played by musicians such as Harry Sparnaay, Klangforum’s Wien trio, Ensemble Contrechamps, Brussels Philarmonic, Diotima Quartet. She has won several presitigous awards including the Colegio de España (Paris)-INAEM Prize, First Prize of International Competition Edison Denisov. She has also received commissions from Proxima Centauri Ensemble with “Aide à l’écriture” of French Ministry of Culture support, Radio France, Grame-Ircam among others. She works as an electronic performer in a selection of ensembles such as Ensemble Diagonal.
Omar Costa Hamido
Omar is a composer, sound artist, and performer working primarily in multimedia and improvisation. In 2013, he earned his Master’s degree in composition and music theory at the Escola Superior de Música, Artes e Espectáculo (ESMAE-IPP Portugal) where he conducted research on the relations among music, painting, and compositional processes. He is currently pursuing his PhD in integrated composition, improvisation and technology at University of California, Irvine. www.omarcostahamido.com
Per Anders Nilsson
Per Anders Nilsson professor in music and media at Academy of Music and Drama at University of Gothenburg. Improvising musician and composer. Studied saxophone and electroacoustic music from 1981-87 at the University of Gothenburg. In 2011 Nilsson defended his doctoral thesis A Field of Possibilities, which is about designing and playing digital music instruments in improvised music. Nilsson has been played at several ICMC, and was music coordinator for ICMC 2002 held in Gothenburg, has been commissioned at GRM, Paris, and has also been a visiting scholar at CNMAT in Berkeley, CREATE in Santa Barbara as well as CCRMA at Stanford. Nilsson and Palle Dahlstedt are currently running the research project “Systemic Improvisation” supported by the Swedish Research Council. In the 70s and 80s he managed his own jazz bands as well as performed occasionally in other constellations. In 2009 Nilsson toured Sweden with the legendary saxophone player Evan Parker with his group Beam Stone. In 2014 duo pantoMorf toured with British group AMM in Sweden. Nilsson has released several CDs since the nineteens: the solo CD Random Rhapsody in 1993, the group Natural Artefacts released CDs in 2001, 2005, 2014, and 2019 plus Strings and objetcs with Nilsson/Sandell, Duo duo pantoMorf with Palle Dahlstedt (www.lj-records.se), in 2008 and in April 2009 with Beam Stone on the English label PSI.
Self-taught composer Philippe Olivier is also an iconoclastic bandoneonist who combines acoustic and electronic elements in his works. His professional career led him from traditional music to composition for dance, circus, theater, and the composition of contemporary and experimental music.
Philippe Ollivier is also creator of his own performances: Toco la Toccata, concert for bandoneon and Logelloop, Le Carlonéon, a film-concert in a caravan (a part of the repertoire since 2009, over 100 performances), OstinatO a mixed-music concert with the saxophonist Yannick Jory (a part of the repertoire since 2006, over 60 performances), Tubulus, a performance for children, and others.
He and the engineer Christophe Baratay programmed Logelloop, software dedicated to real-time sound creation featuring a powerful script editor enabling event automation. This is the main tool used in his artistic creations.
Philippe Ollivier is the artistic director of Logelloù, a center for artistic exploration and creation in Penvénan, Côtes-d’Armor, France. Logelloù is a space centered on the development of new tools for sound fabrication and diffusion, welcoming artists year-round.
In parallel to his research on new digital technologies, Philippe Ollivier focuses on the diffusion of works to the general public, conceived and constructed a circus auditorium—the Sonophore—in which he shows sound installations such as Opium ou Alea (in 3D), Photo-sound installations (P.O.I.S, square installation), or concerts.
Renaud FELIX est professeur de saxophone et ingénieur électronicien en développement et expérimentation.
Après un double cursus d’étude au conservatoire et à la faculté des sciences et de Montpellier, il obtient un D.E.M de saxophone classique/contemporain et un Master 2 en électronique des capteurs.
Il complète sa formation en participant à des Master class de musiques improvisées, notamment le Soundpainting, discipline qui l’intéresse particulièrement, et dont il obtient un certificat d’étude. Il suit également un cursus de composition et informatique musicale au conservatoire de Montpellier. Il débute la réalisation de l’application Virtual-Soundpainting pour son projet de fin d’étude, et obtient le C.E.M avec mention.
Il continu le développement de l’application Virtual-Soundpainting durant 3 ans, et perfectionne sa technique de programmation sous Max 7. Ce projet abouti à des interventions de formations pour les conservatoires de Montpellier et de Narbonne, ainsi qu’à la mise en place d’un atelier hebdomadaire pour l’école de musique de Pérols.
En 2019, le projet Créa-Mosson sollicite ce projet pour plusieurs interventions de formations et d’expositions sur le thème du Soundpainting.
Membre du groupe de musique électroacoustique de Montpellier ELEM, il effectue aujourd’hui un travail de recherche autour de la composition électroacoustique pour ensemble de laptops en lien avec les musiques improvisée.
Richard Albert Bretschneider
Richard Albert Bretschneider (born 1983 in Germany) works internationally in the fields of user experience and music composition. He studied computer science and communication at the RWTH Aachen University (Germany) and the Universidád de Cádiz (Spain). As a specialist for mobile, web, and musical applications he constantly is exploring and researching in the fields of gestural controllers, tangibles, and sensors. Richard speaks regularly at conferences like HCI International in Los Angeles, World Usablity Day, Mobile UX London, or Designing Interfaces for Creativity at the University of Sussex. His latest UX and/or music projects took place in inspiring metropoles like Los Angeles, Chicago, Paris, Havana, and Berlin.
Robert B. Lisek
Robert B. Lisek is an artist, mathematician, and composer who focuses on systems and processes (computational, biological, social). He is involved in the number of projects concentrated on radical art strategies, storytelling, and tactical media. Drawing upon conceptual art, software art, and meta-media, his work intentionally defies categorization. Lisek is a pioneer of art based on artificial intelligence and machine learning. Lisek is also a composer of contemporary music, author of many projects and scores on the intersection of spectral, stochastic, concrete music, musica futurista, and noise. More: http://fundamental.art.pl
Electroacoustic music composer, sound designer, teacher and researcher in electroacoustic music and sound design. Research topics : spatial sound, kinetic music, audiographic navigation, multimodal interfaces, topophony…
Born in Paris (1958)
Studied CNSMP with Pierre Schaeffer 1978-1981
Theater and computer interaction practice
Teaching and research
Electroacoustic music composition professor (1983-1999)
Professor in charge of the sound design studio of the National Superior School of Industrial Creation (ENSCI – Les Ateliers) since 2000.
Rosalía is a Mexican electroacoustic composer and electronics engineer. She is currently a member of the Mexican National System of Art Creators. Her research is focused on multi- channel composition using state-space models for sound synthesis and transformations. She studied composition at the “Conservatorio de las Rosas” in Michoacán Mexico. She completed a MSc in Electrical Engineering at the UMSNH University in Mexico in 2010. In 2012 she received the prestigious PDS award from the University of Manchester, where she completed a PhD in Music at the NOVARS Research Centre in 2016. She has presented her works in various international festivals such as the Ars Electronica, “Sines and Squares Festival”, MANTIS festival at the University of Manchester, SONORITIES festival in United Kingdom and Kling Gut 2018 in Germany.
Students from the Royal College of Arts
Alexia Charoud, Arman Ataman, Mariam Bergloff, and Zohar Dvir: four MA Sound Design students at the Royal College of Art in London. Charoud a music producer and sound designer from Paris, Ataman a multidisciplinary artist focused on sound design from Turkey, Bergloff an electroacoustic music composer from San Francisco, and Dvir is an audio visual designer from Tel Aviv.
David Glück is a musician, audiovisual designer and artist. His work encompasses several activities – immersive storytelling, photography, moving image and digital media design with a focus on sound, trying to engage audiences in new ways.
From a very young age his interest was guided towards music. David is increasingly interested in exploring the boundaries between music, sound and noise but also new technologies to expand the concepts of musical expression and experience to evidences critical engagement with the complex and fast-moving context of digital and post- digital cultures.
Dimitris Menexopoulos (a.k.a. Menex) is a versatile Composer, Sound Designer and Audiovisual Technologist from Thessaloniki, Greece. Having an academic background in Geosciences, Electronic Production and Design, his projects often draw elements from both the Arts and the Sciences. He has two solo albums under his name and various performances internationally. His numerous collaborations include Robert Rich, George Kallis and Nico Mastorakis among others. He is currently based in London, UK.”
Vinicius Giusti is a PhD applicant at Brunel University, London supervised by Jennifer Walshe and John Croft. He studied composition in Curitiba and at the HFK-Bremen, likewise electronic music at the Conservatorio G.B. Martini in Bologna. Giusti’s research is currently focused on compositions using indeterminacy, experience, improvisation, and relational aesthetics. His collaborative composition work combines these conceptual practices with live-electronics for multichannel diffusion systems.