.HBC, 18. - 26. September, 14 - 22h
ground floor
Ron Kuivila "Alex at Twilight"
Andre Bartetzki "A Show Case for SC Tweets"
second floor
Marije Baalman "Sonobotanic models"
Jonas Hummel "[PB_UP] - a patchwork portrait"
Jost Muxfeldt "Audio Kinematics"
Hanns Holger Rutz &
Nayarí Castillo "Dissemination"
Víctor Mazón Gardoqui "Interferenzen - Expanded Field"

opening: Friday 17. September, 20h

Großer Wasserspeicher, 18. - 26. September, 14 - 20h
Alberto de Campo, Generative Art class at UdK Berlin & guests:
"Varia Zoosystematica Profundorum - Experimental studies in deep sea communication"
organized by UdK Berlin in cooperation with singuhr e.V.

opening: Friday 17. September, 18h
Ron Kuivila (USA) commission
Alex at Twilight (2010)

A set of pointers mime one hundred years of weather in a kind of electro-mechanical Butoh in an arrangement reminiscent of the garden at Ryoan-ji. The pointers’ own creaking bodies, periodically interrupted by that venerable cliché of electroacoustic music, the mutated bell. That bell lines out the temperature of different years, decades, and centuries in its changing pitch and timbre.
Within the SC symposium, the piece may be regarded as an allegory of the tension between code making and breaking that mark the relation of sound art, computer music, and digital media in general.

Andre Bartetzki (Germany)
A Show Case for SC Tweets (2010)

SuperCollider tweets are short pieces of code limited to the short length of 140 characters (twitter messages). Last year there was a lot of activity around SC tweets, resulting, for example, in an album of 22 pieces, called sc140. In a way, SC tweets are related to the human ambition of avoiding redun¬dancies, like in science where Occam's razor is often interpreted in the sense that the simplest explanation is usually the correct one, or when composers decide to use only limited base material (a sound, a theme) as a starting point but make rich and complex pieces out of them.
My installation is just twittering out to the street what other users have written: several hundred mini compositions, smart algorithms, complex rhythms, compact sounds¬capes, evolving textures, syntactic adventures ...

Marije Baalman (Netherlands)
Sonobotanic models: Periperceptoida Triquetrus Nutandis and - Dependis (2010)

The scientific field of Predictive Sonobotanics attempts to create models of sonobotanic plants with the aim of predicting their behavior and to gain a deeper understanding of the subtleties in sonobotanic plant behaviour. In this exhibition models of the Periperceptoida Triquetrus Nutandis and the Periperceptoida Triquetrus Dependis are presented.
The models make use modern technology: sensors measure environmental characteristics, such as light, temperature, and humidity; these data are used in computational models implemented in SuperCollider; the result is then auralised via the loudspeakers inside the physical model.

Jonas Hummel (Germany)
[PB_UP] - a patchwork portrait (2010)

Many have claimed that ’The computer is the new folk guitar’; if this is so, then PB_UP is the first accoustic computer music folk band: The laptop is their only instrument. Jonas Hummel translated this approach into a documentary film installation and worked out an unusual portrait of this unusual band. On laptops and three projections surrounded by a capturing quadrophonic sound collage, the visitor of the installation walks amidst an interactive environment, which illuminates the creative processes and the musical communication of this contemporary ensemble. Nine multiscreen-videoclips show different perspectives on performances of the "acoustic computer band" PowerBooks_UnPlugged.

Jost Muxfeldt (USA / Germany)
Audio Kinematics (2007)

plays with the idea of kinematic relations in sound spatialization. It utilizes the spatial relations and proportions of a mechanical structure to determine various parameters of a sound composition, and creates a kind of virtual kinetic sound sculpture. The content of the composition is determined by the spatial relation of the sculpture to the listener, whose virtual position is at the center of the mechanical structure.

Hanns Holger Rutz (Germany) &
Nayarí Castillo (Venezuela / USA)
Dissemination (2010)

An audio-visual installation utilizing vertically and horizontally suspended glass plates. They function both as membranes of sound diffusion and as specimen holders for flying seeds, confined to a regular arrangement of petri dishes. The space is conditioned by filtering the daylight. Seeds refer both to their origin and to the potentiality of new live (or death). They symbolise motion or traveling. Dissemination as continuous re-writing, a structure of movement, rather than fulfillment.

Víctor Mazón Gardoqui (Spain)
Interferenzen - Expanded Field (2010)

The visitors of the sound installation Interferenzen - Expanded Field are equipped with small audio receivers and can listen to sounds in the outside area in front of the .HBC. The individual pieces only become audible through the wandering of the visitors, who's constellation constantly varies in position and number. A play between reality and fiction is created in combination with the existing acoustic environment. Students of all disciplines from the Hoch-schule fur Grafik und Buchkunst Leipzig collectively produced and created the contents and technical equipment of the sound installation.
Idea, Concept, Coordination: Max Schneider,Víctor Mazón Gardoqui
Students: Ira Nimsdorf, Christian Schroeder, Peggy Pehl, Laura Wagner, Adrian Sievering, Thomas Janitzky, Martin Rauch, Julius Heinemann, Joana Brunkow, Ronny Bulik, Burkhard Beschow, Katya Lachowicz, Guillermo Fiallo Montero, Stefan Riebel, Simon Reimann, Víctor Mazón, Viktor Brim, Thomas Taube

Alberto de Campo, Generative Art class at UdK Berlin & guests
Varia Zoosystematica Profundorum -
Experimental studies in deep sea communication (2010)

Below 700m in the deep sea, the only light sources are bio-luminescent animals; one can assume that much communication here is acoustic. Inspired by the work of Flusser and Bec, we have developed models for this communication: agents/creatures send symbols to each other, assemble them into longer chains ('words'), and express these words as sound, light or motion patterns. Like some birds adopt melodies from car alarms, our creatures adopt morse code rhythms they may have heard from submarines.

Alberto de Campo teaches Generative Art/Computational Art at UdK Berlin since 2008. This is the first public group project of the class, developed in several coordinated courses.
Alberto de Campo, Hannes Hoelzl, Renate Wieser, Bernhard Bauch, Constantin Engelmann, Dominik Hildebrand, Akitoshi Honda, Florian Kuehnle, Ingrid Ladurner, Karin Lustenberger, Rita Macedo, Naomi Mulla, Sarah Rechberger, Johanna Tauber, Andre Wakko, Christian Zollner, Peter Bartz, Tiago Cutileiro, Annie Goh, Tobias Purfuerst.



Monday 20. September, 20h
(incl. Berlin SC user group meeting)
Tuesday 21. September, 20h
Wednesday 22. September, 20h

The Open Stages at .HBC are an opportunity for informal sessions and performances, last minute presentations, talks, meetings etc.
We will provide power, loudspeakers, microphone, projector, WLAN.
Bring your laptop, controller, ideas, patches, UGens, friends!


Wave Field Synthesis hall H104, TU-Berlin
Thursday 23. September, 19h

John Bischoff "Sidewalk Chatter (Redux)"
Marcus Schmickler "Bonner Durchmusterung"
Bjarni Gunnarsson &
Miguel Negrão "Fallacies"
Alberto de Campo "Reversing Pendulum Music"


Wave Field Synthesis (WFS) is a new technique for sound spatialisation. It aims at a physical reconstruction of sound fields according to natural or artificial models by synthesizing the wave fronts of a defined virtual sound source with the superposition of wave fronts emitted by a closely spaced array of loudspeakers. Thus, the spatial configuration of those virtual sound sources does not depend on a certain listener position (sweet spot), as it is the case with traditional stereophonic techniques such as two channel stereo or surround. Moreover, while stereo setups allow the placement of sounds only on a line between the involved speakers and do not work well for lateral sources, WFS has no limitations concerning the placement of virtual sound sources outside and even inside of the reproduction array.
The WFS hall in the main building of the TU Berlin is equipped with an array of 832 loudspeakes. The system can synthesize up to 42 virtual sound sources located inside or outside the room. Audio is fed into the system in realtime, where the sound of one audio channel represents the sound of one virtual source. The position of the sources can be controlled in realtime using either the softwares GUI or OSC-messages sent from Supercollider or any other OSC-software.
The WFS presentation is organized in cooperation with the Electronic Music Studio of TU Berlin, Audio Commu¬ni¬cation Group.

John Bischoff (USA)
Sidewalk Chatter (Redux) (2009/2010)

employs a STEIM “crackle box” as a sound-making input. As a performer plays the box by touching the circuit’s traces, a computer program analyses loudness peaks and frequency components and generates its own synthesized voices based on those patterns. This version, which was ported to SuperCollider from my original MaxMSP patch by Chad McKinney, adds spatial motions which track the diverse sonic contours within the sounds themselves. Many thanks to Chad for his help.

Marcus Schmickler (Germany)
Bonner Durchmusterung (2010)
Alberto de Campo (sonification), Carsten Goertz (visualization)

The Bonn Patternization takes up the tradition of the relationship between astronomy and music and attempts to attain an epistemological exchange between both. How does one come from a complex series of numbers to an understanding of the objects or even to a consistent phenomenology of the cosmos, and what role could sound play in this? Conversely there is an appeal in deriving interesting acoustic events and musical structures from complex theoretical models of particle physics and astrophysics.
1 Reionization / Dark Ages
2 Solar eruptions
3 Eccentricity of the elliptical orbits of our solar system
4 Historical maps of the cosmic background radiation
5 The Bonn patternization
6 Gravitational models
7 Pulsars / neutron stars
8 Expansion / redshift / dark matter / dark energy
9 Gamma ray bursts
10 Quantum spectrums / multi-dimensionality
Commisioned by International Year of Astronomy and Deutscher Musikrat.

Bjarni Gunnarsson (Iceland / Netherlands) &
Miguel Negrão (Portugal / Netherlands)
Fallacies (2010)

is a collaboration piece between Bjarni Gunnarsson and Miguel Negrão. It concerns the real-time interaction and relation¬ships between gradually evolving sine wave drones and dense, dynamic microsounds. The idea is a journey in an indeterminate direction: a global movement carried by an intense current of en¬folding sound-masses that get disturbed and affected by streams of high-density subatomic events. Fallacies is a multichannel crea¬tion to be performed live on the WFS system.

Alberto de Campo (Austria/Germany)
Reversing Pendulum Music (2010)

Pendulum Music is the only process piece by Steve Reich: hanging microphones swing above loudspeakers; the resulting feedback changes with the time delays and distances. Reversing Pendulum Music turns the idea around: it uses static microphones, and simu¬lates moving sound sources in the WFS system; overall system properties and simulation glitches will influence the sounding result, and the system allows for interventions, such as disturbing the move¬¬ments by changing (simulated) gravity.

Ausland - Concert 1
Thursday 23. September, 22h

Ruben Patiño "3.3.3"
Itaru Yasuda "complex composition"
Scott Cazan &
Jana Papenbroock "I Like Supercollider and Supercollider Likes Me"
Roberto Garretón "From one place to another and the paths in between"
EVOL "Untitled"
Nick Collins "scryptogram"


Ruben Patiño (Spain) commission
3.3.3 (2010)

is a multichannel audio-visual project born within the SuperCollider Users Group in Berlin, developed in large part at NK and finished as part of L´ull Cec residency at Hangar in Barcelona. 3.3.3 is an audiovisual performance based on Super Collider as an audiovisual tool. 3.3.3 explores the rela-tionship in between sound spatialization and live visuals foregrounding the process of sound generation and the textual characteristics of Super Collider. 3.3.3 is a decorative approach towards Real Time Audio Synthesis, Speculative Sound Diffusion, Text Editing and Futile Visuals.

Scott Cazan (USA) & Jana Papenbroock (Germany)
I Like Supercollider and Supercollider Likes Me

is a performance piece exploring ritual acts through technology. Based off of Joseph Beuys' landmark piece, the performance will involve electronic feed-back systems, video, and stage performers among other elements.
Itaru Yasuda (Japan)
complex composition
is a generative audio¬visual concert piece updated every presen¬ta¬tion. The presentation is performed only by execution of a pro¬gram. All sound and graphics are generated in real time by SuperCollider. No real time control (performance) by hand. It completely focuses on computational audiovisual composition. In this work, both sound and graphics are generated simul-taneously with each frame according to same number calculated by a common numerical formula. It creates a new mathematical time axis and brings pure geometric perception to the viewer.

Roberto Garretón (Chile)
From one place to another and the paths in between
A solo performer playing electric guitar with extended techniques and using midi foot pedals to control live processing. The music goes from the ex-tremes of gentle drone loops to aggressive noisy textures, reflecting a contradiction in the search of pleasure. The guitar and the processed sounds work together as an unity, making the whole setup to work as a single instrument. The live electronics are programmed with SuperCollider, 100%, and the length of the piece is about 10 minutes.

EVOL (Spain) commission
Untitled, for Computer
A performance for generative software. Dedicated to David Deutsch and Mike Dearborn. Key words: pattern formation, pattern emergence, gas, dynamic arrays, psychedelia, iteration, constructed languages, radical computer music, rave, slime.

13-8-2-10 2-14-11-11-8-13-18 (20-10)
This work pays tribute to some familiar names from the SuperCollider community, coding them into the fabric of the generative audio. Various mappings are explored, including the 26 notes per octave scale for an English alphabet. The cryptogram solutions are projected live as the piece unwinds, for your delectation.

Kleiner Wasserspeicher - Concert 1
Friday 24. September, 19h

Daisuke Ishida "Erratic Flow"
Paulo Ferreira Lopes "de Profundis II" for violin and electronics
L. Scott Price "Veils"
PyoungRyang Ko "Fantaisie-Impromptu électroacoustique"
for flute and percussion
Olaf Hochherz "Hoffnungsträger"
Fernando Lopez-Lezcano "A Very Fractal Cat, Somewhat T[h]rilled"
Tom Hall & Katy Price "under the yoke", for flute, trombone, guitar, percussion, narrator and laptop

ensemble unitedberlin:
Andreas Bräutigam violin
Martin Glück flute
Daniel Göritz guitar
Florian Juncker trombone
Friedemann Werzlau percussion


Daisuke Ishida (Japan)
Erratic Flow (2010)

This performance project is channel-independent and all sounds are digitally generated. The whole process of the performance is algo¬rithm-based. Continuously throughout the piece, incoherent sound gestures keep overlaying and again distancing from one another, so that at any given moment in time the sound could either be very focused or distracted. This results in an unpredictable inconsistent un¬du¬latory motion of the sound, however accidental correlations may occur.
Paulo Ferreira-Lopes (Portugal / Germany)
de Profundis II (2010) for violin and electronics

De Profundis is one of a series of pieces written for solo instru¬ments, with an additional piece of electronic treatments in real time (live electronics). Profundis II, written in 2010, reports some events of 2004. One of these events would mark deeply my life: the unexpected death of my father. This piece, like almost all my works, does not intend to be a narrative of situ¬a-tions or feelings. However, its structure, sometimes based on thematic patterns, helps to bring out some of my feelings.

L. Scott Price (USA)
Veils (2009)

gets its title from the overall shape of its sonic progression: from distant, slow moving, and indistinct sounds to discrete, resonant, and distinctly pitched material. I liken this progression to a slow re¬vealing of hidden beauty, much like pulling layered veils from a work of art. Within this overall shape, certain compositional de¬cisions are determined at performance time by logic built into the com¬puter playback system. By using this logic, every performance realizes a variety of unique details within the same overall progression.

PyoungRyang Ko (South Korea)
Fantaisie-Impromptu électroacoustique (2009/2010)
for flute and percussion

This piece is composed irrespectively of any established formal schemes using time-based notation and involves improvisation from all performers. The pitch structure in the first few minutes is based on the partials of the tam-tam (model: Paiste 34"), which are also articulated by the electronics and flute. The electronic realisation is performed with prisma sonorum developed by the composer for MaxMSP, SuperCollider and JackOsX.

Olaf Hochherz (Germany)
Hoffnungsträger (2009)

„Hope-carriers“ are small beings of lower duration. They appear and disappear. They follow each other. Sometimes they appear in clouds, dispersed in a landscape. They are similar to each other, perhaps. They create gestures, rhythms, clouds that are stratified and fragmented. They form an associative field. Practically, they are results of contingent, structural operations on sound recordings and the selection of specific constellations. They meet in two levels of production, the machinery of creation and the machine of selection. Two machines, with their own contingencies, but their own deter¬mi¬nation of the music.

Fernando Lopes-Lezcano (Argentina / USA)
A Very Fractal Cat, Somewhat T[h]rilled (2008-2010)

This is the latest of a series of performance pieces for pianos, computer and “cat” (the proverbial cat walking on a piano keyboard). The performer connects through a keyboard, four pedals and two wheels to virtual pianos, directly and through algorithms. Markov chains, fractal melodies, scales and trills are used throughout the piece. The pianos are heard directly, processed using spectral and granular techniques and spatialized using Ambisonics. The software was written in SuperCollider.

Tom Hall (music) & Katy Price (text) (UK)
under the yoke (2010)
for flute, trombone, guitar, percussion, narrator and laptop

combines contemporary narration, algorithmically composed instru¬mental parts (based on Luddite folk-songs) and laptop 8-channel algorithmic melodic synthesis and playback of treated recordings of sounds from the natural and industrial worlds. The piece examines, at different historical and aesthetic distances, the textual and musi¬cal remnants of 200 year old Luddite events in the UK and is a multi-layered reflection on what can be considered the natural and the technological.

Ausland Concert 2
Friday 24. September, 22h

Chad McKinney
& LAG "Neuromedusae II"
Yvan Volonchine untitled
Alo Allik "f(x)"
Mark Rossi "Untitled (parts I-IV)"
Fredrik Olofsson "redUniform"


Chad McKinney (USA) & LAG
Neuromedusae II

is a recent work by Lag that utilizes our custom made Medusa System.
This system allows the performers to collaborate together across the internet to create and manipulate feedback matrices. In particular
Neuromedusae II focuses on feedback between several impulse response based SuperCollider synths. During the performance Curtis McKinney will be present in Berlin while the other members are distributed across the Unites States.

Yvan Volochine (France) commission

improvised live coding

Alo Allik (Estonia)

is an audiovisual exploration of 3-dimensional continuous cellular automata. During the performance, the behavior of the automata world is affected in real time to reveal complex and organic patterns in audio and visuals, that are conceptually and physically independent from each other.

Mark Rossi (UK)
Untitled (parts I-IV)

Evolved from a simple idea, this work extrapolates similar forms and events from different sources as the internal structure is modified in real-time. Visually, the process is revealed, and then dies, mirroring the nature of the work.

Fredrik Olofsson (Sweden) commission
redUniform (2008)

is an audiovisual performance piece where I take the role of a sad clown with great fascination for red spheres and noisy sounds. The concept, music, visuals and electronics were all developed during a six months residency at IAMAS, Japan 2008.

Kleiner Wasserspeicher - Concert 2
Saturday 25. September, 19h

Andre Bartetzki "String-Theory" for violin and electronics
Sergio Luque "
Sex, Drugs and Rock 'n Roll was never meant to be like this"
Nicola Buso "Wassersprache"
for live electronics with live coding inroads
José Miguel Fernandez "M-brana"
for percussion, double bass and live electronics based on instrumental motion capture
Robin Meier "The Body is a Vessel"
for Apnoe Diver and Computer
Freediver: Elisabeth Kristoffersen (Norway)
Quiet Noise Quartet untitled

ensemble unitedberlin:
Andreas Bräutigam violin
Matthias Bauer double bass
Friedemann Werzlau percussion

Quiet Noise Quartet:
Alberto de Campo SuperCollider / electronics
Hannes Hoelzl SuperCollider / electronics
Joker Nies circuit bent instruments / raw electronics
Mario de Vega electronics

Andre Bartetzki (Germany)
String-Theory (2005) for violin and electronics

The string theory is an attempt to explain all particles and funda¬mental forces of nature in one theory by modeling them as different patterns of multi-dimensional vibrations of tiny strings. Our physical space is observed to have only four large dimensions. In the case of string theory, consistency requires spacetime to have 10, 11 or 26 dimensions. The conflict between observation and theory is resolved by making the unobserved dimensions compact dimensions. One way of dealing with higher dimensions is to not try to visualize them at all but to just think of them as extra numbers in the equations that describe the way the world works. Only a few millimeters away from our 4-dimensional world many parallel universes might exist.

Sergio Luque (Mexico)
"Sex, Drugs and Rock ‘n Roll" was never meant to be like this (2008)

In the late 1960s, Xenakis started his research on stochastic syn¬thesis: a microscopic approach to sound synthesis that uses proba¬bility distributions to manipulate individual digital samples. My piece explores the expressive and timbral possibilities of an extension of Xenakis's techniques that I am developing in SC: the stochastic concatenation of dynamic stochastic synthesis. The piece is articu¬lated by juxtaposing families of sounds; highlighting the “micro” and “macro” of musical sound.

Nicola Buso (Italy)
Wassersprache (2010) for live electronics with live coding inroads

wishes to investigate the sound of the architectural space in the Wasser-speicher. The Wasserspeicher’s resonances will be amplified in a self controlled (electro)acoustic feedback, with an algorithm that observe itself, in a second-order cybernetics's “musical declination” (from H. von Foerster to A. Di Scipio). During the performance the algorithm may be changed on the fly (live coding practice) by introducing different DSP methods, in order to reveal more hidden resonances.

José Miguel Fernandez (Chile)
M-brana (2009)
for percussion, double bass and live electronics based on instrumental motion capture
The principal idea of this piece was to create a new relationship between live instruments and electronics that primarily used motion capture (through the use of accelerometers) in direct relation to a specific physical control model - MSD (Mass Spring Damper). For example, by capturing gestures such as a percussion strike, or a bow move¬ment, the accelerometers can si-mul¬¬taneously excite virtual physical models (membranes and strings ob-jects) at different points of the structure. From this point of initial capture charac¬teristics of virtual physical models become the commencement point for the generation of new musical ma¬teri¬als and control parameters such as treatments, synthesis, sampling and real time spatialization.
Commissioned by National Fund for Music of the Government of Chile

Robin Meier (Switzerland / France) commission
The Body is a Vessel (2010) for apnoe diver and computer

is a musical composition determined and performed by human physiology. It lets us listen into the physiological processes of a professional freediver, holding her breath on stage. The diver's strict organization of time for preparation and diving form the basic structure of the music. The sounds of the heart, lungs, bloodflow and diaphragm are used as musical material and heard live in the hall. Using an EEG, changes of brain activity are made audible and take us even deeper into the diver's body. The Body is a Vessel submerges us in a baptism set to the sounds of science. Protective and exposing, this work explores the perspectives of human evolution.

Quiet Noise Quartet
QNQ began with Albrecht Maurer, Matthias Mainz, de Campo and Hoelzl. A later incarnation included Joker Nies; this will be the first concert with Mario de Vega. Having played together in different contexts, we find the combination of characters and playing attitudes in this band quite magical. anything can and will influence the improvised flow of events, idiosyncrasies of the analog instruments, software glitches, extraneous noise. Earlier incarnations of this band liked to explore the strength of quietness (in German, Leisstaerke), i.e. the lower dynamic fringes of New Music as much as musique concrete, fragmented jazz moments, and abstract electronic sound. The new constellation here may turn out quite different again.

Playground - SuperCollider Club Event
Saturday 25. September, 22h

pre-midnight line-up

Curtis McKinney "When the Snake eats its Tail"
Timur Kuyanov "nanoscape.0"
Mattias Petersson,
Daniel Karlsson,
Jonatan Liljedahl World Domination

Mario de Vega, DJ

post-midnight line-up

cylob (London/Berlin, UK)
Binray (Bristol, UK)
Somtek vs Skylla (Luzern, Switzerland)
Heinrich at Hart (Frankfurt/Berlin, Germany)
DJ Poingi (Tel Aviv/Berlin, Israel)

Curtis McKinney (USA)
When the snake eats its tail

Live electronic piece for stereo sound system. This piece explores the con-cepts of recursion and networks. The sonic material for the piece is generated using lattices of recursive modulation synths, constructed in Super¬Collider, and chained together to form unpredictable layers of pulsating and thrashing sound fields that feedback into themselves and each other. These sounds are cre¬ated and controlled by a networked quartet of musicians communicating over the open internet. The resultant soundscapes is not a productive of any single musician or machine but is instead created through a complex inter¬de-pen¬dent relationship where all the elements have varying levels of influence.

Timur Kuyanov (Russia)

Timur will not let those giant excellent-sounding machines full of high-grade electronic components and producing mind-blowing musical progressions take control over him! Using new generation of embedded devices, micro synthe¬sizers and minimum of controls artist proves possibility of producing massive-sounding and dynamic performance in aesthetics of synthesized or¬ganic structures reminding of those neo-futuristic dreams of cyberpunk mega¬polis daily life.

World Domination (Sweden)

is a trio consisting of Mattias Petersson, Daniel Karlsson and Jonatan Liljedahl. They all have a background in electronic art music as well as the club scene, and the trio investigates rhythm and algorithmic dancability in their music while finding inspiration in dubstep, noise, IDM and EAM.

cylob (UK)

Chris Jeffs aka Cylob makes his music using his own Cylob Music System pro¬gram, written in the Supercollider language. This continuing work in pro-gress, started in 2001, has led to his sound becoming increasingly distinctive.

.HBC - Laptop Ensembles
Sunday 26. September, 18h

Andre Wakko Hostalácio "Marionet"

LAG Laptop Orchestra "LAGMonster"
Benoît and the Mandelbrots "Ad-liBerlin"
Das IMM-Rundfunkorchester "Extractions Pt. I"


André Wakko Hostalácio (Brazil)

is an interactive installation composed of laptops and people. Sounds are produced based on the physical movement of each laptop machine in X,Y and Z coordinates. All the machines are connected by a network, and each one can send its movement information to some of the other computers, so each user/laptop can be both marionet and puppetmaster. Each machine has his own sound persona, and the screen functions as a visual indicator for messages coming in.

LAG Laptop Orchestra (USA)

is a realtime network piece, a virtual instrument consisting of different synths played simultaneously by all members of the ensemble. Each synth is mapped to a key of a computer keyboard. If only one person is pressing any given key, the synth is played. If no one is pressing that key it mutes. If more than one person is pressing the same key at once however va¬rious parameters of the synth are modulated. Curtis will be physically pre¬sent in Berlin, while the other players are connected from the USA via Internet.
LAG is: Cole Ingraham, Chad McKinney, Curtis McKinney, Ben O'Brien

Benoît and the Mandelbrots (Germany)

is an improvised Live Coding performance using the Just-in-Time Library (JITLib). Live coding is the process of writing software in real-time. This young computer music discipline uses the programming language itself as an at first sight non-intuitive, but simultaneously expressive interface between man and machine. Sonic conceptions and structures are ex-pressed live as source code, and interpreted by the computer. Benoît and the Mandelbrots was formed in winter 2009 by students of the University of Music Karlsruhe: Holger Ballweg, Patrick Borgeat, Juan A. Romero and Matthias Schneiderbanger

Das IMM-Rundfunkorchester (Germany)
Extractions Pt. I

Rundfunkorchester is a SuperCollider-network-music project originated in Düssel¬¬¬dorf's Institute for Music and Media (IMM). No single sound is gene-ra¬ted by the computers. Instead, we hear the current radio programme playing through circuit-bent radio receivers, replacing the classical style of playing bent instruments by hand through bodily interaction with the electricity. The radiophonic network, as explored by artists from Cage to tonic train, is augmented by a second layer of networked laptops that grants universal access for the interpretation of all the receiving nodes.

Lukas Truniger (Switzerland/Germany)
place of birth: Zurich
first musical instrument: a hacked recorder flute
favourite food: reflow solder fondue
favourite UGen: Clip

Jonas Hummel (Germany)
place of birth: Stuttgart
first musical instrument: the 104 QWERTZ keyboard
favourite food: 50k Potentiometers
favourite UGen: Dust

Julius Hochstrate (Germany)
place of birth: somewhere in Germany
first musical instrument: something which makes noise
favourite food: something to eat
favourite UGen: any UGen

Maurice Braun (Germany)
place of birth: Simmerath
first musical instrument: OneToneSynth
favourite food: plumb
favourite UGen: Pbind

Hannes Hoelzl (Italy/Germany)
place of birth: Bozen
first musical instrument: the mains socket
favourite food: antenna salad
favourite UGen: Crackle



Saturday 18th, 10 - 19h
Nick Collins & Tom Hall Introduction to SuperCollider
Sunday 19th, 10 - 19h
Nick Collins & Tom Hall Gaining Confidence in SuperCollider


Saturday 18th, 9.30 - 13.30h (part I) +
Sunday 19th, 10 - 14h (part II)
Marije Baalman Sense Stage
Saturday 18th, 14 - 18h
Massimo Scamarcio Audio analysis and feedback control with SC
Sunday 19th, 15 - 19h Experimental programming and live coding -
Julian Rohrhuber Introduction to JITLib
Monday 20th, 10 - 19h
Jost Muxfeldt Introduction to SC GUI Programming
Tuesday 21st, 10 - 14h
Jan Trützschler v. Falkenstein Managing larger projects in SC
Tuesday 21st, 15 - 19h
Jan Trützschler v. Falkenstein Creating expandable user interfaces in SC
Wednesday 22nd, 10 - 14h
Alberto de Campo Performance Interfaces
Wednesday 22nd, 15 - 19h
Sergio Luque Patterns in a Stochastic Field

WFS hall, TU-Berlin

Monday 20th, 20 - 24h
Marije Baalman Wave Field Synthesis and SC

Nick Collins & Tom Hall (UK)
Introduction to SuperCollider
A friendly introduction to SuperCollider for absolute beginners, aimed at artists and musicians. We will aim to get you creating music live with SuperCollider within a short space of time; the emphasis wll be on practical music making to help motivate your learning. Aside from a little familiarity with the digital arts, no prerequisites, though some prior exposure to computer music (perhaps through Max/MSP or Csound) may be helpful.
The workshop will be adaptable to participants' needs, with chances to re-quest topics, and built-in question and answer sessions. The healthy em¬pha-sis always will be on artistic applications with SuperCollider, and fa¬cili¬ta¬ting participants' own projects. Data for the workshop will be supplied by the in-struc¬tors on USB stick on the day, but feel free to download and try out Super-Collider in advance; the teaching version for the workshops will be 3.4.
2 x 4 hrs, beginner

Nick Collins & Tom Hall (UK)
Gaining Confidence in SuperCollider
An overview of the SuperCollider synthesizer and language, aimed at consolidating understanding of the system and its capabilities. We would cover aspects of sound synthesis, algorithmic composition and interfacing relevant to building real working systems. This workshop would be suitable for those who have taken the previous day's beginner workshop, as well as those wanting to refresh or extend their skills.
2 x 4 hrs, beginner / intermediate

Marije Baalman (Netherlands)
Sense Stage
The workshop will focus on using the wireless sensing hardware and processing the data from the sensors in a collaborative project. The workshop should be of interest to anyone who is interested in working with realtime sensor data for either live performance or interactive installations, using SuperCollider and looking for a framework to route, process and map the sensor data to sound and other media. For the workshop basic knowledge of and ability to use SuperCollider needed.
2 x 4 hrs, intermediate
Massimo Scamarcio (Italy)
Audio analysis and feedback control with SC
This workshop aims to examine, explore and exploit the different func-tionalities and potentials of the SuperCollider3(SC3) language when applied to analysis, resynthesis and feedback control of audio. The main focus of the workshop is to learn how to analyse audio and use its attributes / characteristics for processing and controlling feedback (and more).
1 x 4 hrs, intermediate / advanced

Julian Rohrhuber (Germany)
Experimental programming and live coding - Introduction to JITLib
This workshop will introduce basic and advanced concepts in experimental programming through an overview of the interactive programming capabilities in SuperCollider. We will discuss how to set up for interesting sonic experiments and simple interactive sonifications, as well as their potential in live improvisation. An emphasis will be the recursive nature of just in time programming, and the timing and context sensitive nature of situated algorithms. However not strictly required, it is useful to have some experience in programming SuperCollider (We won't discuss basics like installation and the editor).
1 x 4 hrs, beginner / intermediate

Jost Muxfeldt (USA / Germany)
Introduction to GUI Programming in SuperCollider
This workshop will take you through all the important basics of Super-Collider GUI Programming. I will lead the participants through the basics of SC GUI Programming with Swing and Cocoa.
Introduction. GUI kits Swing and Cocoa // SCView, the parent of most GUI objects // The basics of windows, views, and their coordinates // The basics of getting and setting values on the sever via GUI // Mapping values // EZ GUIs, and auto GUIs // Mouse and Key events // Basics of draw hooks // GUI Programming Structures // Custom GUIs with SCUserView.
2 x 4 hrs, beginner / intermediate

Marije Baalman (Netherlands)
Wave Field Synthesis and SC
TU Berlin’s lecture hall H104 is up to now the largest WFS system in the world and therefore this is a unique opportunity to give interested Super-Colliderists an introduction to the technology and the system and to try it out themselves. The swonder software can easily be controlled via OSC from SuperCollider, and by using a running scsynth on the control host of the WFS system, multiple participants will be able to create sound sources and move them around in space. Using the projection possibilities in H104 we can both display the current sound source locations as well as the code executed by various participants.
The first hour of this four hour workshop will introduce Wave Field Synthesis and the system setup in H104, along with some simple demonstrations of how to control the system from SuperCollider. The remaining three hours, participants will be able to explore together possibilities of the system, by creating and controlling sound sources themselves. The experimentation and improvisation will be interspersed with discussions, reflecting on the impressions and results of playing around on the system.
Participants should have some basic abilities in SuperCollider, like writing SynthDefs, instantiating Synths and have a basic understanding of the language
1 x 4 hrs, intermediate

Jan Trützschler von Falkenstein (Germany)
Managing Larger Projects in SuperCollider
This workshop focuses on methods and strategies to manage larger projects, which exceed the size of an over-viewable chunk of code. SuperCollider offers various options to re-use code, split large pieces of code into collections of smaller ones and to build up certain hierarchies of func¬tions or functionalities. Such options include for instance writing classes or handling code in separate files. While it is useful to handle code in different places, it is also important to choose the right design model. In a hands-on approach we will go through different design patterns, which show how one can easily set up large projects, keep them expandable and even-tually turn them into a stand-alone applications. For this workshop partici-pants are expected to have already some experience with SC.
1 x 4 hrs, intermediate

Jan Trützschler von Falkenstein (Germany)
Creating expandable user interfaces in SuperCollider
SuperCollider has a graphic library, which can be used to create (graphical) user interfaces (GUIs) to control Synths and other processes. It also provides methods to use almost any other physical controller through MIDI, OSC, Arduino and the (USB) HID interface. Other programs, such as Processing can be interfaced using OSC. This workshop focuses on techniques and strategies to build and maintain interfaces and connect them to other physical controllers, while still being able to expand them later on and make them re-usable in different situations. While still focusing mainly on advanced GUI techniques, participants are welcome to bring their own controllers in order to connect them to SC.
1 x 4 hrs, beginner / intermediate

Alberto de Campo (Austria / Germany)
Performance Interfaces
Just in Time programming, especially with JITLib, allows playing with multiple processes very flexibly, be they sound synthesis, processing, patterns or tasks. One can even making radical changes by rewriting things last-minute or during performance. We will look at the Quarks JITLibExtensions, JITMIDIKtl, Manta; and will look at preparing example performance setups. Bring your own laptop, favorite controller(s) and playing patches.
1 x 4 hrs, intermediate

Sergio Luque (Mexico)
Patterns in a Stochastic Field
This workshop will be an introduction to SuperCollider's powerful Streams, Patterns and Events framework, with a strong focus on stochastic algo¬rith-mic composition. We will explore different ways of working with patterns and stochastic procedures to synthesize sounds and to compose algorithmically. For SuperCollider users and absolute beginners wishing to make music with the patterns framework.
1 x 4 hrs, beginner / intermediate


Thursday 23. September, 10 - 17h

10.00 - 10.15 Conference begins
10.15 - 10.30 Welcome Talk, Prof. Martin Rennert, President of UdK Berlin
10.30 - 10.45 General info / welcome by Berlin organizers team

Works 1
11.00 - 11.45 Fernando Lopez-Lezcano,
CatMaster and “A Very Fractal Cat”, a piece and its software
11.45 - 12.30 Daniel Mayer, Lokale Orbits


14.00 - 14.40 Sergio Luque, Stochastic Synthesis
14.40 - 15.20 Stefan Kersten, Mescaline - Data Driven Synthesis for the Masses
15.40 - 16.20 Dan Stowell, Timbre Remapping with Regression Trees
16.20 - 17.00 Yota Morimoto,
Hacking Cellular Automata: an Approach to Sound Synthesis

Fernando Lopez-Lezcano (Argentina / USA)
CatMaster and "A Very Fractal Cat", a piece and its software
This talk describes the genesis and evolution of a series of live pieces for a classically trained pianist, keyboard controller and computer that include sound generation and processing, event processing and algorithmic control of the structure of the piece. The pieces are based on piano sounds, and include granular and spectral processing and additive synthesis. The control and processing software is written in SuperCollider and the program (CatMaster) is currently around 5300 lines of code.

Daniel Mayer (Austria)
Lokale Orbits
Structure of compositional process and presentation of work-related SC code. Lokale Orbits started as a sequence of pieces for solo instrument and tape, whereby sounds, played by the musicians concerned, were recorded for further processing. Description of different granular synthesis and spatializsation techniques.

Sergio Luque (Mexico)
Stochastic Synthesis
For the last seven years, I have been researching Xenakis's stochastic synthesis techniques with the help of SuperCollider. I have developed different frameworks to be able to explore and extend various stochastic synthesis approaches. Most of these techniques are based on an extension of Xenakis’s dynamic stochastic synthesis algorithm (from 1991) that I am currently developing and using in my works: the stochastic concatenation of dynamic stochastic synthesis.

Stefan Kersten (Germany)
Mescaline - Data Driven Synthesis for the Masses
Data-driven sound synthesis methods reassemble existing sound material based on features and high-level structure extracted from the original audio data. They have found considerable attention in academic research in recent years, but are only reluctantly finding their way into commercial audio applications. We introduce Mescaline, an attempt to bridge the gap between experimental sound recomposition and main-stream audio production, by integrating well known concepts for organizing audio material and content-based synthesis methods. The application is intended to be an extensible platform for future experimentation with data-driven methods.

Dan Stowell (UK)
Timbre Remapping with Regression Trees
When using the timbre of a signal to control some other system (e.g. using voice to control a synthesiser), the question arises of how a machine could learn to create timbral "analogies" - complicated by timbre's multi¬dimen¬sio-nal nature. We present our regression tree technique which learns asso-ciations between two unlabelled multidimensional distributions, and apply the technique to a simple timbral concatenative synthesis system.

Yota Morimoto (Japan)
Hacking Cellular Automata: an approach to sound synthesis
In this paper, I present my implementations of cellular automata in sound synthesis (UGens in SuperCollider). A general explanation of the system is given, followed by a review of historical applications in music. It then gives descriptions of the actual hacking/implementation and conclusions drawn.

Friday 24. September, 10 - 17h

Works 2
10.00 - 10.45 Hanns Holger Rutz / Nayarí Castillo, Dissemination and Temporality
10.45 - 11.30 Hannes Hoelzl, Sounds • Spaces • Listenings
11.45 - 12.30 Nick Collins, Autocousmatic


Extending SC 1
14.00 - 14.30 Tim Blechmann,
Exposing Parallelism Explicitly to the SuperCollider Node Graph
14.30 - 15.00 Dan Stowell / Alex Shaw, SuperCollider and Android
15.00 - 15.30 Daniel Mayer, miSCellaneous lib
15.30 - 17.00
Developers Lounge 1

Hanns Holger Rutz (Germany) / Nayarí Castillo (Venezuala/USA)
Dissemination and Temporality
We discuss our installation Dissemination, looking at its genesis and back-ground. We first focus on Nayarí's research on migration and site-specific art. We will then discuss the sound composition, and ways to structurally represent generative pieces while composing them. We look closer at the Sound¬¬Processes framework used, which allows to compose and inter¬connect such processes, and examine how the creation of the piece un¬folded in time.

Hannes Hoelzl (Italy / Germany)
Sounds • Spaces • Listenings
I will present some of my recent audio installations, especially scenarios (2008), a series of 10 Sound Installations in a single place: a historical fortress covering an area of 6 hectares and with ~70 indoor spaces at disposition for listening. The exhibition was one of the key projects of the biennial art festival Manifesta and took place in alpine north Italy. A few related installations will also be covered; and some of the algorithms used in these pieces will be demonstrated live.
Nick Collins (UK)
Autocousmatic generates electroacoustic music intended for acousmatic presentation; based only on a seed directory of source sound files, a desired duration and number of output channels, the program creates multi channel spectromorphological tape pieces. Audio analysis capabilities are used to discover 'useful' portions of sound files and assess processed files. This presentation will cover the implementation, including the challenges of mass file processing in NRT mode in SuperCollider, and the evaluation of the system through its products.

Tim Blechmann (Austria)
Exposing Parallelism Explicitly to the SuperCollider Node Graph
The SuperCollider node graph is designed as a sequential data structure. In order to distribute the audio synthesis to multiple processors, new con-cepts have to be introduced. This paper proposes two extensions to the Super¬Collider node graph, parallel groups and free node predecessors and successors. While SuperCollider programs will not be parallelized auto-matically, these concepts will provide the programmer with powerful means to specify parallelism explicitly.

Dan Stowell / Alex Shaw (UK)
SuperCollider and Android
SuperCollider's audio server has great potential as an audio engine for mo¬bile applications, and Android offers an interesting mobile OS for a variety of de-vices. Dan and Alex will describe the Android infrastructure and how Super-Collider's architecture fits into this ecosystem. Then they will de¬scribe their port of scsynth to Android, demonstrating some of the appli¬cations they have created, and how you can do interesting sound things on Android right now.

Daniel Mayer (Austria)
miSCellaneous lib
Description of a family of classes, that allow synth value reference in pbind-style objects. Playing initializes a send/receive mechanism using OSC-responders before event data calculation. See the help file „Working with HS and HSpar.html“ (in the miSCellaneous help folder) for a more detailled overview.

Saturday 25. September, 10 - 17h

10.00 - 10.35 PyoungRyung Ko,
Energising Live-Electronic Performances with SuperCollider, MaxMSP and JackOsX in an Interapplicational Environment
10.35 - 11.10 Luis Alejandro Olarte, Jabalion - routing control and audio signals
11.20 - 11.55 Richard Hoadley, Implementation and Development of Interfaces
for Music Generation and Performance through Analysis of
Improvised Movement and Dance
11.55 - 12.30 Thor Magnusson, ixi lang: A SuperCollider Parasite for Live Coding


Extending SC 2
14.00 - 15.00 Hanns Holger Rutz, ScalaCollider
15.00 - 15.30 Julian Rohrhuber, <<> and <>>
Two Simple Operators for Composing Processes at Runtime
15.30 - 17.00
Developers Lounge 2


PyoungRyung Ko (South Korea)
Energising Live-Electronic Performances with SuperCollider, MaxMSP and JackOsX in an Interapplicational Environment
How can a flexible environment with a simple GUI be constructed, which can manage the whole capacity of multicore-cpu for real time audio signal processing, augmented also by vst or audio unit plug-ins? In this pre¬sen-tation, it will be shown how I have been developing the program prisma sonorum, in order to achieve this with a pc with multi-core cpu.
Luis Alejandro Olarte (Colombia)
Jabalion - routing control and audio signals
I will present Jabalion, an improvisation environment as an SC standalone. It uses a 'Matrix' concept for routing the audio signals and mapping and assigning control parameters. Synth and processing methods include: fm, gendy, kmeans, granulation, fft, delays lines. It can be controlled by com-puter, midi interfaces and sensors (arduino), and by pitch and amplitude ana¬lysis. I will also discuss GUI issues, presets, automatization, and future perspectives for this work.

Richard Hoadley (UK)
Implementation and Development of Interfaces for Music Generation and Performance through Analysis of Improvised Movement and Dance
This presentation describes the conception, design and implementation of a num¬ber of hardware/software musical interfaces and their use in rehearsal and performance settings with a group of dancers and a choreographer, as well as their use by members of the public. It analyses these occasions and in¬vestigates the continuing design and development of such interfaces. It also examines the nature of electronic and digital interfaces for musical expression through the specific use of multiple sensors, the data from which is used to control many changing musical parameters.

Thor Magnusson (Iceland / UK)
ixi lang: A SuperCollider Parasite for Live Coding
This paper describes the rationale and design of the ixi lang, a live coding language built on top of SuperCollider. The paper explains why Super-Collider is used for this task, and reports on a survey conducted with users of the language. It concludes that simple and constrained systems can be useful in specific musical contexts, in particular when sketching or impro-vising, but that such systems can be limiting in the long run.

Hanns Holger Rutz (Germany)
ScalaCollider is a client for SuperCollider server in the Scala language. It en¬capsulates much of the expressiveness of SC-Lang, adding new unique ex¬pressiveness, type-safety, performance, and doing away with the split-up of SC-Lang (compiled classes, interpreted code, C primitives, GUI server). Being an experimentation field of how things could be done differently, ScalaCollider presents a multi-layered system and shows the possibilities and limitations of using a general-purpose language.

Julian Rohrhuber (Germany)
<<> and <>>
Two Simple Operators for Composing Processes at Runtime
Dynamic rearrangement of synth graphs can be an interesting method to move from one sound to another and from one idea to the next. It also implements the common graphical paradigm of "patching". In analogy to function composition operator <>, two new operators, <<> and <>> help to compose running processes of node proxies. This brief paper gives a few examples how they can be used for sound synthesis.

Sunday 26. September, 10 - 17h

Spatialisation +
10.00 - 11.00 Scott Wilson, BEASTmulch presentation
11.20 - 12.00 Miguel Negrão,
The challenges and possibilities of real-time Wave Field Synthesis
12.00 - 12.30 Julian Rohrhuber, - Introducing Sonification Variables


Composition +
14.00 - 14.45 Alo Allik, Audiovisual Composition with Three-Dimensional
Continuous Cellular Automata
14.45 - 15.15 Martin Carlé / Thomas Noll, Fourier-Scratching
15.15 - 15.45 Renate Wieser / Julian Rohrhuber / Alberto de Campo,
Meaning without words (talk)

16.00 - 17.00 open mike / discussion / next symposium ...


Scott Wilson (Canada)
BEASTmulch presentation
This presentation will demonstrate the BEASTmulch Library for multi-channel composition and processing, including new features to be released in version 2. These features include extended automation capabilities, multi-channel room simulation with moving sources, auto-speaker localisation, and 'cluster' spatial granulation.

Miguel Negrão (Portugal / Netherlands)
The challenges and possibilities of real-time Wave Field Synthesis
Description of an implementation of real-time spatialization using Wave Field Synthesis in the SuperCollider audio synthesis programming language. The basic theory of WFS is introduced, followed by the details of a new implementation of general SuperCollider real-time usage for the Wave Field Synthesis system of the Game of Life Foundation (WFS-GOL). An appli¬cation of the system using spatialized sine wave generators is described.

Julian Rohrhuber (Germany)
- Introducing Sonification Variables
This short paper introduces the notion of sonification variables, which help in the field of sonification, in moving beyond analysis of measured data to-wards the theoretical relations between them. A new symbolism is suggested to make this possible independently of specific disciplines.
The intro¬duction of such variables into arbitrary formalisms is described in terms of a general sonification operator .

Alo Allik (Estonia / UK)
Audiovisual Composition with Three-Dimensional Continuous Cellular Automata
I will discuss the conceptual and algorithmic structure of the audiovisual per-formance environment - f(x) - which will be presented in concert at Ausland on Friday, September 24th. The performance environment is based on the concept of three-dimensional continuous-valued cellular automata and this presentation seeks to reveal the basic principles of mapping sound and visual synthesis parameters during the performance.

Martin Carlé / Thomas Noll (Germany)
Fourier-Scratching explores an unsung aspect of the celebrated analogy between sound and rhythm: the core triad in signal processing - analysis (DFT), manipulation of the spectrum, re-synthesis (IDFT) - is applied to rhythmic loops. Onsets of the discrete time loop are mapped onto a Riemann-Sphere, representing complex numbers whose amplitude and phase encode loudness and sound color. SC + Horde3D equip the "Fourier DJ" to sonify rhythmic loops by "Scratching" their Fourier coefficients.

Renate Wieser (Germany)
Meaning without words
(in collaboration with Julian Rohrhuber and Alberto de Campo)
Instead of listening to the phonetic structure of words, we listen to the layered silent grammatical structures of sentences. For this, we sonify linguistic data, which associates multiple structural interpretations with specific sentences from a comparative linguistic corpus of Old, Middle, and Early New High German, as well as recent newspaper material. We are grateful to Anke Lüdeling, Professor at Humboldt University for the kind collaboration. This project will be exhibited as an installation within an exhibition on conversational art and early computer art (featuring the work of the pioneers Kurd Alsleben and Antje Eske) at the ZKM in Karlsruhe from October 2010. The talk gives a brief insight into the work in progress.


Alo Allik (Estonia/UK). I have a musically and geographically restless life-style which has taken me through diverse creative environments half way around the northern hemisphere, including eclectic DJ sets, live electronic jams, electroacoustic composition, free improv and multimedia per¬for¬man-ces all over the US and Europe. I have been hooked on SuperCollider for over 10 years and I am currently working on my Ph.D. in the UK.

Marije Baalman (Netherlands) studied Applied Physics at the Tech¬nical University in Delft and graduated in February 2002 on the topic of Perceptual Acoustics. In 2001/2002 she followed the Sonology Course at the Royal Conservatory in The Hague. She completed her Ph.D. on Wave Field Synthesis and electro-acoustic music in 2007 at the Electronic Studio of the Technical University of Berlin. Between 2007 and 2010 she was a post-doctoral researcher in Com¬¬putation Arts at Concordia University in Montreal.

Holger Ballweg (Germany) born in 1986. Student of music informatics and musicology at the University of Music Karlsruhe since 2007.

Andre Bartetzki (Germany), 1987-1993 studies of sound engineering at the Musikhochschule in Berlin, where he founded and led the studio for electro-acoustic music until 2002. From 1999 to 2004 he taught at the Musik-hochschule and at the media faculty of the Bauhaus university in Weimar. Since 2009 co-director of the electronic studio at the TU Berlin. Performances and exhibitions at many international festivals for con-temporary music, computer music and media art. Cooperations with musicians, dancers and artists. Scholarships at ZKM Karlsruhe, Künstler-haus Ahrenshoop, Denkmalschmiede Höfgen.

John Bischoff (USA) (b. 1949, San Francisco) is known for his solo con-struc¬tions in real-time synthesis and the pioneering development of com-puter network music. Recent solo performances include SMC 2009 (Portugal), Skolska 28 (Prague), and NK (Berlin). He is a foun¬ding member of The League of Automatic Music Composers (1978) and The Hub (1985), seminal computer network bands based in the San Francisco Bay Area. He is currently an Associate Professor of Music at Mills College in Oakland, California.

Tim Blechmann (Austria) is an improviser and composer, using computer and loudspeakers as main instrument. his music is focussed on static noise textures, that are digitally generated and spatially projected in real-time. for live performances, his preferred lineup is the duo with another impro-vising musician. regular collaborators include klaus filip, manuel knapp and seijiro murayama among others. he is currently studying the individual university program 'music informatics' in vienna, austria.

Patrick Borgeat (Germany) born in 1985 in Öhringen, Germany. Student of music informatics and musicology at the University of Music Karlsruhe since 2005. Former member of the laptop ensemble Grainface.

Nicola Buso (Italy). After a diploma on pianoforte, and a degree on philo-sophy (Università Ca’ Foscari, Venezia), Nicola Buso received his diploma on electronic music (teacher: A. Vidolin), and a PhD in musicology (tutor: A. Orcalli). He collaborate with the Archivio L. Nono (Venezia) and teach electronic music in Conservatorio “Tartini” (Trieste); his compositions have been performed in Italy, Poland, Germany and United States. His current interests deal with live coding and hypertextual hermeneutics.

Alberto de Campo (Austria/Germany) is professor for Generative Art / Com¬pu¬tational Art at UdK Berlin. He has worked on synthesis software with Curtis Roads, Florian Hecker, Marcus Schmickler, and taught computer music at many international institutions. His research interests include sonification, algorithmic methods in the arts, and just in time programming; he loves playing with powerbooks_unplugged and improvising with electronic and acoustic musicians in varying contexts.

Martin Carlé (Germany) has a background in recording, music technology and programming. He studied Musicology, Philosophy and Cultural Studies at the Univ. of Hamburg and at the Humboldt University of Berlin. 2003-2008 he taught Media Theory assisting the establishment of the Media Studies Department at Humboldt University. 2009 he moved to Athens where he works on his PhD that entails a re-enactment of ancient Greek music theory, its para-semantics and epistemology of melodic process with the help of SC.

Nayarí Castillo (Venezuela/USA). Using video, text and photography, Castillo’s installations are site-specific constructs attached to traveling concepts, interventions engaging with history and space, where ancient tools and contemporary devices combine in a post-colonial discourse. Molecular Biologist and Artist (MFA Art University Caracas, MFA Public Art and PhD Arts Bauhaus University Weimar). Numerous exhibits, e.g. in Brussels, Buenos Aires, Mexico, NY, Salzburg, Budapest. Resides and works in Plymouth (UK) and Berlin.

Scott Cazan (USA) is a performer and sound artist specializing in the com-position of works for chamber ensembles and the performance of live elec-tronic music. Scott has performed and shown his installation work in various parts of the United States, France and Germany, most recently par¬tici¬pating in artist residencies with the CENTQUATRE (France), PACT Zollverein (Germany) and CalArts. Scott holds a BFA from the University of California, Santa Barbara and an MFA from the California Institute of the Arts where he studied with Mark Trayle, Michael Pisaro, Sara Roberts, Ulrich Krieger, Clay Chaplin, Jeremy Haladyna, Julio Estrada and Zbigniew Karkowski among others. He currently teaches and performs regularly in the Los Angeles area where he is based and his music can be heard on Khalija Records.

Nick Collins (UK) lectures at the University of Sussex, running the music in¬formatics degree programmes there. He co-edited the
Cambridge Com-panion to Electronic Music (Cambridge University Press 2007), and wrote the Introduction to Computer Music (Wiley 2009). iPhone apps include iGendyn, TOPLAPapp, Concat and for iPad, PhotoNoise. Recent concerts include live coding in a vineyard in Corfu, falling off a piano stool in Sydney, singing the 100 metres in Brighton, and playing harpsichord in Wirral. Some¬¬-times, he writes in the third person about himself, but is trying to give it up.

EVOL (Spain). Since the late nineties, Roc Jiménez de Cisneros and his collaborators have been producing what they call "computer music for hooligans", inspired by fractal geometry, quantum theory and rave culture.
A vortex of generative bass lines, air horns, strangely familiar vocalisations and noise, their music displays a radical and playful approach to algorithmic composition. Their work has been exhibited internationally and published on record labels such as Entr'acte, Mego, Presto!? or their own ALKU.

Paulo Ferreira-Lopes (Portugal/Germany) studied composition in Lisbon between 1988 and 1991 with Constança Capdeville. Between 1995 and 1997 studied in Paris composition with Emmanuel Nunes, Antoine Bonnet and Computer Music with Curtis Roads. Master in Composition at the University of Paris VIII (1996). Further studies in composition with Karlheinz Stockhausen at the "Internationale Ferienkurse für Neue Musik" Darmstadt. Founder and Director (2000) of the Summer Workshops - olhAres de Outono at Univesity Catholic Porto. Doctor degree in Computer Music at the University of Paris VIII.

Roberto Garretón (Chile). Roberto's formal education includes a master's degree on electro-acoustic music from the Sonology Institute, Royal Con-ser¬vatory in The Hague, Netherlands, and a Bachelor's degree on Arrange-ments and Composition of Popular Music from Escuela Moderna Music school in Santiago, Chile. His informal education includes guitar stu¬dies in both classical and electric guitar with private tutors in Chile. Roberto's music tries to bridge the contemporary-experimental with the popular music by using electronics, playing either solo, on collaborations, as part of bigger projects or with his indierock band NiCad. Roberto was born in Santiago of Chile in 1973 and now he lives in The Hague, the Netherlands.

Bjarni Gunnarsson (Iceland/Netherlands) is an icelandic composer born in 1980 in Reykjavík. He has released records on labels like Vertical Form, Thule, Uni:form, Spezial Material, Trachanik and lmalc and perfomed his music in Germany, England, France, Belgium, Denmark, Holland, Greece, Ireland and Iceland. Bjarni studied with Gerard Pape, Trevor Wishart, Agostino Di Scipio and Curtis Roads at the CCMIX music center in Paris and is currently a master student in the Sonology in Den Haag.

Tom Hall (UK) is active as a composer and performer of electro-acoustic music, with an interest in immersive sound, algorithmic, collaborative and improvisatory processes. Musicological interests include the music of Morton Feldman and Graham Hair.

Richard Hoadley (UK). As a composer he has recently focussed on the effect of the physical interface on music, writing a number of automatic compositionsincluding '127 Haikus'. He is currently developing a suite of interfaces including 'Gaggle', 'Wired' and 'Melodia' - hardware/software systems designed for physical interactions with algorithms. He has been awarded the RVW Trust Composer-in-Residency and his instrumental compositions include 'Only Connect', recorded by the BBC Symphony Orchestra. He is affiliated with the Digital Performance Laboratory at Anglia Ruskin University.

Olaf Hochherz (Germany) is a composer and improviser. His studies where to a certain degree related to his music. The studies in Essen, Weimar and Shanghai helped to realise some compositions of electro-acoustic music.

Hannes Hoelzl (Italy/Germany), currently based in Cologne is a musician and sound artist, plays internationally with acoustic and electronic impro-vising musicians, teaches workshops on digital sound, analog synths and hybrid music systems involving sensors, microprocessors etc.
He has interned at STEIM, has been a fellow at KHM Cologne, and teaches a course at UdK Berlin, and at Musikhochschule Duesseldorf, among many other institutions.

Jonas Hummel (Germany) is a Berlin-based media artist & engineer working in the field of documentary film and sound recording. He first started his studies with Political Science in 2002 and went on to pursue his music and media interests by studying sound and video engineering at the 'Institute For Music and Media', in Duesseldorf from 2004 on. There he has done works on various topics such as self-portrait (film, photo and object installation 2006), perspectives on failure und success (theatre piece and documentary film 2007), electronic music by fine arts artists in Duesseldorf (documentary 2008), global container trade in the port of Duisburg (four-Screen visual music clip 2009), experimental electronic sound & Africa (sounddesign for science-fiction film, work-in-progress).
Cole Ingraham (USA) is a composer, performer, and teacher currently living in Santa Clara, CA. He holds a BM in Composition from University of the Pacific, an MFA in Electronic Music from Mills College, and is currently attending the University of Colorado at Boulder in pursuit of the DMA in Composition. His recent musical interests have centered around creating works for computer ensemble and live network performance involving players in remote locations.

Daisuke Ishida (Japan) is a Berlin based artist working with sound and con¬¬temporary media. He is interested in designing processes, physical environ¬ments in artistic contexts. His works pursue aesthetics and con-sequence of computer music, and seek to realize synthetic space in sound. His research includes Acoustics, Auditory Perception, Complex Systems and Machine Learning Based Algorithm. He established AUSREIHE, an independent organization committed to experimental electronic/computer music in 2009. He founded The SINE WAVE ORCHESTRA in 2002.

Chris Jeffs (UK) aka cylob. A trombone player in his youth, he progressed to experimenting with electronic music and recording in his late teens. At first inspired by early 80's synth-pop, old-school hip-hop and electro, and dance pioneers Art Of Noise, 808 State and LFO, Chris gave a demo tape to Aphex Twin at a gig in early 1993, subsequently signing to his Rephlex label a short time after. Since his debut, he has released 13 singles and 5 al¬bums on Rephlex, in addition to the EP "Spider Report" for Breakin' Re-cords. Cylob has been playing live and DJ'ing since 1994, playing his first set in legendary Leeds techno club The Orbit, and since touring extensively in Europe, North America, Japan, Australia and Russia. These gigs include two appearances at the Glade festival and several appea¬rances at re-nowned neo-rave event Bangface. He has also made the occa¬sional broad-cast on radio worldwide including twice on BBC Radio 1's Breeze¬block show. He continues to perform regularly and work on recording projects.

Stefan Kersten (Germany) works as a researcher and sound artist in Barcelona (Spain). He is currently a PhD-candidate at the Music Tech-nology Group of the Universitat Pompeu Fabra. His research focuses on statistical sound texture modeling for analysis and synthesis. His artistic work includes interactive performances and installations with the DissoNoiSex collective and the duo Zysk (with Wernfried Lackner).

PyoungRyang Ko (South Korea) born 1972 in Seoul, studied composition with Prof. Chengiek Chang at the Seoul National University, with Prof. Herrmann and Prof. Dr. Mahnkopf at the University of Music and Theatre Leipzig and with Prof. Minard at the Liszt School of Music Weimar. He also studied music theory at the UMT Leipzig. He is now a doctoral candidate in Musicology at the UMT Leipzig. His compositions as well as theoretical and pedagogical articles have been presented in Korea, Europe and the USA.

Ron Kuivila (USA) composes music and designs sound installations that revolve around the unusual homemade and home modified electronic instru¬ments and information systems he designs. He pioneered the use of ultrasound and sound sampling in live performance. Other pieces have explored compositional algorithms speech synthesis, high voltage pheno-mena, and the integration of “analog” and “digital” approaches in single works. He has been an active SuperCollider user since 1999. He is currently the
Edgard Varese guest professor at TU, Berlin..

Timur Kuyanov (Russia) was born in 1980 in Siberia, Russia, surrounded both with impressive nature (Baikal, deepest lake on the planet) and industry achievements, changing it's surface (BAM, longest railroad). He got his first computer when he was 7, and made his first music program in Basic language when he was 9, but still has complicated relations with computers and as a part of his master studies in Aalto University (ex Taik), department of Media, dealing with relations between human beings and technology in the creative processes.

Jonathan Liljedahl (Sweden) is a composer and performer of electro-acoustic music, with influences from noise, minimal, drone and stochastic music. He utilizes homegrown software and hardware, feedback through various devices, algorithmic composition, and SuperCollider. Studied composition with Per Mårtensson and Henrik Strindberg at the Gotland School of Composition in Visby (2004-2006), and electro-acoustic com-position with Bill Brunson, Pär Lindgren and Mattias Petersson at the Royal College of Music in Stockholm, Sweden.

Fernando Lopez-Lezcano (Argentina/USA) is a composer, performer, lec-turer and computer systems administrator at CCRMA, Stanford Uni¬versity. He has been teaching and taking care of computing resources there since 1993, and created and maintains the Planet CCRMA collection of sound and music packages for Linux. He has been involved in the field of elec¬-tronic music since 1976 as a composer, instrument builder and per¬for¬mer, blurring the lines of his dual background in music and electronic engineering.

Sergio Luque (Mexico) is a composer of experimental classical and electro¬¬¬-acoustic music. He is currently working towards a PhD in Composition with Jonty Harrison and Scott Wilson at the University of Birmingham. In 2006, he received a Master's Degree with distinction in Sonology from the Royal Conservatory in The Hague, studying with Paul Berg and Kees Tazelaar. In 2004, he received a Master's Degree in Composition from the Conservatory of Rotterdam, studying with Klaas de Vries and René Uijlenhoet.

Thor Magnusson (Iceland/UK) works in the fields of music and generative art. He is a Senior Lecturer in the School of Arts and Media at the University of Brighton. Thor is mainly interested in improvisation, live performances, installations and audio software production. He is a co-founder and member of the ixi audio collective.

Daniel Mayer (Austria) studied pure mathematics and philosophy at Karl-Franzens-University Graz (MSc, MPhil) and music composition (MA) with Gerd Kühr at the University for Music and Performing Arts Graz, Austria. 2001 / 02 postgradual study at the electronic studio of the Music Academy of Basel with Hanspeter Kyburz. Guest composer at the Center for Art and Media Karlsruhe (2003 / 04) and at IEM Graz (2005). Working with gene-rative computer algorithms in electronic and instrumental music.

Víctor Mazón Gardoqui (Spain) has studied fine arts In the University of Vasc Country, in the speciallity of Lithography and Engraving. Nowadays working as a tutor in the Experimentelle Technologien im Kunstkontext, Hochschule für Grafik und Buchkunst-Leipzig, with Prof. David Link.
Has been involved into experimental audio/video since 1999, and always related to the DIY spirit, using free and open software and hardware, designing and building his own instruments and software, for his plays & installations. Has played and exhibited his audiovisual and interactive works in different countries like Germany, Spain, Switzerland, Russia, Moroco, Italy, Czech Republic, Hungary, Sweden, Austria and also has played as video artist/motion graphics in many different festivals in Spain.

Chad McKinney (USA) is an experimental musician living in the San Fran-cisco bay area. He has recently completed his MFA in Electronic Music & Re¬¬cording Media at Mills College where he studied with Chris Brown, John Bischoff and Roscoe Mitchell. He received his Bachelor of Music degree in 2007 from the University of Oklahoma, studying with Christian Asplund, John Haek, and Michael Lee. McKinney has recently been focused on writing for and performing with the transcontinental network laptop quartet Lag.

Curtis McKinney (USA) is a reprogrammed rogue robot who undergoes constant inner turmoil regarding his mysterious past, which proves only to be his need to fight and the threat he believes he still poses to society. His main weapon is the Z-Buster and the Z-Saber. He was created by Dr. Wily in order to replace Bass and later destroy his nemesis. It is unclear whom Wily was talking about. He entered a sleep capsule where he will awaken 102 year later on August 15th.

Robin Meier (Switzerland/France) is a musician and artist. His interests lie in the emergence of natural and artificial intelligence and the role of humans in a world of machines. Meier tries to make sense of these questions through musical compositions and installations. Refered to as "Artist from the future" (le Monde) or "Vuvuzela of contemporary art" (Liberation) his works are shown around the globe, most recently at the Palais de Tokyo in Paris and the National Auditorium in Madrid.

José Miguel Fernandez (Chile). Bachelor of music composition from the University of Chile in 1995. In 1996 he studied com¬puter music at Laboratorio de Investigación y Producción Musical Buenos Aires. From 2000 to 2004 he studied composition and computer music at the Conservatoire National Supérieur de Musique et Danse of Lyon, France. After receiving his diploma from the CNSMD, he attended the one-year course in compo¬sition and computer music at IRCAM in Paris. Finalist in Bourges electro-acoustic competition and winner of Grame-EOC composition com¬petition in 2008 and commissions from Chilean Government, French Government, Grame-EOC and others. His works have been perfor¬med in various countries and contem¬po¬rary music festivals in Europe, Asia and the Americas. In addition to his composition activities, he has worked as computer music designer, realizing the live electronics works for many composers at different institutions in France.

Yota Morimoto (Japan) Yota Morimoto is a Japanese composer born in Brazil, currently undertaking a research at The Institute of Sonology in The Netherlands. His works explore unconventional approaches to generating and transmitting sound, implementing models of turbulence and abstract machines. He has performed in festivals and conferences such as TodaysArtFestival, NWEAMO, Transmediale, ISEA, ICMC, and SMC. Beside those activities, he has collaborated with musicians such as Frances-Marie Uitti and Luc Döbereiner.

Jost Muxfeldt (USA/Germany) is an artist, composer, and philosopher, who works with electronic media and computers. His work often focuses on trans-media and phenomenology, exploring the rational and irrational channels between artistic and conceptual disciplines. His audiovisual work has been shown in numerous museums and venues throughout Europe, including the Tesla Media Art Center in Berlin, the Sónar Festival in Barcelona, Via Festival in Maubeuge, and Exit Festival in Paris-Créteile.

Miguel Negrão (Portugal/Netherlands) is a sound artist born in 1981 in Lisbon, Portugal. Under the alias ZLB he has been active with Drone and Am¬bient music projects. He has presented pieces for the Wave Field Sys-tem of the Game of Life foundation, Acousmonium of the GRM and in other con¬certs in Portugal, Spain and the Netherlands. With a Bachelors in Applied Mathematics, he has recently finished a Masters at the Sonology In-sti¬¬tute in the Den Haag Conservatory on the topic of Strategies in diffuse spatialization.

Joker Nies (Germany)

Thomas Noll (Germany) studied Mathematics (Diploma) in Jena and Semi-o¬tics (PhD) at the TU Berlin. His main research field is mathematical music theory. From 1998 - 2003 he was the leader of an interdisciplinary research group on mathematical and computational music theory. After two years of teaching in Theoretical Informatics at the TU Berlin he works since 2005 as a lecturer in music theory at the Esmuc in Barcelona. He is co-editor of the
Journal of Mathematics and Music.

Ben O'Brien (USA) is a composer and performer. He writes and performs both acoustic and computer music. He received his MA in Music Com-position from Mills College, where he studied with Fred Frith and Roscoe Mitchell, John Bischoff, Chris Brown, and David Bernstein. He earned a BA in Math from the University of Virginia in May 2006, where he studied jazz guitar and improvisation with John and Michael Rosensky, and Ted Coffey. His works have been performed in the US and overseas.

Luis Alejandro Olarte (Colombia) studied guitar and electroacoustic com-position in Colombia, then in Paris, where he won the first prize in Generative Improvisation and Musical Acoustics. He then studied at Sibelius Academy and at Escola Superior de Musica de Cataluña, and now he is at Université de Paris VIII. Since 2006 he performs and improvises with choreographers Andreya Ouamba and Opiyo Okach, (Congo and Kenya). His musical interests include free improvisation, electroacoustic lutherie and guitars.

Fredrik Olofsson (Sweden) has studied composition at the Royal Uni-versity College of Music in Stockholm. After graduating in 2000, he has been busy creating software, visuals, music and installations.

Jana Papenbroock (Germany) has received numerous screenings of her work throughout Germany, Denmark, France, Estonia, the United States, and many others. She has studied at the Université Paris-Sorbonne (Art History & Ethnology) as well as the Academy of Media Arts Cologne.

Ruben Patiño (Spain) aka Pato is a sound artist born in Barcelona in 1979. Current artist in residence at NK. Pato works in the field of Computer Music com¬bining different sound synthesis techniques generated with Super¬Collider. His work is a blend of hyper energetic algorithmic com¬po¬sition, fu¬tile visualization and humorous stochastic flavour. He has per¬formed se¬ve¬ral solo performances in Europe as well as live improvisations with table¬top gui¬tar¬rist Olivier Di Placido and occasional collaborations inside EVOL, a com¬puter music cell leaded by Roc Jiménez de Cisneros. As a DJ, his sets are mainly composed of multi-layered cut-up computer music mixed with some old avant-garde classics, noise and world music. He also occa¬sionally plays in Yokomono as a part of Staalplaat SoundSystem. Lives in Berlin since 2005.
Katy Price (UK) has contributed poems to Seam, Blackbox Manifold, and collections of ekphrasis and found poetry. She is co-designer of
Blast-up! (Vorticism meets space invaders). Katy teaches English literature and creative writing at Anglia Ruskin University.

L. Scott Price (USA) is a DMA student at the University of North Texas where he has studied with David Bithell and Jon Christopher Nelson. He holds degrees from Bowling Green State University and Illinois Wesleyan Uni-versity. Past teachers include Marilyn Shrude, Elainie Lillios, Burton Beerman and David Vayo. Notable performances include Dangerous Curves in Los Angeles, the University of Nebraska at Kearney New Music Festival, the Threshold Festival, and the New Music Café at IWU. Recent works include a commission from the duo Guthrie and Streb, several pieces on poetry of Quentin Smith, and a bass trombone concerto for Christopher Davis.

Julian Rohrhuber (Germany) is professor for music informatics and media theory. He teaches at the Robert-Schumann Hochschule Düsseldorf in the Institute for Music and Media and is associate researcher at University Siegen. His texts consider issues such as abstraction and agency, for instance in
Mengenlehre, in: Becker, Cuntz, Kusser, "Unmenge - Wie verteilt sich Handlungsmacht?" Fink 2008, and New Mathematics and the Subject of the Variable, in: Fürlus, Zielinski, Variantologie 4, Bh. König, 2010.

Juan A. Romero (Colombia) born in 1982 in Medellín, Colombia. Guitarist, musicologist und music information scientist. Former member of the laptop ensemble Grainface.

Mark Rossi (UK). Based in the Sonic Arts Research Centre (Belfast), Composer/Performer and PhD candidate, Mark Rossi creates live algo¬rith-mic compositions, with a special emphasis on ‘enaction’. Originally trained as an artist, Mark currently produces sonic art works created from syn-thesis, acoustic sources and ‘on the fly’ code-modification. His pre¬occu-pation with process and materials has led to an interdisciplinary approach to music making, performing laptop ‘textual’ improvisations with ‘live-coding’ algorithms.

Hanns Holger Rutz (Germany) studied computer music and audio enginee-ring at the Technical University Berlin, and from 2004–2009 worked as artistic assistant at the Studio for electroacoustic Music (SeaM) Weimar. His com¬positions include tape music, works with video, as well as collaborative works with theatre and dance. His recent focus is on sound installation, and electronic live improvisation. In his creations, the development and research on software and algorithms plays an important role. In 2009, he moved to Plymouth where is currently conducting a PhD at the Interdisciplinary Centre for Computer Music Research (ICCMR).

Massimo Scamarcio (Italy) is a sound artist and composer of electronic music, graduated with honours under Agostino di Scipio and currently attending a MA postgraduate class in Sonic Arts in Middlesex University (London) led by Dr. Nye Parry. His work focuses on the use of feedback and the properties of acoustic space. He is currently based in Berlin.

Marcus Schmickler (Germany) is a composer and performer. He studied com¬position and electronic music and since then has worked in the most diverse fields of composed and improvised music. He has won numerous prizes and honours and is closely associated with the Cologne label a-Musik. As a composer along with his many works of electronic music, he works with the ensemble recherche, the Staatskapelle Weimar, the musikFabrik, the Paragon Ensemble, the Ensemble zeitkratzer and many more. As a musician he works with musicians such as John Tilbury, Thomas Lehn, Otomo Yoshihide, David Behrman, Claudio Bohorquez and Julee Cruise. His discography so far consists of over 50 titles, and he has been performing on the world's stages and at international festivals for years. He gives lectures and seminars and also works as an author in the field of theatre, radio plays and film.

Matthias Schneiderbanger (Germany) Born in 1987 in Pforzheim, Germany. Student of music informatics and musicology at the University of Music Karlsruhe since 2007.

Alex Shaw (UK) runs a small software consultancy with an taste for creative applications and experimentation. His first Android project was
Synthulator, one of the first music composition tools on Android to use an extensible DSP engine. Working with Dan Stowell, he has helped bring the expressive power of the SuperCollider server to Android, and hopes it will spearhead a new era in embedded music creation.

Dan Stowell (UK) aka MCLD is a musician, programmer, and scientist. He recently completed a PhD at Queen Mary University of London developing techniques to use voice sounds such as beatboxing to control electronic instruments. Musically he combines live-coding with beatboxing - solo and as part of the duo Spoonfight - and also produces installation work as part of C4DM Presents. He's also one of the current lead developers of SC.

Jan Trützschler von Falkenstein (Germany) is a composer and media artist with an affinity to software design. His work often focuses on one material or subject, which he sets in different contexts and perspectives. His com¬¬positions, performances and installations have been performed and shown internationally and on various festivals. In 2008 he founded
TeaTracks which released Gliss for the iPhone in 2009. Since 2002 he has been an active SuperCollider (SC) developer, which resulted in many con¬tri-butions to the software and the organisation of the second inter¬national SuperCollider Symposium in The Hague in 2007. He is giving SC work-shops around the globe and contributed to the forthcoming SC book. Currently he is comleting a PhD in Composition at the University of Birmingham.

Mario de Vega (Mexico/Germany)

Yvan Volochine (France) (aka El Gusano Rojo) is a musician, producer and programmer. He runs the label 'Hijos de Puta', on which he produced / wrote several obscure and original music records since 2001. He is now working on the first release of his new label 'Septentrion'. Based in Berlin, he programs his own instruments to perform live using SuperCollider on linux.

André Wakko Hostalácio (Brazil), knowledge in music production, generative art and performance, graduated in graphic designer from FUMEC University in Brazil, where he studied between 2003 and 2007. He moved to Berlin in April 2008, to study in University of the Arts Berlin (UdK). He participated in festivals, workshops and symposiums, such as TunedCity, Transmediale and XXXXX. He is part of an association called “LA54“, a collective of more than 20 artists in Friedrichshain, Berlin.
Renate Wieser (Germany) is a media artist and scholar in media theory based in Hamburg and Köln. She takes part in the Ph.D. Fellowship Programme of the German Research Foundation: Automatisms - emerging structures in information technology, media, and culture, University of Paderborn. Currently she is also working on the combination of installation and radio play. Her publications include the book
Ungeplante Strukturen: Tausch und Zirkulation. Herausgeber: Maik Bierwirth, Oliver Leistert und Renate Wieser. 2010.

Scott Wilson (Canada), born Vancouver, Canada; lived Middletown, Connecticut, Karlsruhe, Toronto, brief stints elsewhere. Studies with Barry Truax, Christos Hatzis, Gary Kulesha, Ron Kuivila, Wolfgang Rihm, and others. Works for a variety of media, interactive, inter-inactive, usw. Recent projects with Darragh Morgan, rarescale. Recordings with 326music and Continuum Contemporary Music. Lives now in Birmingham, UK (teaching at the University, working with BEAST) where life, generally speaking, is good.

Itaru Yasuda (Japan). Born in 1984 in Japan. Studied Aesthetics and New Media Art at Keio University and IAMAS. Started making music and videos in 2005. Focusing on computational audiovisual composition.

ensemble unitedberlin (Germany) was founded in 1989 with the symbolic purpose of reconnecting classical musicians in a city long divided by the Cold War. Since its inception the ensemble has been transcending barriers both musically and geographically. Performances at festivals in Albania, Brazil, Hungary, Israel, Poland, Russia, China, South Korea, Spain and Switzer¬land accompany the ensembles activities in Berlin. Recent per¬for-man¬ces international engagements include concerts at the ‘Venice Biennale’ 2008, at the ‘Steirischer Herbst’ in Graz, Austria and at the German Academy in Rome, Villa Massimo. Unitedberlin’s focus lies in presenting a wide range of contemporary music in the context of modernist repertoire ranging from Schönberg and Webern to Nono and Cage. Several concert programs were created in close collaboration with composers of our time such as Mauricio Kagel, György Kurtág, Helmut Lachenmann, Wolfgang Rihm, Mark Anthony Turnage, Christian Wolff, Toshio Hosokawa and Vinko Globokar, yielding a variety of formats such as lecture concerts, instrumental workshops or documentary projects.