Term projects of students of computer music at the IEM
At the end of each semester, computer music students present the work they have been working on in the past months in a concert. These concerts thus not only mark a point in time by which projects should be available in a presentable form, but also provide an important opportunity to gain an overview of what students are working on and to exchange ideas.
Due to the Corona-related restrictions, which make a regular concert impossible, we have decided this semester to present the works on a website, which will go 'online' at exactly the time when the semester concert should have taken place, namely on 18.06.2020 at 19:30.
We would like to thank all students who contributed to this project and especially Batuhan Gülcan, who designed the website and coordinated all contributions. Special thanks also go to Benedikt Alphart, who agreed to moderate and present the individual pieces in a video conference on June 18
Marko Ciciliani, Gerhard Eckel und Daniel Mayer
Between the hand and the matter is inserted a "filter" formed by solenoids that react to the genarative algorithms of two Lindenmayer-systems. Through this interaction a relationship is created between the machine and the outside world.
Tamaas for accordion and fixed media
Accordion : Tobias Kochseder
Tamaas means contact in persian.
exouda III (2020) for fixed media
"exouda III " is the third part of the "exouda" cycle, a cycle of pieces that explores the dimensions of transformation, tension, drift, through a continuous and violent instability. The pieces of the cycle are thought of as the same organism fed each time in a different form. This organism reacts to the material with which it is fed by transforming itself and taking a different form each time. "exouda III" is the form, the transformation, derived from non-standard synthesis processes and DSP operations. For this reason, every sound comes from synthesis in the SuperCollier programming environment, no recordings, plug-ins or a posteriori process has been intentionally used.
Live in the Forest
study no.1 for viola and feedback
Video: Flirty Horse
This work was a collaboration between myself and a dancer (and his collective). The starting point was for me to evaluate some brief physical gestures that he had recorded and sent to me, and interpret them musically. I then showed him how I connected the musical gestures to the physical, and created a fixed media composition inspired by these gestures. I sent the result to him to interpret into a fixed length movement/video piece, but with freedom to interpret the movements in a way that related or not to the original sound/movement gesture correspondence.
Happy New Semester (feat. Daniele Pozzi)
Work in Progress Piece
For this semester concert, I would like to share a piece that is still a work in progress. As such it is totally unfinished. Feedback of any kind is very much appreciated.
The Tyranny Of Heaven
Rework of a piece from 2018, originally composed for 8 discrete audio channels.
Part of “Xeelee Extended”, an Audio-Visual Liveshow with Thomas Wagensommerer.
overexposure, rotations, anachronic systems
This multimedia piece is a combination of game, visuals and sound environments. The visitor can wander between different "spaces" in order to explore them both visually and audibly. The entire scene can be seen as an interactive audiovisual multimedia exhibition.
le feu, la terre, l’eau, l’air [binaural]
Created by splitting „concrete“ signals into 24 frequency sections and controlling the number of audible bands „le feu, la terre, l’eau, l’air“ is a four-part piece, originally planned to be played in the CUBE [spread out to 24 loudspeakers].
Helmut Lachenmann´s Pression as a 2D Platformer. Work-in-Progress
Rechtschreibung [binaural, 360 degree video]
The first trial of subjectively navigable experience.
Virtual 3rd order ambisonics from the virtual CUBE.
Please use Chrome of Firefox as a browser.
Bill B. Wintermute
'The polyrhythmical structures were produced by exploiting game of life controlled recursive-network structures. Therefor the rhythms change in relation to each other. The sound itself is a simple sample of the infamous 909-Kick. Each of the 24 tracks have been processed as input-material for analog 'no-input-' or rather feedback-mixing and afterwards spatialized as segregated channels of the ambisonic-system.
"Monokultur" is at the same time the german word for "mono crops", while it can also be used to describe homogenization in culture. On the other hand Rave-Culture, Techno, Bassmusic - although not totally in mono - is based primarily on bass & rhythm provided by mono-bass-sounds, therefore is "mono-culture". The exploitation of (ultra-)minimalistic structures, similar to that of Steve Reich & Terry Riley, credits their historical importance in emergence of Techno- & House-music, while reducing it even more, by getting rid of tonality for the sake of noise.'
Details zur Open CUBE Konzertreihe unter: http://iem.kug.ac.at/veranstaltungen/open-cube.html