ABSTRACT. What is the first sound you can remember? A group of artists where asked this question and Protosonus is their response. Are our memories of sound distinctly separate from our memories of image? Protosonus is the first in a series of works that explore the relationship between sound and memory. This multichannel spoken work collage encourages the listener to meditate on the nature of sound and memory.

Australian composer/sound designer Ross Williams has written works across a range of styles for theatre, feature film, concert hall, dance, museum installation and interactive media. Since studying composition in Australia and the United States his works have been performed internationally by groups such as the West Australian Youth and Symphony Orchestras and the Australian String Quartet. Most recently his works for award winning films have been shown in festivals around the world. As an Assistant Professor of Sound Design at the School of Art Design and Media (NTU) his research interests range from implementation of audio stimuli to improve effectiveness of robotic motor training to multichannel sound design for experimental film.

ABSTRACT. Particle Waves is a kinetic sound installation inspired by sea waves. The installation comprises of 12 kinetic bowls, servo motors and thousands of metallic beads. Arranged in a 4x3 grid, these bowls are controlled by a wave algorithm, moving them in a wave like motion, at times ferociously, at times peaceful and relaxing. Each of the bowls contains hundreds of metallic beads that form a noise-like sound, when combined with all 12 bowls collectively create a soundscape that reminds us of waves and the sea.

Ong Kian Peng is a media artist who works across multiple disciplines, ranging from media installations to theatre productions, using a media arts perspective as a point of entry. He is inspired by nature and its relationship with mankind. These thematic areas converge into his body of works that are situated at the intersection of art, science and technology. His works have been exhibited locally and internationally in shows such as Sound : Latitude and Longitude @ ICA Singapore ( 2014 ), Solo Show at Arebyte Gallery London ( 2014 ), Siggraph Art Gallery ( 2012 ). In 2015, he was nominated as one of the President’s Young Talent.

ABSTRACT. Benjolin is an electroacoustic composition for eight-channel speakers, in which all the sound materials that have been used are the result of the Benjolin synthesizer designed by synth pioneer Rob Horddijk. The compositional structure is intuitive based on gradual and dramatic dynamic changes, which are represented by random pulses and square waves as offered by Benjolin. An open-source 3D sound algorithm was implemented for the spatialization structure of this piece, which has been realized in the SuperCollider environment. 

Born in Makassar 1988, Patrick Hartono is a young Indonesian electroacoustic composer and intermedia artist. Member of Awahita Nusantara, his art and musical interest is to use technology and scientific approaches as creativity tools. He is also interested in 3-D sound spatialisation, analog/digital synthesis, psychoacoustic, and visual music. Most of his works use sound of Indonesian traditional music instruments, computer generated sound/images, field recordings, underwater photography; transformed, rearranged, modulated by mathematical rules, real time interaction, and controlled random operations. His music has been internationally performed at festival, conference, and venue such as YCMF (Yogyakarta, Indonesia), WOCMAT (Taiwan), Sound Bridge Festival (Kuala Lumpur, Malaysia), ZKM (Karlsruhe, German), IRCAM (Paris, France), NYCEMF (New York, USA), Sines-Square (Manchester, UK), ACL (Yokohama, Japan), Sonorities Festival (Belfast, Northern Ireland), etc. Patrick is currently based in Den Haag and study at Codarts Rotterdam Conservatorium and Institute of Sonology where he is actively involved in local and international electroacoustic, and experimental media scene.

ABSTRACT. The main idea behind the installation, Living portrait: FM Mona Lisa is to create a kind of living portrait joint with electro-acoustic sounds. In this case more than the idea of a theatrical tableau, the effort is to give sounding life to a female portrait. The life has the visual dimension which interacts with the sounds produced by a self-generating Frequency Modulation synthesis system. The sound parameters (Modulation Index, LFO, Amplitude Modulation, Waveforms, etc.) affect the image and vice versa, in a non predictable way. Indeed the installation is designed that there is no possibility of listening to the same sound and/or watching the same image a second time. There is no limit: it can last forever. As a consequence the listener/watcher can stand in front how long she/he prefers, there is not a rule. The portrait of the smiling girl is built upon two layers of a twenty-seconds footage. The video file is read forward, backward and randomly. The sound is built upon two modular, four channels audio, FM/wavetable synthesizers. The living portrait would remind the Mona Lisa and also a lot of works in pencil and charcoal(the sanguigna technique) by the Italian painter, scientist and engineer, Leonardo da Vinci (1452-1519). Here is the idea of the centrality of the human being. Our bodily perception is still in tune with the “vibratory mechanics” of the Universe, despite the domain of technology is becoming more and more pervasive. A former version of Living portrait FM Mona Lisa, has been exposed in Naples (October/November 2012) - Palazzo delle Arti.

Italian musician and composer, Francesco Bossi completed his musical studies in Genoa, Bologna (where he graduated with highest honours in Arts, Music and Show), and Milan (where he graduated with highest honours in Electronic Music). His works have been performed by orchestras and ensembles of international renown. He is frequently invited to participate as a composer at Festivals, Workshops, film music performed live on stage. In 2012 he won the competition of Sound Design The Sounds of Music, as part of the Villa Arconati Music Festival in Milan (Italy). His installations have been chosen for the exhibition Sankta Sango - Palace of Arts, Naples (Italy), 26/10/13 - 11/12/13. Recently, he took part as composer in Diffrazioni Multi Media Festival, Florence (Italy), July, 2014, in the Workshop/Concert Wave field Synthesis, from Sound Design to Composition to Concert Performance, Conservatoires of Padua and Venice (Italy), September/October 2014, in the NYCEMF, New York City Electronic Music Festival, University of New York, New York (Usa), June 2015, in the 41st International Computer Music Conference, University of North Texas, Denton (Usa), September 2015. He also specialized in using the Arp Odyssey synthesizer, which owns an exemplar of 1977. He has managed for years the Palazzina Liberty concert venue in Milan.

ABSTRACT. When We Collide is a collaborative and generative sound installation by Joyce Beetuan Koh, PerMagnus Lindborg, Andrián Pertout, Seongah Shin, Stefano Fasciani, and Dirk Stromberg. The idea for When We Collide sprang from Douglas Hofstader’s metaphor of creativity as the meeting between records and record players, appearing in his 1979 book "Gödel, Escher, Bach: An Eternal Golden Braid". In our case, the records are soundfiles, whilst the record player is a generative system. The player analyses, selects, mixes, transforms, and spatialises the material created by the composers (monophonic and quadraphonic soundfiles). The system negotiates between algorithms that tend towards monotony (in terms of loudness, spatialisation, and frequency spectrum) and algorithms that tend towards variability (in terms of soundfiles, transformations, and scenes). In a nutshell, the installation is a space where sonic ideas collide and co-exist.

Creative Director: Joyce Beetuan Koh Interactive • Sound Designer: PerMagnus Lindborg • Sound Engineer: Yong Rong Zhao

With support from the National Arts Council of Singapore.

Joyce Beetuan Koh (Singapore) writes concert music, works in dance collaborations, creates sound installations and multimedia production. Her music has been performed by BBC Symphony Orchestra, Stavanger Symphony Orchestra, Magyar Rádio Orchestra, Australia Song Company, Nieuw Ensemble, Ensemble Reconsil Vienna, at major festivals, notably, Birmingham Frontiers Festival, Biennale Musiques France and Concertegbougw Netherlands. Her multimedia highlights are ‘Future Feed’ (site-specific dance, 2014, Arts Fission Company at Singapore Design Centre), ‘On the String’ (Lindborg, Khiew, 2010, multimedia, Singapore Arts Festival), ‘The Canopy’ (Lindborg, Yong, sound installation, at 2013 World Stage Design, UK) and ‘Hearing Lines’ (audiovisual, 2013 International Computer Music Conference, Australia). Two piano works are published by the Associated Board Royal Schools of Music. Since 2014, she joins as Vice Dean of Interdisciplinary Studies at Nanyang Academy of Fine Arts, Singapore.

PerMagnus Lindborg (Sweden/Singapore), sound artist and researcher, is assistant professor at School of Art, Design and Media, Nanyang Technological University of Singapore since 2007. A member of the composer societies in Norway (since 1995) and in Singapore, his creative work has been released on ECM Records, Daphne Records, and Ash International. Featured composer at WOCMAT 2012 in Taiwan and a member of ‘freq-out’ collective, he has made sound installations at Stedelijk Museum Amsterdam, Stockholm Museum of Modern Art, and Niemeyer’s French Communist Party headquarters. His research focuses on psychoacoustics, spatial sound, interactive performance and perception. Notable publications include IRCAM-Delatour - a chapter by Lindborg in the OM Composer’s Book 2008; peer-reviewed articles have been published in Applied Acoustics, LNCS-Springer Verlag, eContact, NASS, and in proceedings of SMC, ICMC, ICME, ICMPC and ICAD. 

Andrián Pertout (Australia) has received numerous prizes, notably, Betty Amsden Award, Louisville Orchestra Prize (USA) and Oare String Orchestra Judges’ and Audience Prize (UK). His music has been performed widely by Melbourne and Tasmanian Symphony Orchestras, Orchestra Victoria, Louisville Orchestra (USA), Jerusalem Symphony Orchestra (Israel), Orquestra Petrobrás Sinfônica (Brazil), Orquesta Sinfónica Nacional de México (Mexico), Vietnam National Symphony Orchestra (Vietnam), Orquesta Sinfónica de Puerto Rico (Puerto Rico), Orquesta Sinfónica de Chile (Chile), Logos Foundation Robot Orchestra (Belgium), University of Hong Kong Gamelan Orchestra (China), La Chapelle Musicale de Tournai (Belgium), Oare String Orchestra (UK), Noah Getz (USA), Phyllis Chen (USA), Michael Kieran Harvey (Australia), Ensamble Contemporáneo (Chile), Ensemble MD7 (Slovenia), Quinteto CEAMC (Argentina), Sonemus Ensemble (Bosnia-Herzegovina), Ensemble TIMF (Korea), Omni Ensemble (USA) and Ensemble für Neue Musik Zürich (Switzerland).

Seongah Shin (Korea), composer and sound designer, works in the field of performance arts and computer music. Her music has been performed in Seoul International Computer Music Festival, International Computer Music Conference, June in Buffalo, EMS, SEAMUS, ACL, Seoul Performance Arts Festival, Seoul Experimental Film Festival and many others. Seongah worked as resident sound designer in Missouri Repertory Theatre and Aspen Music School and Festival and residency composer at RPI. She served as a regional director of Asia/Oceania of International Computer Music Association. She holds the position of composition professor in Keimyung University in Daegu, South Korea. 

Stefano Fasciani (Italy) designs, crafts, composes and performs with electronic machines that generate sounds. A member of the Arts and Creativity Lab at the Interactive and Digital Media Institute of the National University of Singapore, his research interests include technologies for sonic arts, sound and music computing, artificial intelligence in human-computer interaction, sound synthesis and analysis, and real-time embedded systems. In his performances and compositions, he experiments novel practices and musical genres on the edge of the modern club culture and multichannel audio.

Dirk Stromberg (USA/Singapore), improviser, composer and music technologist, explores dynamic interaction between performer, technology and performance practice, often questioning how performers interact and perceive technology in improvisation. Designing electronic instrument hardware and software is an integral part of the process and has led to the development of several instruments. His music has been performed in Europe, Asia and the United States including; Ho Chi Minh City, Singapore, Manila, Bucharest, Istanbul, Amsterdam and New York City. He has released two albums with the Turkish improvisation group Islak Kopek as a performer and engineer and his music appears on a number of compilations. His 2008 album, ‘Islak Kopek’, was in the top 20 albums in Turkey for 2009. In de Knipscheer released a two CD set of his composition, ‘Tropendrift’ in 2006, a collaboration with Dutch poet Albert Hagenaars. He was composer in residency at STEIM (Studio for Electronic Instrumental Music) and Brooklyn Center for Computer Music.

ABSTRACT. Rolling Visual Audio is a cross modal performance fusing live collaborative artwork, musical improvisation, digital visuals and audience participation. This multi sensory physical artwork creates an hour long audio-visual composition, a 50m roll of artwork and a sequence of audience contributed words. The legacy of these individual assets is used as the basis of a multi sensory exhibition that revisits the performance and engages with the creative process of the show from new perspectives. The live performance takes place within the physical proximity and on the paper surface of the rolling canvas installation. This installation enables artists and musicians to collaborate side by side whilst capturing, remixing and projecting their work to an audience who respond to the performance by submitting written words that become part of the piece and influence its continual evolution. Working in time and/or on the physical surface of the rolling canvas the performers watch, listen and create; interpreting beats or melody into shape or colour, and vice versa, until this mix becomes an audio-visual composition. Words submitted by the audience are written onto the artwork and recited by the musicians, including the collective imagination of the audience into the collaborative cross modal creative process.

Rob Adlington is a digital artist and conceptual innovator working within the digital sphere. He combines digital techniques with traditional practice to create outstanding work based on collaborative teamwork. His creative practice has evolved across traditional fine art to photography, video, digital animation, generative visuals and live performance concepts. He uses his extensive knowledge of new technologies to harness their aesthetic and workflow into his creative vision.  
As a founder of Looking Sound he has established a following for the collaborative work undertaken by the collective since 2009. He leads creative conceptualisation and artistic direction of Looking Sound projects such as Rolling Visual Audio (lookingsound.com/rva), a live art and music performance concept which has opened the inHouse Film Festival and featured at Hackney Wicked to rave reviews.
Currently, he is Director of Product Design for Sonoport, designing tools that allow the creation of new digital sound and animation experiences.

ABSTRACT. In the world of rock, blues, and popular music, guitarists who pull faces when they play are somehow more entertaining to watch – as if the performer and the audience agree that certain facial gestures enhance the expression of music at key moments. How does this agreement come about? Research in the field of cross-modal perception has shown that humans share systematic linkages between the senses, including vision and audition (for review, see Spence, 2011). Yet few investigations have explored how these linkages relate to per-formance in the creative arts. One theory suggests that artists have stronger inter-sensory functional connectivity, and are therefore able to translate sensory experiences across modalities (Ramachandran, 2003). To test if audiences share sen-sory experiences with performers, we asked participants in an online quiz to guess which of two guitar faces ‘went with’ particular moments in guitar solos. 117 volunteers guessed faces at rates higher than would be predicted by chance, indicating that they drew meaningful information about music from the faces. In addition to presenting the results of the study in a poster format, this demonstration will give visitors a chance to en-gage with the interaction between musical performance and performative gesture, in two activities.

ABSTRACT. A large body of research on connections between sensory modalities has shown that deep connections exist between sound and vision, such that people have a tendency to associate certain sounds with certain visual properties, including line-drawn shapes. While recognising the role of written language in audio-visual associations, previous research has largely considered written language a potential source of bias rather than a means of gaining deeper insights into innate audio-visual associations. In a series of experiments, we looked to ancient and unfamiliar writing systems spanning recorded human history, to explore whether humans have tried to encode certain characteristics of speech sounds in the letters they created to represent them. Our findings have revealed that modern humans can correctly identify unfamiliar letters at levels higher than would be obtained by chance, and that scripts which encode a particular sound with a particular set of visual characteristics tend to have more correct guesses. This suggests that humans share certain correspondences between sound and sight, which transcend both geographical space and historical time. The present multisensory demonstra-tion aims to provide an interactive experience of the powerful connection between sounds and written letters through a series of activities integrating vision, audition, touch and imagination.

ABSTRACT. Opus Palladianum, voice and drums explores relations and contrasts, from those that are clear, such as the juxtaposition of opposites (soft, loud), to those that are ambiguous, such as the juxtaposition of synthetic and intimate. Contrast is created by presenting the voice and percussion elements in a variety of rhythmic, harmonic and technological settings. These organizations illuminate timbral identities, associations that are connected to production processes, and the relationship between an object and its development. Such juxtapositions and superimpositions invite listeners to consider how context, and not just timbre, influences the aesthetics of recorded, sampled, and synthesized sound. The piece creates unity and connections among these disparate elements through its formal construction. As a result, there is connection despite heterogeneity; there is fluidity despite disruption; there is peace despite agitation; there is continuity despite discontinuity.

Scott Barton is an Assistant Professor of Music at Worcester Polytechnic Institute who composes, performs, and produces (electro)(acoustic) music. His interests include rhythm, auditory and temporal perception, musical robotics, and audio production. As a researcher, programmer, and author, he has collaborated with the Kubovy Perception Lab at U.Va. on psychological experiments involving rhythm perception. He founded and directs the Music, Perception and Robotics lab at WPI, which develops robotic musical instruments and software that enables human-robot musical interaction. He co-founded EMMI, a collective that designs, builds and performs with robotic musical instruments. He studied music and philosophy at Colgate University, received his Master of Music in Composition from the Brooklyn College Conservatory of Music, and completed his Ph.D. in the composition and computer technologies program at the University of Virginia. His music has been performed throughout the world including at SMC; ICMC; SEAMUS; CMMR and NIME. www.scottbarton.info

ABSTRACT. sen ni kazamado means air windows for a line. I traveled to get in touch with a certain ”sen” (a line). This piece is the 4th work by the reminiscences of my journey. Every year I head to collect sounds related in a “sen”, after recording I try to reconstruct my own anecdote by these sounds fragments from my memories in the journey.
This year, it was the night of the total lunar eclipse. I was in a quiet place. The moon was floating beyond the railroad crossing. In the train, people looked at the black sky, and watched that the moon was going to be eaten. I recollect a "sen" that was lengthened a little.

Ayako SATO is a doctoral student in Tokyo University of the Arts. She composes and researches electroacoustic music. Her works have been selected for performances at international conferences and festivals including FUTURA, WOCMAT, NYCEMF, SMC, ICMC, ISSTC and ISMIR. She was awarded the third prize of International Electroacoustic Music Young Composers Awards at WOCMAT 2012 (Taiwan), the honorary mention at WOCMAT 2013 (Taiwan), the honorary mention of CCMC 2012 (Japan), the honorary mention of Destellos Competition 2013 (Argentina), the third prize of Prix PRESQUE RIEN 2013 (France) and Acanthus Prize at Tokyo University of the Arts (Japan). She is a board member of Japanese Society for Sonic Arts (JSSA), a member of Japanese Society for Electronic Music (JSEM) and International Computer Music Association (ICMA).

ABSTRACT. We developed an interactive artwork generating images and sounds using the traditional Japanese interior fixture known as Shoji. We used spandex fiber, which is a polyurethane fiber having remarkable elasticity, as a Shoji screen. When we push and expand the elastic fiber using our hand, it generates images and sounds ac-cording to the degree of its expansion and contraction. The images are projected onto the area of the Shoji as a screen touched by a performer. We can enjoy the interaction of the elastic feeling synchronized with the images and sounds by touching the Shoji screen.

ABSTRACT. Rituals is inspired by various ritual processes of different cultures. Some rituals involve elaborate processes, while others are simply daily rituals inherited from the tradition. While most rituals are diversely different, they all engage a sequence of actions according to a prescribed order guided by a mythical belief. This piece takes inspirations and sonic elements reminiscent of the ritual processes and forms a sonic collage that alternates constantly between hyper-real and surreal soundscapes, and creates a multi-layered texture of timbral and rhythmic complexity. Some of the sound sources include air, wind chimes, metals, water, piano resonance and various drum patterns, processed almost exclusively with Cycling 74’s Max program.

Raised in Hong Kong, Kansas City-based composer Chin Ting CHAN has held faculty positions at the University of Missouri–Kansas City and Kansas City Kansas Community College. He has been a fellow and guest composer at the International Computer Music Conference, the International Rostrum of Composers, IRCAM’s ManiFeste, the Seoul International Computer Music Festival, June in Buffalo and the Wellesley Composers Conference, among many others. Awards include those from the Interdisciplinary Festival for Music and Sound Art, the Soli fan tutti Composition Prize, the American Prize, ASCAP, Association for the Promotion of New Music, the Charlotte Street Foundation, Foundation for Modern Music, the MidAmerican Center for Contemporary Music, the Missouri Music Teacher Association, newEar, the New-Music Consortium, the Virginia Center for the Creative Arts and others. His works are published with the ABLAZE Records, Darling’s Acoustical Delight, Melos Music, Music from SEAMUS, the SCI Journal of Music Scores and Unfolding Music Publishing (ASCAP). www.chintingchan.com 

ABSTRACT. I Am Who Am I is constructed from concepts created in two disparate cultural traditions. “I Am” is derived from the statement “I Think Therefore I Am” by Rene Descartes and represents a Western point of view. “Who Am I” is a Zen koan and represents an Eastern point of view. The composition is built around the words being recited in both Chinese and English by a native speaker of each language. All of the sounds in the piece are derived from various processing methods being applied to the spoken words. The fundamental idea behind the piece is to express the oneness of humanity. The piece was composed in 2012. It was awarded the Excellent Achievement Prize at the Musicacoustica Beijing composition competition which was sponsored by the China Central Conservatory of Music in Beijing in October 2012. The piece was accepted into the CSUF New Music Festival – WEALR held in Fullerton, California in March 2013, the ICMC held in Perth, Australia in August 2013, the CICTeM held in Buenos Aries, Argentina in September 2013, Soundwalk held in Long Beach, California in October 2013, the XXXVI International Forum of New Music Manuel Enriquez held in Mexico City, Mexico in May 2014, the New Music Conflagration’s Something Like Frost concert held in St. Petersburg, Florida in December 2014, and the Si15 2nd International Symposium on Sound and Interactivity held in Singapore in August 2015. 

Julius Bucsis is an award winning composer, guitarist, and music technologist. His compositions have been included in many juried concerts, conferences and festivals worldwide. He also frequently performs a set of original compositions featuring electric guitar and computer generated sounds. His artistic interests include using computer technology in music composition, developing musical forms that incorporate improvisation, and composing music for traditional orchestral instruments. He will begin pursuit of a DA in Music Composition at Ball State University in the fall.

ABSTRACT. TBC

ABSTRACT. Sandrome is an experimental audio-visual performance that explores the idea of sand. The primary focus is to use sand as the foundation for the art due to its close connection and fluidity of flow that is similar to human emotions. Both are fluid in nature and do not have a definite volume, which it takes the shape of its mold/skin. Like emotions, sand has the attributes of randomness, thereby being mysterious and symbolic. Inspired by the event of ‘Haboob’; the sandstorm that hit Phoenix, the performance explores the human emotional response that might have been felt by the people living in Phoenix. Moreover, the improvisation of visuals, audio and movement of the dancers in real time creates one of a kind performance. This performance will recreate a desert like perception to the audience. Conceptually, we believe that cameras and video cameras are very important in making memories for us. They are our memory catcher. These memories then make our experience. We would also like to tell the story of the sandstorm that hit Phoenix a few months back and what are the emotions that could be felt by the locals when they experience this. Thus, we used sand as our main ingredient in our project. Sand has properties of fluidity similar to emotion and it is something worth experimenting with. We used the sound of sand as the soundtrack and visuals we captured during a school trip in Arizona as the backdrop of our performance. These performances are accompanied with dancers improvising to the emotions of the sound and our visuals. To get the sound of sand for this project, real sand was used. Throwing the sand around to make different noises as we can, recreating the sound of the sand in nature. The sound is then altered and is added effects. To play the sound live to an audience, we used the MPD26 to assign each drum pad to a different sound of the sand. For visuals, we used MAX MSP to alpha blend two videos together into one and we also altered the saturation, brightness and threshold for the videos. This results in an abstraction of the final video that mimic the look of sand.

Kamarulzaman Bin Mohamed Sapiee is currently a non-award winning indiscipline artist from sunny Singapore. The next sentence in this bio will not describe anything about his recent achievements or success story but instead, ends like this: Kamarul is currently pursuing his BA in NTU’s School Of Art, Design & Media and majoring in Interactive Media. Coming from an interactive background, Kamarul has an arsenal of works, which includes video, installation and photographs. His works challenges the viewers to explore the notion of everyday things into something more and significant. Combining different mediums together into one is also part of the artist exploration in art making. Kamarul got his first world exposure after representing Singapore in the first ever World Event Young Artist at Nottingham, UK in 2012. He will be exhibiting his series titled Facial Codes at the International Symposium of Electronic Art (ISEA) at Vancouver this year. Kamarul also have held several exhibitions here Singapore each year.

ABSTRACT. By chance, I was reading a collection of essays by Morton Feldman, at the same time as an article on Spectromorphology. This got me thinking about the various ways artists apply paint, and their analogues in sound, which formed the basis of the fixed form version of this piece.  A Painting in Sound was created with a combination of modern and vintage analogue modular synthesisers, along with some digital signal processing. Each layer is created by an autonomous system that creates a district musical gesture that has an identifiable shape and timbre, which corresponds to different types of brush stroke that an artist may employ. The interactive version of the piece provides a means for to shape the playback of these layers, via a trackpad, creating a responsive interactive performance system.

Michael Spicer has a B.A. (Hons) majoring in music, and a M.Sc in Computer Science, and is constantly looking for ways to combine these two areas. He has been performing professionally as a keyboard/synthesizer/flute player since the late 1970’s. He was a member of the popular Australian folk/rock group “Redgum” in the 1980’s. In 1995 he co-developed two music edutainment games “Agates, the rock group” and “Agates Virtual Music Machine”. He is currently teaching at Singapore Polytechnic, working on a PhD in composition at Monash University, and performing in Singapore with the improvisation group “Sonic Escapade”.

ABSTRACT. Demo of the synth used to create the piece "Benjolin"

ABSTRACT. A collaboration between animator/programmer Juan Comilo Gonzalez and composer/sound designer Ross Williams, Eterna is a data visualization and animated fictionalization of participants’ location and communication data. Eterna is one and all, her appearance, behavior and musical environment emerge from interactions of those who take part in real-time communications over Twitter. Participants are able to interact with the work by tweeting messages that contain specific key words. These messages instantly trigger animation and music that is associated with the sentiment. The work is recomposed constantly as the order of the musical and animations units change and overlap. 

Juan Comilo Gonzalez, born in Manizales, Colombia (1984) is an independent animator working at the intersection of traditional hand-drawn animation and cutting-edge web technologies. Since 2006 he divides his time between making personal animated films, creative programming, academic research, education and curatorial endeavours. Currently,  he is a PhD student at the School of Art Design & Media, Nanyang Technological University in Singapore. The tentative title of his dissertation is “Data Driven Drawings: An Approach to Autobiographical Animation”, and he is researching approaches in studio practice and theoretical writing, and exploring themes of Internet Art, animated documentary, hand-drawn animation, data visualisation and web technologies.

Australian composer/sound designer Ross Williams has written works across a range of styles for theatre, feature film, concert hall, dance, museum installation and interactive media. Since studying composition in Australia and the United States his works have been performed internationally by groups such as the West Australian Youth and Symphony Orchestras and the Australian String Quartet. Most recently his works for award winning films have been shown in festivals around the world. As an Assistant Professor of Sound Design at the School of Art Design and Media (NTU), his research interests range from implementation of audio stimuli to improve effectiveness of robotic motor training to multichannel sound design for experimental film.

ABSTRACT. Addictive Keys is a commercial virtual instrument, geared towards faithful, sample-based reproduction of electric and acoustic pianos. This demo will describe the instrument engine and effect chains and how it can be used for creative sound design for different contexts, sometimes turning the pianos into something completely different. Martin is a developer and sound designer at XLN Audio and did product design for Addictive Keys, and is happy to discuss UI design, creative workflow for sound design, as well as deeper system design and plugin development (if you are interested!).

ABSTRACT. With assistance from Stefano Fasciani.