program ws 20/21

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.

As it was already the case at the end of last summer, due to Corona-related restrictions, we have decided this semester to present the works on a website, since it is not possible to organize concerts .

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 Ina Thomann, who agreed to moderate and present the individual pieces in a video conference on January 27.

Marko Ciciliani, Gerhard Eckel und Daniel Mayer

Roma Gavryliuk | redux dat

A million little fibers© in three parts

Sepehr Karbassian | tābesh ii

tābesh means the radiation of light in persian.

Dominik Lekavski | Margo

Tommaso Settimi | Exouda IV

"exouda IV " is the fourth part of the "exouda"cycle, a cycle of pieces that explores the dimensions oftransformation, tension, drift, through instability. The pieces ofthe cycle are thought of as the same organism fed each time in adifferent form. This organism reacts to the material with which itis fed by transforming itself and taking a different form eachtime. "exouda IV" is the form, the transformation, derived fromadditive synthesis and distortion processes.

Peter Stiegler | Mirrorline

A piece made with additive synthesis, deliberately using very high frequencies in order to achieve aliasing. This folds back parts of the harmonic series in the sounds and creates more complex timbres.

Lino Leum / Ina Thomann | vor punkt ungenau

"Tiefe Glocken
vor punkt ungenau;
stürmendes Zweirad
inmitten grün und blau."

"  - .. . ..-. . 
--. .-.. --- -.-. -.-. . -.  
...- --- .-.  
.--. ..- -. -.-. -  
..- -. --. . -. .-- ..-  
... - ..-- .-. -- . -. -.. . ...  
--.. .-- . .. .-. .-- -..  
.. -. -- .. - - . -.  
--. .-. ..-- -.  
..- -. -..  
-... .-.. .-- ..- "

Trompete und Flügelhorn erzählen diese Geschichte in Morsecode.
Die Elektronik bahnt sich ihren Weg, überrumpelt die beiden und erzählt die Geschichte zu Ende.

Trompete & Flügelhorn: DreadLex

Anzor Ghudushauri | Etude2@graz

The piece is based on improvisation. It uses Karplus-Strong string synthesis and my voice as core "input/material

Pause

Black Unicorn | Tannhauser Gate [livestream]

Pablo Mariña | OER AT 02 (synthesis feedback emulation)

(24 channels binaural) 

"About vegan stuff…”

Jürgen Mayer | A23 

A23 is the identification number for a city motorway in Vienna. With an average of 170,000 vehicles per day, it is the busiest road in Austria.
It symbolizes the opening up of public space, creates connections and impressively shapes the landscape and cityscape. It is a road that never rests, regardless of the time of day,
night or season. As a structurally static element, it functions as a prerequisite for constant flow and movement. Statics and dynamics merge into one.  

 | LOCKDOWN

< the title speaks for itself >

Anna Maly | Inside the Machine

"Imagine you are sitting inside a machine. Huge blades are rotating around you and you find yourself in the middle of a centrifuge. Motors are running, are evolving, are transforming. Using the room as an instrument to create the feeling of sitting inside a machine was the main idea of this project. Every sound, every effect had it's special location, it's own movement from the very beginning. The whole project was done in supercollider, with every synthesizer having a location signal as an output. When the room was canceled, I had the feeling, a dimension is missing, so this led me to do this video. It is a weak compensation, at least it should have the function of keeping the listener concentrated during the piece. Hoping the video doesn't steel too much attention, I recommend to wear headphones."

Fabien Artal | friction-resonance 

friction-resonance is an attempt to experiment with concrete sound objects and their ephemeral nature in order to create continuity.


It uses, except for the (very) short noise wall, exclusively recordings from a bowed candle-holder.

miles  | contraire

all sounds recorded in and around Graz with a zoom recorder.

Adelheid Eisl | Elementa

The sounds, I used for this piece are all non-synthetic, without any plugins used while editing. I recorded different sounds in and around my house, and also my own voice. After recording the sounds, I seperated them into four sections - each section for one of the 4 Elements. Therefore the piece itself is also divided in four parts. The recorded sounds were seperated intuitivly, so where I could personally see an association with a certain element.

Benjamin Alan Kubaczek | "Forms & Shapes - Experiments 1 - 4" (2020/21)

 "Forms & Shapes - Experiments" is a Musique Concrète style work consisting of 4 parts, each based on the same form and arrangement shape, yet played back with a different recording.
The idea for "Forms and Shapes" came from an error: while working on a piece, I started to rearrange the folders on my PC. Doing that, my DAW lost the routing to the recording I was using. Nonetheless, after accidentally re-routing the arrangement to a different recording, the piece still worked within itself. This led me to the conclusion that if the form and arrangement shape still worked after that re-routing, the piece might also work in multiple versions. “Experiments” is a direct result of this error. The goal was to get the most out of a single recording.
For this concert I invite you to listen to 2 of the Experiments (Exp 1 & Exp 2), if you're interested in more, I'd be happy if you listen to the other parts after the concert.

Hannes Eshear | Diverse Recordings

No Plugins are used. The recorded samples are only manipulated by playing them faster, slower or backwards.

Tian Fu | Homemade Landscapes

This piece is a study of Musique concrète. It begins with the sounds produced by the household stuffs such as mug, paper and plate. Then the sound of water drop appears and associate with the upcoming landscapes: The drizzle, the downpour, a walk on a snowy mountain, and a summer night in the waves of frog croak. There is no field recording at all. Everything is recorded in the bedroom. On one hand, these homemade (artificial) landscapes remind us of the eagerness of the nature outside the door. On the other hand, the making of these landscapes is somehow an ironic action at the time of pandemic and lockdown. 

Anton Tkachuk | Agufemr

Initially, this composition had the shape of a three-voice fugue form. After a short introduction (the tuning fork sound), we can hear the exposition - the theme of the fugue consists of an excerpt from recordings made during one of my "conversations" with a Pug (Mops) - Lilu.
The form is still a fugue – but after I noticed the elegance and expressiveness of Lilu's voice, I decided not to keep the piece captured by the form rules and added accompaniment played by myself with a Celtic harp.

Leonie Patrizia Strecker | Manifesto

This tape piece is part of an ongoing research of the performative qualities of the voice. 

End

Lukas Moritz Wegscheider | Simulacrum I. (VR)

„Da die Spur kein Anwesen ist, sondern das Simulacrum eines Anwesens, das sich
auflöst, verschiebt, verweist, eigentlich nicht stattfindet, gehört das Erlöschen zu ihrer
Struktur.“ (Jacques Derrida)
Instructions:
• Listen with headphones and watch on Fullscreen
• Move camera: Left Mouse Button or 1 finger drag (touchscreen)
• Pan: Right Mouse Button or SHIFT+ Left Mouse Button or 2-finger drag (touchscreen)
• Zoom: Mouse wheel or CTRL + Left Mouse Button or pinch in/out (touchscreen)
• Focus: Click Left Mouse Button
Double-clicking an object will move the camera towards that object and focus.
Double-clicking the background will re-center the model and set the camera pivot point to
the middle of its bounding box.
You can of course also view the VR-Installation with a VR-Set, just click on the symbol in
the lower right corner labeled “View in VR” and follow the instructions.

Details zur Open CUBE Konzertreihe unter:      http://iem.kug.ac.at/veranstaltungen/open-cube.html