BEGIN:VCALENDAR
VERSION:2.0
PRODID:icalendar-ruby
CALSCALE:GREGORIAN
X-WR-CALNAME:Music Technology and Interactivity: Voices of the Edge (Web Co
 nference)
X-WR-TIMEZONE:Pacific Time (US & Canada)
BEGIN:VEVENT
DTSTAMP:20260607T013237Z
UID:tag:localist.com\,2008:EventInstance_52895966188839
DTSTART:20260528T070000Z
DTEND:20260529T070000Z
DESCRIPTION:Music Technology and Interactivity: Voices of the Edge (Web Con
 ference)\nMay 28 and 29\n\nWeb Conference Zoom link: https://ucsb.zoom.us/
 my/tatcat76\n\nVIII Sonic Convergences:\nMusic\, Technology\, and Interact
 ivity: Voices of the Edge\nLocation: Department of Music\, classroom #2215
  (Xenaki’s Studio)\n\nThe Sonic Convergences is a well-established serie
 s of conferences led by Professor Cassia Carrascoza at the University of S
 ão Paulo (USP) in Brazil. The event highlights the diversity of thought w
 ithin these fields\, showing\, as the name suggests\, how musical sounds c
 onverge while also individualizing themselves across various inspirations 
 and trends. This edition is partnered with UCSB to promote closer ties amo
 ng artists from various countries who develop work with different technolo
 gies\, prompting us to rethink these practices\, our perception\, and our 
 emotional connections.\n\nPROGRAM\n\n May 28 – Music at the threshold\n\
 n \n\nCalifornia / New York / São Paulo\n\n                              
                              \n\n12:00 / 15:00 / 16:00          João Pedr
 o Oliveira (Dept of Music/UCSB\, USA)\n\n                                 
                                 \n\n13:00 / 16:00 / 17:00          Iracema
  Andrade (CENIDIM\, Mexico)\nEmbodied and Situated Practices in Mixed Elec
 troacoustic Music \n\n13:30 / 16:30 / 17:30          Trio Janela\, telemat
 ic music\n                                               (New York\, Toron
 to\, Sao Paulo\n                                               Memories - 
 Collaborative telematic composition\n                                     
           inspired by Pauline Oliveros\n\n14:00 / 17:00 / 18:00           
 Gustavo Sol (ECA/USP\, Brazil\n                                           
     From Opera to Physical Theater\, from the Score\n                     
                           to Biosignal-Driven Performance                 
      \n\n14:30 / 17:30 / 18:30           Constantin Basica (Stanford\, USA
 )\n                                               The Last Piece: Musical 
 AI for an Immersive \n                                               Syncr
 etic Concert\n\n15:00 / 18:00 / 19:00          Helen Bledsoe  (Ensemble Mu
 sikfabrik\, Germany/USA)\n                                              Ar
 t as an Act of Tulpamancy\n\n15:30 / 18:30 / 19:30          round table\n\
 nMay 29 – New technologies\, new thoughts\, new paths\n\nCalifornia / S
 ão Paulo\n\n12:00 / 16:00                       JoAnn Kuchera-Morin (Dept
  of Music/MAT/UCSB\, USA)\n                                              M
 usic and Technology at UCSB: 40 years of history\n                        
                       (CREATE/MAT)\n\n13:00 / 17:00                       
 Celeste Betancur (Stanford\, USA)\n                                       
        Blurring boundaries between body and interface\n\n13:30 / 17:30    
                    Marcus Bastos – (PUC - Sao Paulo\, Brazil\n          
                                     Events\, from live audiovisual perform
 ance to artificial intelligence\n\n14:00 / 18:00                       Yif
 eng Yvonne Yuan (Dept of Music/MAT/UCSB\, USA)\n                          
                     Glitch Breath: Real-Time Neural Deconstruction of Voca
 l Meaning\n\n14:30 / 18:30                       Felipe Ribeiro – (UNESP
 AR – Paraná\, Brazil\n                                              How
  has technology affected musical language                       \n 15:00 /
  19:00                      round table\n\nMay 30 – CCS: conferences abo
 ut the concert program from May 23rd with Switch Ensemble (TBD): Compositi
 on Processes\n\nCalifornia / São Paulo\n\n 14:00 / 18:00                 
   Andrew A. Watts (CCS/UCSB)\n                                           S
 aturation Triplex (2025-2026) \n\n 14:30 / 18:30                   Julie H
 erndon (Cal Poly)\n                                           Mud (2025) \
 n\n15:00 / 19:00                    Igor Santos (Cornell University)\n    
                                        mirror scenes (2025)\n             
               \n15:30 / 19:30                    Jason Thorpe Buchanan (Hy
 brid Music Lab\,  Dresden)                         \n                     
                       & Chris Chandler (Union College)\n                  
                         GRIDS (2025)\n\nABOUT THE RESEARCHERS AND ABSTRACT
 S\n\n \n\nJoão Pedro Oliveira holds the Corwin Endowed Chair in Compositi
 on for the University of California at Santa Barbara. He studied organ per
 formance\, composition\, and architecture in Lisbon. He completed a Ph.D. 
 in Music at the University of New York at Stony Brook. He has\n\nreceived 
 over 70 international prizes and awards for his works\, including the pres
 tigious Guggenheim Fellowship in 2023\, the Bourges Magisterium Prize\, an
 d the Giga-Hertz Special Award\, among others. His publications include se
 veral articles in journals and a book on 20th century music theory.      \
 n\nIracema de Andrade Brazilian cellist\, researcher\, and creator based i
 n Mexico\, Iracema de Andrade has developed an internationally recognized 
 career in contemporary and electroacoustic music. She holds a Doctorate in
  Music from the National Autonomous University of Mexico\, where she gradu
 ated with honors and received the Alfonso Caso Medal for Academic Excellen
 ce. She also pursued postgraduate studies in England at the University of 
 West London and the London College of Music\, following her professional t
 raining at the University of São Paulo\, Brazil. She is currently a resea
 rcher at the National Center for Music Research\, Documentation\, and Info
 rmation “Carlos Chávez”\, a member of Mexico’s National System of A
 rt Creators\, and recipient of the 2024 First Prize for Academic Research 
 Achievement awarded by the National Institute of Fine Arts and Literature.
 \n\nEmbodied and Situated Practices in Mixed Electroacoustic Music\n\nAbst
 ract: Mixed electroacoustic music has increasingly become a space for ques
 tioning traditional hierarchies between body\, technology\, composition\, 
 and performance. explores performer-led artistic practices grounded in int
 ermediality\, corporeality\, and critical feminist decolonial perspectives
 . Through contemporary electroacoustic performance\, the presentation exam
 ines how the body operates not as a neutral vehicle of interpretation\, bu
 t as a situated site of agency\, memory\, and knowledge production. \n\nTr
 io Janela (Viv Corringham - voice\, electronics\; Cássia Carrascoza - flu
 te\,  \; Diane Roblin - piano\, keyboards)  is a group of three profession
 al women musicians who are based in three different countries. We came tog
 ether during the pandemic specifically to make contemporary work for the i
 nternet and related technologies. Working collaboratively we create\, deve
 lop\, and perform music live via the platforms of Jacktrip and Zoom\, acce
 pting and working within their latency and the properties of the virtual e
 nvironment. The music draws from our various backgrounds in classical musi
 c\, improvisation\, multimedia\, electronics and jazz. As an international
  group we use our different skills to create music telematically through t
 he tools and possibilities of live\, network-based online performance. We 
 have performed at the University of Sao Paulo Brazil\, Now Nets Conference
 s domestic and abroad as well as at Earth Day Conference celebrations.  Tr
 io Janela celebrates community and connection.  \n\nViv Corringham  (voice
 \, electronics\, field recordings) is a US based British vocalist and soun
 d artist\, who has been described as “a vital force in improvised music 
 since the late 1970s” (BBC Radio 3) and “a vocalist of stunning virtuo
 sity” (The Wire). Her definitive contribution to sound art practice is t
 he 20 year ongoing “Shadow-walks”\, which have occurred in 18 countrie
 s\, are taught in sound art classes and have been the focus of many articl
 es.\n\nCássia Carrascoza (flute and technological support for network art
 ) is a Brazilian flutist\, improviser\, educator\, and researcher. She is 
 professor at the Department of Music of the University of São Paulo (USP)
 . She regularly engages in virtual performances with transnational ensembl
 es and publishes research on telematic music. She also coordinates the Tel
 ematic Ensemble LaFlauta\, a student-led group from USP's Department of Mu
 sic.\n\nDiane Roblin (piano\, keyboards) is an International Songwriter Co
 mpetition winner. Her diverse compositions and expressive keyboard style b
 lend technical agility with a deep commitment to the connective power of m
 usic. As a composer\, pianist\, keyboardist\, improviser\, and bandleader\
 , Diane’s spirited\, genre-crossing work has led to collaborations with 
 artists ranging from avant-garde improviser Charles Gayle to the iconic ro
 ck band Rough Trade. Diane’s collaborations span an impressive range of 
 international jazz and experimental musicians including telematic music. D
 iane Roblin’s dynamic career has earned her a place among Canada’s mos
 t respected women in jazz. Known for her powerful compositions. \n\n \n\n 
 \n\nGustavo Sol (Dr. Gustavo Garcia da Palma) is a Brazilian artist\, rese
 archer\, and director working at the intersection of performance\, artific
 ial intelligence\, and biosignal interaction. He holds a PhD in Performing
  Arts from the University of São Paulo (ECA-USP)\, with research focused 
 on neurophysiological processes in performance and digital dramaturgy. His
  work explores hybrid ecologies between human and non-human systems\, inte
 grating EEG\, EMG\, and AI into live audiovisual creation. He is currently
  a professor at the Belas Artes University Center in São Paulo\, where he
  leads the VOXEL Research Group on Neurocomputing of Performativity\, and 
 a postdoctoral researcher at the University of São Paulo\, focusing on re
 lationships between artificial\, artistic\, and organoid intelligence in l
 ive performative contexts.\n\nFrom Opera to Physical Theater\, from the Sc
 ore to Biosignal-Driven Performance\n\nAbstract: This presentation explore
 s the influence of the notion of the score as a dramaturgical marker in ph
 ysical theater and its evolution into biosignal-driven performances within
  my creative process. The research investigates the transition from tradit
 ional models of scenic composition — such as opera and fixed score-based
  structures — toward performances integrating physical theater\, digital
  dramaturgy\, artificial intelligence\, and living organisms. Building on 
 experiments with EEG\, biological sensors\, and the slime mold (Physarum p
 olycephalum)\, the project develops hybrid systems in which bioelectrical 
 variations directly interfere with dramaturgy\, movement\, and the tempora
 l organization of the scene. In dialogue with bioart\, neurocomputing of p
 erformativity\, and perspectives from Digital Dramaturgy\, the research pr
 oposes real-time creative processes in which body\, environment\, algorith
 ms\, and biological systems collectively shape the performance.\n\nConstan
 tin Basica is a Romanian composer who creates music that is deeply intertw
 ined with video and performance.He completed a postdoctoral research fello
 wship at Stanford University's Center for Computer Research in Music and A
 coustics (CCRMA) in California\, where he also earned his doctorate in Com
 position. Before this\, he obtained a master's degree from the Hochschule 
 für Musik und Theater Hamburg in Germany and bachelor's degrees in both C
 omposition and Conducting from the National University of Music Bucharest 
 in Romania. In recent years\, he has collaborated with other researchers o
 n the development of systems for co-creativity between humans and artifici
 al intelligence. Constantin is currently a Lecturer at CCRMA / Stanford Un
 iversity\, where he teaches composition and interdisciplinary courses.\n\n
 _The Last Piece_: Musical AI for an Immersive Syncretic Concert\n\nThis pr
 esentation introduces an AI-based system that merges brain–computer inte
 rfacing with generative audio synthesis in the context of an immersive syn
 cretic concert. Designed for two performances at the 2025 George Enescu In
 ternational Festival\, the project enables composer Constantin Basica to g
 enerate new music through imagined sounds captured via EEG. Recordings are
  made with an EMOTIV EPOC X headset equipped with 14 sensors\, and a custo
 m seven-layer convolutional neural network processes the resulting 512 × 
 14 channel input. The model classifies the imagined sounds and retrieves a
 udio excerpts from Basica’s complete catalogue of recorded works. These 
 excerpts function as prompts for a second AI pipeline\, which produces aud
 io that reimagines the composer’s style\, effectively turning thought in
 to sound. The concert environment situates this process within an immersiv
 e audiovisual setting\, where neural activity\, personal memory\, and mach
 ine creativity interact in real time. Beyond its premiere performance\, th
 is system contributes to broader discussions on AI\, creativity\, and huma
 n–machine collaboration. The project will also be the subject of a forth
 coming Routledge book chapter (2026)\, offering a more detailed account of
  its technical development and artistic implications.\n\nHelen Bledsoe is 
 a flutist\, educator\, composer and researcher. As a member of Cologne's E
 nsemble Musikfabrik\, she has premiered works by numerous composers. She i
 s guest faculty for the Lucerne Festival and Grafenegg Academies. In Septe
 mber 2026\, she will begin her PhD research titled: "The Embodied Interfac
 e: Assembling Alife Systems for Musical Performance" at the Orpheus Instit
 ute\, Ghent and the Royal Conservatoire of Antwerp. She been published by 
 Tempo and the Contemporary Music Review\, and her blog on contemporary flu
 te\, composing\, and creative coding has been a basis of research for flut
 ists and composers.\n\n Art as an Act of Tulpamancy\n\nAbstract: This talk
  will introduce my PhD research project "The Embodied Interface: Assemblin
 g Alife Systems for Musical Performance"\, addressing concepts from post-h
 umanism and artificial life research from the performer's perspective. It 
 will also touch the importance of techno and AI-fluency for performers (es
 pecially female and non-binary)\, and present an audio-visual work-in-prog
 ress.\n\nJoAnn Kuchera-Morin is a composer\, Professor of Media Arts and T
 echnology and Music\, and a researcher in multi-modal media systems\, cont
 ent and facilities design. She created\, built\, and designed the Center f
 or Research in Electronic Art Technology and is the Center Director since 
 its inception in 1986. Her years of experience in digital media research l
 ed to the creation of a multi-million dollar sponsored research program fo
 r the University of California\, the Digital Media Innovation Program. She
  was Chief Scientist of the Program from 1998 to 2003. In 2000 she began t
 he creation\, design\, and development of a Digital Media Center within th
 e California Nanosystems Institute. The culmination of her design is the A
 llosphere Research Laboratory\, a three-story metal sphere inside an echo-
 free cube\, designed for immersive\, interactive scientific and artistic i
 nvestigation of multi-dimensional data sets. A composer of mixed media wor
 ks\, she received her Ph.D. in 1984 from the Eastman School of Music\, Uni
 versity of Rochester. Her current music research is focusing on a general 
 purpose interface for control of digital information through natural perfo
 rmance gesture. A composer of primarily electro-acoustic works\, her music
  has been performed throughout the United States\, Europe and Asia.\n\nCel
 este Betancur is a researcher at Stanford University’s Center for Comput
 er Research in Music and Acoustics (CCRMA)\, where her research explores t
 he intersections of music\, technology\, and algorithmic composition. As a
  composer\, digital artist\, and live coder\, her work spans a broad spect
 rum—from academic concert halls to underground electronic music scenes
 —emphasizing real-time score generation\, live coding performance\, and 
 the development of interactive audiovisual systems. \n\nBlurring boundarie
 s between body and interface\n\nAbstract: The rise of generative AI tools 
 has sparked important questions about the creative process for artists. Ho
 w do these tools affect our relationship with our creative work\, our inte
 ractions with others\, and our aesthetic preferences? How can we integrate
  them into our performances and compositions—blending them with our skil
 ls and creative language? \n\nPandora’s Dream is a versatile live coding
  environment and an experimental playground developed for my own use to ex
 plore these questions. It serves as a platform for testing diverse approac
 hes\, algorithms\, programming languages\, and techniques. Rather than bei
 ng designed for general use\, it supports my practice across roles—perfo
 rmer\, conductor\, digital luthier\, sound designer\, and composer—as I 
 navigate the complexities of live computer music. More than just a tool\, 
 Pandora’s Dream functions as a conceptual framework\, continually evolvi
 ng and being reimplemented with each performance.\n\nI examine the use of 
 Pandora’s Dream across many different iterations and use cases. Showcasi
 ng examples of audiovisual works produced with each version of the system 
 and analyzes the creative process from the dual perspective of technician/
 programmer and artist/performer. Additionally\, I offer insights into the 
 project’s sources of inspiration and provide a brief conceptual and tech
 nical context for understanding its development.\n\n \n\nMarcus Bastos is 
 Full Professor in Communication and Arts by PUC-SP\, where he is a profess
 or in the Arts Department\, since 2023\, and the Intelligence Technology a
 nd Digital Design postgrade program\, since 2012. His most recent projecti
 on piece was the videomapping 0802\, created with german artist Alexander 
 Peterhaensel for the Luminafest festival 2025.\n\nEvents\, from audiovisua
 l performance to artificial intelligence\n\nAbstract:The concept of event 
 is complex. After its appearance in stoic philoshophy\, the greek material
 ist alternative to Plato and Aristotle\, it endured a period of discredit 
 during an epoch in which thinkers where more interested in the stability o
 f systems\, and reappeared in the end of the 1960s through a double folded
  impulse from Deleuze´s The Logic of Sense and the aftermath of May 68. F
 rom then on\, the concept dislocated from philosophy and language studies 
 to other fields of knowledge. From catasthrophes to performances\, the con
 cept of event became broad and diverse. This lecture will give an overview
  of the concept of event and analyse a performance that changes its logic\
 , as it suggests and idea of a virtual event. With that in mind\, it will 
 end by questioning to what extent can artificial intelligence be thought o
 f as an event.\n\nYifeng Yvonne Yuan converts the frequency of herself los
 ing socks into the frequency of the pitches\; she weighs raindrops to dete
 rmine the weight of her noteheads. She is a composer\, performer\, and med
 ia artist\, born and raised in Taiyuan\, China\, and currently resides bet
 ween Santa Barbara and Los Angeles. Yvonne is currently pursuing a Ph.D. d
 egree in Music Composition at UCSB. She is also a master's student in the 
 MAT department. Yvonne holds a master’s degree in music composition and 
 bachelor's degrees in Sociology and Musicology from UCLA. Yvonne draws ins
 piration from the ritualistic practices of early human beings. She explore
 s the transient and vulnerable experiences inherent to human existence in 
 her works. Sound and poetry are her primary mediums of artistic expression
 . \n\nGlitch Breath: Real-Time Neural Deconstruction of Vocal Meaning\n\nA
 bstract: This paper introduces Glitch Breath\, a real-time neural effect u
 nit and aesthetic inquiry designed to deconstruct semantic speech into a n
 on-meaning-making "glitched" vernacular. While current research in neural 
 audio synthesis predominantly prioritizes high-fidelity replication and se
 mantic clarity\, these frameworks often erase the paralinguistic meaning a
 nd semiotic space inherent in human vocalization\, such as the involuntary
  physiological tremors\, the breathy sound\, and the raw\, unpolished text
 ures of the vocal apparatus that resist linguistic organization. By utiliz
 ing IRCAM’s RAVE architecture within Max/MSP\, this aesthetic research s
 eeks to develop a real-time effect unit that transforms semantic voice to 
 a visceral and embodied sonic output.\n\nFelipe de Almeida Ribeiro is a Br
 azilian composer of instrumental and electroacoustic music. He was a stude
 nt of Dániel Péter Biró\, Gordon Mumma\, and Cort Lippe throughout his 
 master’s and PhD-level studies. His music has been performed in various 
 concert halls in a number of countries\, including the U.S.\, Germany\, Hu
 ngary\, Austria\, England\, Canada\, Brazil\, Argentina\, Spain\, Sweden\,
  and the Netherlands. Dr. Ribeiro is currently a faculty member at the Uni
 versidade Estadual do Paraná (Brazil).\n\nHow has technology affected mus
 ical language\n\nAbstract: This research was conducted between 2022 and 20
 25 at the State University of Paraná (Brazil)\, within the activities of 
 the Núcleo Música Nova research group. We sought to understand how techn
 ology involving modular synthesizers has affected and continues to affect 
 musical language for the electronic music artist. This study revisits the 
 modular synthesizer as a tool for tactile instrumental practices\, recover
 ing a relationship among body\, gesture\, and sound creation. However\, un
 like other (acoustic) instruments\, the modular synthesizer presents a fun
 damental paradox: although limited to the available modules (deterministic
  in character)\, its reconfigurable design through patching drives the art
 ist toward the discovery of sounds not anticipated in the initial project\
 , revealing creative dimensions through systematic experimentation. Furthe
 rmore\, physical playing (the manipulation of potentiometers and cables) i
 s not merely a performative procedure\; it is constitutive of listening an
 d sound creation in real time. This practice manifests what Simon Emmerson
  characterizes as “learning by doing” (2020). The study is grounded in
  artists’ statements and in the perspectives of embodied cognition\, ext
 ended mind theory (Clark & Chalmers\, 1998)\, and philosophy of technology
  (Flusser\, 2002\; Simondon\, 2005) in order to understand the integration
  of body\, cognition\, and technology. As a result\, a dedicated space was
  established within the Laboratory of Music\, Sonology\, and Audio (LaMuSA
 )\, including several acquisitions of modular Eurorack synthesizers. This 
 made possible the offering of activities ranging from sound synthesis work
 shops for the broader community to undergraduate courses (“Consort of Sy
 nthesizers”) and graduate courses (“Laboratory Practices in Music and 
 Technology”).\n\nJulie Herndon is a composer\, performer\, and sound art
 ist whose interdisciplinary work explores the relationship between body\, 
 sound\, and technology. Influenced by folk\, classical\, and experimental 
 pop\, her electroacoustic work has been described as “truly brilliant”
  (Kulturpunkt)\, “like a signal from another world” (Tages-Anzeiger)\,
  and “blended to inhabit a surprisingly expressive space” (San Francis
 co Classical Voice). She has performed original work for piano and electro
 nics at international festivals including Blaues Rauschen in Germany (2025
 )\, San Francisco Electronic Music Festival (2024)\, and Sonorities in Ire
 land (2024). Her sound installations have been awarded by the Society of A
 merican Registered Architects (2025) and featured at the Museo de Arte Con
 temporáneo de Oaxaca in Mexico (2020). Her chamber works have been perfor
 med at Musica Nova Helsinki in Finland (2025)\, Música Estranha Festival 
 in Brazil (2023)\, Music Biennale Zagreb in Croatia (2021)\, National Sawd
 ust (2020) and MATA Festival (2019) in New York\, and Abbotsford Convent i
 n Australia (2018). She has collaborated with ensembles including the Deco
 der Ensemble\, andPlay\, JACK Quartet\, Ensemble Dal Niente\, and Kukuruz 
 Quartet. Julie is the recipient of the Elisabeth Crothers Award for Music 
 Composition\, American Composers Forum Bay Area Residency\, National Sawdu
 st New Works Commission\, George Lurcy Fellowship\, Chamber Music America 
 Commissioning Grant\, and New Music USA Creator Fund Award. She has been s
 upported by artist residencies at institutions including the Cité interna
 tionale des arts\, Yaddo\, Rock and Roll Hall of Fame\, Center for Music a
 nd Audio Technologies (CNMAT) at Berkeley\, I-Park Foundation\, and Djeras
 si. Herndon is currently Assistant Professor of Music Technology and Compo
 sition at California Polytechnic State University. She previously taught c
 omposition and electronic music production techniques at San Francisco Con
 servatory of Music (SFCM) and the Center for Computer Research in Music an
 d Acoustics (CCRMA) at Stanford University. She holds a DMA in music compo
 sition from Stanford\, MA in music composition from Mills College\, and BA
  from St. Mary's College of Maryland. Her writing is published in Leonardo
  (MIT Press) and Organised Sound (Cambridge University Press)\, and her mu
 sic can be found on labels such as New Focus Recordings\, Infrequent Seams
 \, and Innova Records.\n\nMud (2025)\n\nAbstract: Mud is pretty magical st
 uff. It can transform just about anything into itself. Given enough time\,
  it can support new life growing out of it again.\n\nFor this piece\, I tr
 aced the migrations of dirt: metabolized in compost\, filtered underwater 
 by oysters\, and airborne on wind and tree branches. I made field recordin
 gs underground\, underwater\, and on land. I analyzed and extracted pitche
 s\, textures\, and rhythms to shape the musical material. I collaborated w
 ith scientist James Weiss who created video footage of microbial life in t
 hese sorts of everyday mud sources.\n\nTo start a conversation with mud\, 
 I planted a garden and fed it with my compost. I learned that plants respo
 nd well to sound\, so I “toned” my garden\, playing frequencies into t
 he earth and recording responses. The ground murmured back with insect lif
 e\, and the plants chirped with ultrasonic voices. In the piece\, performe
 rs enter this conversation by interjecting and improvising with audio and 
 video\, expanding the dialogue between mud and organic matter.\n\nIgor San
 tos Described as “otherworldly and mysteriously familiar” (Chicago Cla
 ssical Review)\, and as “exciting and clear... with a striking boldness"
  (Luigi Nono Competition Prize)\, Igor Santos’ music has been performed 
 internationally\, by leading musicians such as Ensemble Modern\, Ensemble 
 Intercontemporain\,Ensemble Dal Niente\, Yarn Wire\, Alarm Will Sound\, PO
 ING\, the American Composers Orchestra\, and The Florida Orchestra. His wo
 rk is centered on mimetic relationships between found sounds\, acoustic in
 struments\, and recently with video\, all of which is dramatized through r
 epetition and the use of microtonal keyboards. Igor has earned degrees in 
 Music Composition from the University of Chicago\, the Eastman School of M
 usic\, and the University of South Florida. He has been awarded the Rome P
 rize (2022)\, a Guggenheim Fellowship (2023)\, and has won additional priz
 es such as the International Ferruccio Busoni Competition\, the Luigi Nono
  International Competition\, the RED NOTE Competition\, the Salvatore Mart
 irano Award\, and was also awarded Best Sound Design from Theater Tampa Ba
 y (for his incidental music). Igor is a native of Curitiba\, Brazil. He is
  currently an Assistant Professor of Music at Cornell University.\n\nmirro
 r scenes (2025)\n\nAbstract: mirror scenes explores and questions ideas of
  immersion\, and the desire to dissolve boundaries and lose oneself. The m
 irror serves as a central theme—both as a tool/symbol for immersion as w
 ell as a connective thread throughout the work.  mirror scenes make use of
  found footage\, found sounds\, and mirror-like musical and visual techniq
 ues\, all joined in a mimetic cycle—constantly navigating between video\
 , sound\, and live performance\, as well as back and forth in historical t
 ime.\n\nJason Thorpe Buchanan is a tri-continentally active composer\, int
 ermedia artist\, and technologist. His works explore multiplicity\, causal
 ity\, behavior\, and the integration of live performance with technology. 
 Since 2025\, he is Professor für Komposition mit digitalen Medien at the 
 Hochschule für Musik Würzburg\, Germany\, and leads the graduate program
  in Komposition mit Neuen Medien as director of the Studio für experiment
 elle elektronische Musik. He has been recognized internationally through f
 ellowships and commissions from the Fulbright Foundation (Hochschule für 
 Musik und Theater Hamburg\, 2010-11) as a visiting scholar\, the American-
 Scandinavian Foundation\, EMPAC\, Royaumont (France\, 2016 & 2017)\, TIME 
 SPANS (NYC)\, the Mizzou International Composers Festival (MICF\, 2013)\, 
 the International Horn Society\, Eklekto Percussion (Switzerland)\, Tetrac
 tys New Music (Austin)\, Tzlil Meudcan\, the Earle Brown Music Foundation\
 , two ASCAP Morton Gould Awards (2014 & 2015)\, Ernst von Siemens Musiksti
 ftung\, as winner of Iron Composer (2014)\, the Howard Hanson Orchestral P
 rize (2014) and more\, including selection as Artist-in-Residence at USF V
 erftet (Norway)\, the Embassy of Foreign Artists (Geneva)\, the Brush Cree
 k Foundation (Wyoming)\, nomination for the 2015 Gaudeamus Prize\, as a 20
 24 Aaron Copland Bogliasco Fellow (Italy)\, and as an SWR Experimentalstud
 io Fellow (Germany\, 2026). His works have been described as “an unearth
 ly collage of sounds”\, “sharply-edged”\, and “free jazz gone wron
 g—in a good way.”\n\n Commissions and performances have included colla
 borations with Alarm Will Sound\, the Talea Ensemble\, Ensemble Interface 
 (DE)\, Ensemble Nikel (Israel)\, Linea (FR)\, Insomnio (NL)\, EXAUDI Vocal
  Ensemble (UK)\, Slagwerk Den Haag (NL)\, Eklekto Percussion (CH)\, the Mi
 vos Quartet (USA)\, Iktus Percussion\, wild Up\, the Eastman Musica Nova E
 nsemble\, TACETi (Thailand)\, the Hong Kong New Music Ensemble\, and Line 
 Upon Line. Scenes from his multimedia opera Hunger have received performan
 ces at the Internationales Musikinstitut Darmstadt\, The Industry’s FIRS
 T TAKE in L.A.\, and MATA (NYC) with the [Switch~ Ensemble]. “Hunger is 
 a kind of training session in mental disintegration… An ungodly opera ne
 eds ugly music\, singers who produce primal sounds\, an electric guitar th
 at sounds scraped raw\, a wailing orchestra effects\, cuts the ear like a 
 knife. Buchanan delivers.” – L.A. Times
GEO:34.412715;-119.847061
LOCATION:Music\, 2215
SUMMARY:Music Technology and Interactivity: Voices of the Edge (Web Confere
 nce)
URL;VALUE=URI:https://www.campuscalendar.ucsb.edu/event/conference-music-te
 chnology-and-interactivity-voices-of-the-edge
CATEGORIES:Conferences & Meetings
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260607T013237Z
UID:tag:localist.com\,2008:EventInstance_52895966189864
DTSTART:20260529T070000Z
DTEND:20260530T070000Z
DESCRIPTION:Music Technology and Interactivity: Voices of the Edge (Web Con
 ference)\nMay 28 and 29\n\nWeb Conference Zoom link: https://ucsb.zoom.us/
 my/tatcat76\n\nVIII Sonic Convergences:\nMusic\, Technology\, and Interact
 ivity: Voices of the Edge\nLocation: Department of Music\, classroom #2215
  (Xenaki’s Studio)\n\nThe Sonic Convergences is a well-established serie
 s of conferences led by Professor Cassia Carrascoza at the University of S
 ão Paulo (USP) in Brazil. The event highlights the diversity of thought w
 ithin these fields\, showing\, as the name suggests\, how musical sounds c
 onverge while also individualizing themselves across various inspirations 
 and trends. This edition is partnered with UCSB to promote closer ties amo
 ng artists from various countries who develop work with different technolo
 gies\, prompting us to rethink these practices\, our perception\, and our 
 emotional connections.\n\nPROGRAM\n\n May 28 – Music at the threshold\n\
 n \n\nCalifornia / New York / São Paulo\n\n                              
                              \n\n12:00 / 15:00 / 16:00          João Pedr
 o Oliveira (Dept of Music/UCSB\, USA)\n\n                                 
                                 \n\n13:00 / 16:00 / 17:00          Iracema
  Andrade (CENIDIM\, Mexico)\nEmbodied and Situated Practices in Mixed Elec
 troacoustic Music \n\n13:30 / 16:30 / 17:30          Trio Janela\, telemat
 ic music\n                                               (New York\, Toron
 to\, Sao Paulo\n                                               Memories - 
 Collaborative telematic composition\n                                     
           inspired by Pauline Oliveros\n\n14:00 / 17:00 / 18:00           
 Gustavo Sol (ECA/USP\, Brazil\n                                           
     From Opera to Physical Theater\, from the Score\n                     
                           to Biosignal-Driven Performance                 
      \n\n14:30 / 17:30 / 18:30           Constantin Basica (Stanford\, USA
 )\n                                               The Last Piece: Musical 
 AI for an Immersive \n                                               Syncr
 etic Concert\n\n15:00 / 18:00 / 19:00          Helen Bledsoe  (Ensemble Mu
 sikfabrik\, Germany/USA)\n                                              Ar
 t as an Act of Tulpamancy\n\n15:30 / 18:30 / 19:30          round table\n\
 nMay 29 – New technologies\, new thoughts\, new paths\n\nCalifornia / S
 ão Paulo\n\n12:00 / 16:00                       JoAnn Kuchera-Morin (Dept
  of Music/MAT/UCSB\, USA)\n                                              M
 usic and Technology at UCSB: 40 years of history\n                        
                       (CREATE/MAT)\n\n13:00 / 17:00                       
 Celeste Betancur (Stanford\, USA)\n                                       
        Blurring boundaries between body and interface\n\n13:30 / 17:30    
                    Marcus Bastos – (PUC - Sao Paulo\, Brazil\n          
                                     Events\, from live audiovisual perform
 ance to artificial intelligence\n\n14:00 / 18:00                       Yif
 eng Yvonne Yuan (Dept of Music/MAT/UCSB\, USA)\n                          
                     Glitch Breath: Real-Time Neural Deconstruction of Voca
 l Meaning\n\n14:30 / 18:30                       Felipe Ribeiro – (UNESP
 AR – Paraná\, Brazil\n                                              How
  has technology affected musical language                       \n 15:00 /
  19:00                      round table\n\nMay 30 – CCS: conferences abo
 ut the concert program from May 23rd with Switch Ensemble (TBD): Compositi
 on Processes\n\nCalifornia / São Paulo\n\n 14:00 / 18:00                 
   Andrew A. Watts (CCS/UCSB)\n                                           S
 aturation Triplex (2025-2026) \n\n 14:30 / 18:30                   Julie H
 erndon (Cal Poly)\n                                           Mud (2025) \
 n\n15:00 / 19:00                    Igor Santos (Cornell University)\n    
                                        mirror scenes (2025)\n             
               \n15:30 / 19:30                    Jason Thorpe Buchanan (Hy
 brid Music Lab\,  Dresden)                         \n                     
                       & Chris Chandler (Union College)\n                  
                         GRIDS (2025)\n\nABOUT THE RESEARCHERS AND ABSTRACT
 S\n\n \n\nJoão Pedro Oliveira holds the Corwin Endowed Chair in Compositi
 on for the University of California at Santa Barbara. He studied organ per
 formance\, composition\, and architecture in Lisbon. He completed a Ph.D. 
 in Music at the University of New York at Stony Brook. He has\n\nreceived 
 over 70 international prizes and awards for his works\, including the pres
 tigious Guggenheim Fellowship in 2023\, the Bourges Magisterium Prize\, an
 d the Giga-Hertz Special Award\, among others. His publications include se
 veral articles in journals and a book on 20th century music theory.      \
 n\nIracema de Andrade Brazilian cellist\, researcher\, and creator based i
 n Mexico\, Iracema de Andrade has developed an internationally recognized 
 career in contemporary and electroacoustic music. She holds a Doctorate in
  Music from the National Autonomous University of Mexico\, where she gradu
 ated with honors and received the Alfonso Caso Medal for Academic Excellen
 ce. She also pursued postgraduate studies in England at the University of 
 West London and the London College of Music\, following her professional t
 raining at the University of São Paulo\, Brazil. She is currently a resea
 rcher at the National Center for Music Research\, Documentation\, and Info
 rmation “Carlos Chávez”\, a member of Mexico’s National System of A
 rt Creators\, and recipient of the 2024 First Prize for Academic Research 
 Achievement awarded by the National Institute of Fine Arts and Literature.
 \n\nEmbodied and Situated Practices in Mixed Electroacoustic Music\n\nAbst
 ract: Mixed electroacoustic music has increasingly become a space for ques
 tioning traditional hierarchies between body\, technology\, composition\, 
 and performance. explores performer-led artistic practices grounded in int
 ermediality\, corporeality\, and critical feminist decolonial perspectives
 . Through contemporary electroacoustic performance\, the presentation exam
 ines how the body operates not as a neutral vehicle of interpretation\, bu
 t as a situated site of agency\, memory\, and knowledge production. \n\nTr
 io Janela (Viv Corringham - voice\, electronics\; Cássia Carrascoza - flu
 te\,  \; Diane Roblin - piano\, keyboards)  is a group of three profession
 al women musicians who are based in three different countries. We came tog
 ether during the pandemic specifically to make contemporary work for the i
 nternet and related technologies. Working collaboratively we create\, deve
 lop\, and perform music live via the platforms of Jacktrip and Zoom\, acce
 pting and working within their latency and the properties of the virtual e
 nvironment. The music draws from our various backgrounds in classical musi
 c\, improvisation\, multimedia\, electronics and jazz. As an international
  group we use our different skills to create music telematically through t
 he tools and possibilities of live\, network-based online performance. We 
 have performed at the University of Sao Paulo Brazil\, Now Nets Conference
 s domestic and abroad as well as at Earth Day Conference celebrations.  Tr
 io Janela celebrates community and connection.  \n\nViv Corringham  (voice
 \, electronics\, field recordings) is a US based British vocalist and soun
 d artist\, who has been described as “a vital force in improvised music 
 since the late 1970s” (BBC Radio 3) and “a vocalist of stunning virtuo
 sity” (The Wire). Her definitive contribution to sound art practice is t
 he 20 year ongoing “Shadow-walks”\, which have occurred in 18 countrie
 s\, are taught in sound art classes and have been the focus of many articl
 es.\n\nCássia Carrascoza (flute and technological support for network art
 ) is a Brazilian flutist\, improviser\, educator\, and researcher. She is 
 professor at the Department of Music of the University of São Paulo (USP)
 . She regularly engages in virtual performances with transnational ensembl
 es and publishes research on telematic music. She also coordinates the Tel
 ematic Ensemble LaFlauta\, a student-led group from USP's Department of Mu
 sic.\n\nDiane Roblin (piano\, keyboards) is an International Songwriter Co
 mpetition winner. Her diverse compositions and expressive keyboard style b
 lend technical agility with a deep commitment to the connective power of m
 usic. As a composer\, pianist\, keyboardist\, improviser\, and bandleader\
 , Diane’s spirited\, genre-crossing work has led to collaborations with 
 artists ranging from avant-garde improviser Charles Gayle to the iconic ro
 ck band Rough Trade. Diane’s collaborations span an impressive range of 
 international jazz and experimental musicians including telematic music. D
 iane Roblin’s dynamic career has earned her a place among Canada’s mos
 t respected women in jazz. Known for her powerful compositions. \n\n \n\n 
 \n\nGustavo Sol (Dr. Gustavo Garcia da Palma) is a Brazilian artist\, rese
 archer\, and director working at the intersection of performance\, artific
 ial intelligence\, and biosignal interaction. He holds a PhD in Performing
  Arts from the University of São Paulo (ECA-USP)\, with research focused 
 on neurophysiological processes in performance and digital dramaturgy. His
  work explores hybrid ecologies between human and non-human systems\, inte
 grating EEG\, EMG\, and AI into live audiovisual creation. He is currently
  a professor at the Belas Artes University Center in São Paulo\, where he
  leads the VOXEL Research Group on Neurocomputing of Performativity\, and 
 a postdoctoral researcher at the University of São Paulo\, focusing on re
 lationships between artificial\, artistic\, and organoid intelligence in l
 ive performative contexts.\n\nFrom Opera to Physical Theater\, from the Sc
 ore to Biosignal-Driven Performance\n\nAbstract: This presentation explore
 s the influence of the notion of the score as a dramaturgical marker in ph
 ysical theater and its evolution into biosignal-driven performances within
  my creative process. The research investigates the transition from tradit
 ional models of scenic composition — such as opera and fixed score-based
  structures — toward performances integrating physical theater\, digital
  dramaturgy\, artificial intelligence\, and living organisms. Building on 
 experiments with EEG\, biological sensors\, and the slime mold (Physarum p
 olycephalum)\, the project develops hybrid systems in which bioelectrical 
 variations directly interfere with dramaturgy\, movement\, and the tempora
 l organization of the scene. In dialogue with bioart\, neurocomputing of p
 erformativity\, and perspectives from Digital Dramaturgy\, the research pr
 oposes real-time creative processes in which body\, environment\, algorith
 ms\, and biological systems collectively shape the performance.\n\nConstan
 tin Basica is a Romanian composer who creates music that is deeply intertw
 ined with video and performance.He completed a postdoctoral research fello
 wship at Stanford University's Center for Computer Research in Music and A
 coustics (CCRMA) in California\, where he also earned his doctorate in Com
 position. Before this\, he obtained a master's degree from the Hochschule 
 für Musik und Theater Hamburg in Germany and bachelor's degrees in both C
 omposition and Conducting from the National University of Music Bucharest 
 in Romania. In recent years\, he has collaborated with other researchers o
 n the development of systems for co-creativity between humans and artifici
 al intelligence. Constantin is currently a Lecturer at CCRMA / Stanford Un
 iversity\, where he teaches composition and interdisciplinary courses.\n\n
 _The Last Piece_: Musical AI for an Immersive Syncretic Concert\n\nThis pr
 esentation introduces an AI-based system that merges brain–computer inte
 rfacing with generative audio synthesis in the context of an immersive syn
 cretic concert. Designed for two performances at the 2025 George Enescu In
 ternational Festival\, the project enables composer Constantin Basica to g
 enerate new music through imagined sounds captured via EEG. Recordings are
  made with an EMOTIV EPOC X headset equipped with 14 sensors\, and a custo
 m seven-layer convolutional neural network processes the resulting 512 × 
 14 channel input. The model classifies the imagined sounds and retrieves a
 udio excerpts from Basica’s complete catalogue of recorded works. These 
 excerpts function as prompts for a second AI pipeline\, which produces aud
 io that reimagines the composer’s style\, effectively turning thought in
 to sound. The concert environment situates this process within an immersiv
 e audiovisual setting\, where neural activity\, personal memory\, and mach
 ine creativity interact in real time. Beyond its premiere performance\, th
 is system contributes to broader discussions on AI\, creativity\, and huma
 n–machine collaboration. The project will also be the subject of a forth
 coming Routledge book chapter (2026)\, offering a more detailed account of
  its technical development and artistic implications.\n\nHelen Bledsoe is 
 a flutist\, educator\, composer and researcher. As a member of Cologne's E
 nsemble Musikfabrik\, she has premiered works by numerous composers. She i
 s guest faculty for the Lucerne Festival and Grafenegg Academies. In Septe
 mber 2026\, she will begin her PhD research titled: "The Embodied Interfac
 e: Assembling Alife Systems for Musical Performance" at the Orpheus Instit
 ute\, Ghent and the Royal Conservatoire of Antwerp. She been published by 
 Tempo and the Contemporary Music Review\, and her blog on contemporary flu
 te\, composing\, and creative coding has been a basis of research for flut
 ists and composers.\n\n Art as an Act of Tulpamancy\n\nAbstract: This talk
  will introduce my PhD research project "The Embodied Interface: Assemblin
 g Alife Systems for Musical Performance"\, addressing concepts from post-h
 umanism and artificial life research from the performer's perspective. It 
 will also touch the importance of techno and AI-fluency for performers (es
 pecially female and non-binary)\, and present an audio-visual work-in-prog
 ress.\n\nJoAnn Kuchera-Morin is a composer\, Professor of Media Arts and T
 echnology and Music\, and a researcher in multi-modal media systems\, cont
 ent and facilities design. She created\, built\, and designed the Center f
 or Research in Electronic Art Technology and is the Center Director since 
 its inception in 1986. Her years of experience in digital media research l
 ed to the creation of a multi-million dollar sponsored research program fo
 r the University of California\, the Digital Media Innovation Program. She
  was Chief Scientist of the Program from 1998 to 2003. In 2000 she began t
 he creation\, design\, and development of a Digital Media Center within th
 e California Nanosystems Institute. The culmination of her design is the A
 llosphere Research Laboratory\, a three-story metal sphere inside an echo-
 free cube\, designed for immersive\, interactive scientific and artistic i
 nvestigation of multi-dimensional data sets. A composer of mixed media wor
 ks\, she received her Ph.D. in 1984 from the Eastman School of Music\, Uni
 versity of Rochester. Her current music research is focusing on a general 
 purpose interface for control of digital information through natural perfo
 rmance gesture. A composer of primarily electro-acoustic works\, her music
  has been performed throughout the United States\, Europe and Asia.\n\nCel
 este Betancur is a researcher at Stanford University’s Center for Comput
 er Research in Music and Acoustics (CCRMA)\, where her research explores t
 he intersections of music\, technology\, and algorithmic composition. As a
  composer\, digital artist\, and live coder\, her work spans a broad spect
 rum—from academic concert halls to underground electronic music scenes
 —emphasizing real-time score generation\, live coding performance\, and 
 the development of interactive audiovisual systems. \n\nBlurring boundarie
 s between body and interface\n\nAbstract: The rise of generative AI tools 
 has sparked important questions about the creative process for artists. Ho
 w do these tools affect our relationship with our creative work\, our inte
 ractions with others\, and our aesthetic preferences? How can we integrate
  them into our performances and compositions—blending them with our skil
 ls and creative language? \n\nPandora’s Dream is a versatile live coding
  environment and an experimental playground developed for my own use to ex
 plore these questions. It serves as a platform for testing diverse approac
 hes\, algorithms\, programming languages\, and techniques. Rather than bei
 ng designed for general use\, it supports my practice across roles—perfo
 rmer\, conductor\, digital luthier\, sound designer\, and composer—as I 
 navigate the complexities of live computer music. More than just a tool\, 
 Pandora’s Dream functions as a conceptual framework\, continually evolvi
 ng and being reimplemented with each performance.\n\nI examine the use of 
 Pandora’s Dream across many different iterations and use cases. Showcasi
 ng examples of audiovisual works produced with each version of the system 
 and analyzes the creative process from the dual perspective of technician/
 programmer and artist/performer. Additionally\, I offer insights into the 
 project’s sources of inspiration and provide a brief conceptual and tech
 nical context for understanding its development.\n\n \n\nMarcus Bastos is 
 Full Professor in Communication and Arts by PUC-SP\, where he is a profess
 or in the Arts Department\, since 2023\, and the Intelligence Technology a
 nd Digital Design postgrade program\, since 2012. His most recent projecti
 on piece was the videomapping 0802\, created with german artist Alexander 
 Peterhaensel for the Luminafest festival 2025.\n\nEvents\, from audiovisua
 l performance to artificial intelligence\n\nAbstract:The concept of event 
 is complex. After its appearance in stoic philoshophy\, the greek material
 ist alternative to Plato and Aristotle\, it endured a period of discredit 
 during an epoch in which thinkers where more interested in the stability o
 f systems\, and reappeared in the end of the 1960s through a double folded
  impulse from Deleuze´s The Logic of Sense and the aftermath of May 68. F
 rom then on\, the concept dislocated from philosophy and language studies 
 to other fields of knowledge. From catasthrophes to performances\, the con
 cept of event became broad and diverse. This lecture will give an overview
  of the concept of event and analyse a performance that changes its logic\
 , as it suggests and idea of a virtual event. With that in mind\, it will 
 end by questioning to what extent can artificial intelligence be thought o
 f as an event.\n\nYifeng Yvonne Yuan converts the frequency of herself los
 ing socks into the frequency of the pitches\; she weighs raindrops to dete
 rmine the weight of her noteheads. She is a composer\, performer\, and med
 ia artist\, born and raised in Taiyuan\, China\, and currently resides bet
 ween Santa Barbara and Los Angeles. Yvonne is currently pursuing a Ph.D. d
 egree in Music Composition at UCSB. She is also a master's student in the 
 MAT department. Yvonne holds a master’s degree in music composition and 
 bachelor's degrees in Sociology and Musicology from UCLA. Yvonne draws ins
 piration from the ritualistic practices of early human beings. She explore
 s the transient and vulnerable experiences inherent to human existence in 
 her works. Sound and poetry are her primary mediums of artistic expression
 . \n\nGlitch Breath: Real-Time Neural Deconstruction of Vocal Meaning\n\nA
 bstract: This paper introduces Glitch Breath\, a real-time neural effect u
 nit and aesthetic inquiry designed to deconstruct semantic speech into a n
 on-meaning-making "glitched" vernacular. While current research in neural 
 audio synthesis predominantly prioritizes high-fidelity replication and se
 mantic clarity\, these frameworks often erase the paralinguistic meaning a
 nd semiotic space inherent in human vocalization\, such as the involuntary
  physiological tremors\, the breathy sound\, and the raw\, unpolished text
 ures of the vocal apparatus that resist linguistic organization. By utiliz
 ing IRCAM’s RAVE architecture within Max/MSP\, this aesthetic research s
 eeks to develop a real-time effect unit that transforms semantic voice to 
 a visceral and embodied sonic output.\n\nFelipe de Almeida Ribeiro is a Br
 azilian composer of instrumental and electroacoustic music. He was a stude
 nt of Dániel Péter Biró\, Gordon Mumma\, and Cort Lippe throughout his 
 master’s and PhD-level studies. His music has been performed in various 
 concert halls in a number of countries\, including the U.S.\, Germany\, Hu
 ngary\, Austria\, England\, Canada\, Brazil\, Argentina\, Spain\, Sweden\,
  and the Netherlands. Dr. Ribeiro is currently a faculty member at the Uni
 versidade Estadual do Paraná (Brazil).\n\nHow has technology affected mus
 ical language\n\nAbstract: This research was conducted between 2022 and 20
 25 at the State University of Paraná (Brazil)\, within the activities of 
 the Núcleo Música Nova research group. We sought to understand how techn
 ology involving modular synthesizers has affected and continues to affect 
 musical language for the electronic music artist. This study revisits the 
 modular synthesizer as a tool for tactile instrumental practices\, recover
 ing a relationship among body\, gesture\, and sound creation. However\, un
 like other (acoustic) instruments\, the modular synthesizer presents a fun
 damental paradox: although limited to the available modules (deterministic
  in character)\, its reconfigurable design through patching drives the art
 ist toward the discovery of sounds not anticipated in the initial project\
 , revealing creative dimensions through systematic experimentation. Furthe
 rmore\, physical playing (the manipulation of potentiometers and cables) i
 s not merely a performative procedure\; it is constitutive of listening an
 d sound creation in real time. This practice manifests what Simon Emmerson
  characterizes as “learning by doing” (2020). The study is grounded in
  artists’ statements and in the perspectives of embodied cognition\, ext
 ended mind theory (Clark & Chalmers\, 1998)\, and philosophy of technology
  (Flusser\, 2002\; Simondon\, 2005) in order to understand the integration
  of body\, cognition\, and technology. As a result\, a dedicated space was
  established within the Laboratory of Music\, Sonology\, and Audio (LaMuSA
 )\, including several acquisitions of modular Eurorack synthesizers. This 
 made possible the offering of activities ranging from sound synthesis work
 shops for the broader community to undergraduate courses (“Consort of Sy
 nthesizers”) and graduate courses (“Laboratory Practices in Music and 
 Technology”).\n\nJulie Herndon is a composer\, performer\, and sound art
 ist whose interdisciplinary work explores the relationship between body\, 
 sound\, and technology. Influenced by folk\, classical\, and experimental 
 pop\, her electroacoustic work has been described as “truly brilliant”
  (Kulturpunkt)\, “like a signal from another world” (Tages-Anzeiger)\,
  and “blended to inhabit a surprisingly expressive space” (San Francis
 co Classical Voice). She has performed original work for piano and electro
 nics at international festivals including Blaues Rauschen in Germany (2025
 )\, San Francisco Electronic Music Festival (2024)\, and Sonorities in Ire
 land (2024). Her sound installations have been awarded by the Society of A
 merican Registered Architects (2025) and featured at the Museo de Arte Con
 temporáneo de Oaxaca in Mexico (2020). Her chamber works have been perfor
 med at Musica Nova Helsinki in Finland (2025)\, Música Estranha Festival 
 in Brazil (2023)\, Music Biennale Zagreb in Croatia (2021)\, National Sawd
 ust (2020) and MATA Festival (2019) in New York\, and Abbotsford Convent i
 n Australia (2018). She has collaborated with ensembles including the Deco
 der Ensemble\, andPlay\, JACK Quartet\, Ensemble Dal Niente\, and Kukuruz 
 Quartet. Julie is the recipient of the Elisabeth Crothers Award for Music 
 Composition\, American Composers Forum Bay Area Residency\, National Sawdu
 st New Works Commission\, George Lurcy Fellowship\, Chamber Music America 
 Commissioning Grant\, and New Music USA Creator Fund Award. She has been s
 upported by artist residencies at institutions including the Cité interna
 tionale des arts\, Yaddo\, Rock and Roll Hall of Fame\, Center for Music a
 nd Audio Technologies (CNMAT) at Berkeley\, I-Park Foundation\, and Djeras
 si. Herndon is currently Assistant Professor of Music Technology and Compo
 sition at California Polytechnic State University. She previously taught c
 omposition and electronic music production techniques at San Francisco Con
 servatory of Music (SFCM) and the Center for Computer Research in Music an
 d Acoustics (CCRMA) at Stanford University. She holds a DMA in music compo
 sition from Stanford\, MA in music composition from Mills College\, and BA
  from St. Mary's College of Maryland. Her writing is published in Leonardo
  (MIT Press) and Organised Sound (Cambridge University Press)\, and her mu
 sic can be found on labels such as New Focus Recordings\, Infrequent Seams
 \, and Innova Records.\n\nMud (2025)\n\nAbstract: Mud is pretty magical st
 uff. It can transform just about anything into itself. Given enough time\,
  it can support new life growing out of it again.\n\nFor this piece\, I tr
 aced the migrations of dirt: metabolized in compost\, filtered underwater 
 by oysters\, and airborne on wind and tree branches. I made field recordin
 gs underground\, underwater\, and on land. I analyzed and extracted pitche
 s\, textures\, and rhythms to shape the musical material. I collaborated w
 ith scientist James Weiss who created video footage of microbial life in t
 hese sorts of everyday mud sources.\n\nTo start a conversation with mud\, 
 I planted a garden and fed it with my compost. I learned that plants respo
 nd well to sound\, so I “toned” my garden\, playing frequencies into t
 he earth and recording responses. The ground murmured back with insect lif
 e\, and the plants chirped with ultrasonic voices. In the piece\, performe
 rs enter this conversation by interjecting and improvising with audio and 
 video\, expanding the dialogue between mud and organic matter.\n\nIgor San
 tos Described as “otherworldly and mysteriously familiar” (Chicago Cla
 ssical Review)\, and as “exciting and clear... with a striking boldness"
  (Luigi Nono Competition Prize)\, Igor Santos’ music has been performed 
 internationally\, by leading musicians such as Ensemble Modern\, Ensemble 
 Intercontemporain\,Ensemble Dal Niente\, Yarn Wire\, Alarm Will Sound\, PO
 ING\, the American Composers Orchestra\, and The Florida Orchestra. His wo
 rk is centered on mimetic relationships between found sounds\, acoustic in
 struments\, and recently with video\, all of which is dramatized through r
 epetition and the use of microtonal keyboards. Igor has earned degrees in 
 Music Composition from the University of Chicago\, the Eastman School of M
 usic\, and the University of South Florida. He has been awarded the Rome P
 rize (2022)\, a Guggenheim Fellowship (2023)\, and has won additional priz
 es such as the International Ferruccio Busoni Competition\, the Luigi Nono
  International Competition\, the RED NOTE Competition\, the Salvatore Mart
 irano Award\, and was also awarded Best Sound Design from Theater Tampa Ba
 y (for his incidental music). Igor is a native of Curitiba\, Brazil. He is
  currently an Assistant Professor of Music at Cornell University.\n\nmirro
 r scenes (2025)\n\nAbstract: mirror scenes explores and questions ideas of
  immersion\, and the desire to dissolve boundaries and lose oneself. The m
 irror serves as a central theme—both as a tool/symbol for immersion as w
 ell as a connective thread throughout the work.  mirror scenes make use of
  found footage\, found sounds\, and mirror-like musical and visual techniq
 ues\, all joined in a mimetic cycle—constantly navigating between video\
 , sound\, and live performance\, as well as back and forth in historical t
 ime.\n\nJason Thorpe Buchanan is a tri-continentally active composer\, int
 ermedia artist\, and technologist. His works explore multiplicity\, causal
 ity\, behavior\, and the integration of live performance with technology. 
 Since 2025\, he is Professor für Komposition mit digitalen Medien at the 
 Hochschule für Musik Würzburg\, Germany\, and leads the graduate program
  in Komposition mit Neuen Medien as director of the Studio für experiment
 elle elektronische Musik. He has been recognized internationally through f
 ellowships and commissions from the Fulbright Foundation (Hochschule für 
 Musik und Theater Hamburg\, 2010-11) as a visiting scholar\, the American-
 Scandinavian Foundation\, EMPAC\, Royaumont (France\, 2016 & 2017)\, TIME 
 SPANS (NYC)\, the Mizzou International Composers Festival (MICF\, 2013)\, 
 the International Horn Society\, Eklekto Percussion (Switzerland)\, Tetrac
 tys New Music (Austin)\, Tzlil Meudcan\, the Earle Brown Music Foundation\
 , two ASCAP Morton Gould Awards (2014 & 2015)\, Ernst von Siemens Musiksti
 ftung\, as winner of Iron Composer (2014)\, the Howard Hanson Orchestral P
 rize (2014) and more\, including selection as Artist-in-Residence at USF V
 erftet (Norway)\, the Embassy of Foreign Artists (Geneva)\, the Brush Cree
 k Foundation (Wyoming)\, nomination for the 2015 Gaudeamus Prize\, as a 20
 24 Aaron Copland Bogliasco Fellow (Italy)\, and as an SWR Experimentalstud
 io Fellow (Germany\, 2026). His works have been described as “an unearth
 ly collage of sounds”\, “sharply-edged”\, and “free jazz gone wron
 g—in a good way.”\n\n Commissions and performances have included colla
 borations with Alarm Will Sound\, the Talea Ensemble\, Ensemble Interface 
 (DE)\, Ensemble Nikel (Israel)\, Linea (FR)\, Insomnio (NL)\, EXAUDI Vocal
  Ensemble (UK)\, Slagwerk Den Haag (NL)\, Eklekto Percussion (CH)\, the Mi
 vos Quartet (USA)\, Iktus Percussion\, wild Up\, the Eastman Musica Nova E
 nsemble\, TACETi (Thailand)\, the Hong Kong New Music Ensemble\, and Line 
 Upon Line. Scenes from his multimedia opera Hunger have received performan
 ces at the Internationales Musikinstitut Darmstadt\, The Industry’s FIRS
 T TAKE in L.A.\, and MATA (NYC) with the [Switch~ Ensemble]. “Hunger is 
 a kind of training session in mental disintegration… An ungodly opera ne
 eds ugly music\, singers who produce primal sounds\, an electric guitar th
 at sounds scraped raw\, a wailing orchestra effects\, cuts the ear like a 
 knife. Buchanan delivers.” – L.A. Times
GEO:34.412715;-119.847061
LOCATION:Music\, 2215
SUMMARY:Music Technology and Interactivity: Voices of the Edge (Web Confere
 nce)
URL;VALUE=URI:https://www.campuscalendar.ucsb.edu/event/conference-music-te
 chnology-and-interactivity-voices-of-the-edge
CATEGORIES:Conferences & Meetings
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260607T013237Z
UID:tag:localist.com\,2008:EventInstance_52895966190889
DTSTART;VALUE=DATE:20260530
DESCRIPTION:Music Technology and Interactivity: Voices of the Edge (Web Con
 ference)\nMay 28 and 29\n\nWeb Conference Zoom link: https://ucsb.zoom.us/
 my/tatcat76\n\nVIII Sonic Convergences:\nMusic\, Technology\, and Interact
 ivity: Voices of the Edge\nLocation: Department of Music\, classroom #2215
  (Xenaki’s Studio)\n\nThe Sonic Convergences is a well-established serie
 s of conferences led by Professor Cassia Carrascoza at the University of S
 ão Paulo (USP) in Brazil. The event highlights the diversity of thought w
 ithin these fields\, showing\, as the name suggests\, how musical sounds c
 onverge while also individualizing themselves across various inspirations 
 and trends. This edition is partnered with UCSB to promote closer ties amo
 ng artists from various countries who develop work with different technolo
 gies\, prompting us to rethink these practices\, our perception\, and our 
 emotional connections.\n\nPROGRAM\n\n May 28 – Music at the threshold\n\
 n \n\nCalifornia / New York / São Paulo\n\n                              
                              \n\n12:00 / 15:00 / 16:00          João Pedr
 o Oliveira (Dept of Music/UCSB\, USA)\n\n                                 
                                 \n\n13:00 / 16:00 / 17:00          Iracema
  Andrade (CENIDIM\, Mexico)\nEmbodied and Situated Practices in Mixed Elec
 troacoustic Music \n\n13:30 / 16:30 / 17:30          Trio Janela\, telemat
 ic music\n                                               (New York\, Toron
 to\, Sao Paulo\n                                               Memories - 
 Collaborative telematic composition\n                                     
           inspired by Pauline Oliveros\n\n14:00 / 17:00 / 18:00           
 Gustavo Sol (ECA/USP\, Brazil\n                                           
     From Opera to Physical Theater\, from the Score\n                     
                           to Biosignal-Driven Performance                 
      \n\n14:30 / 17:30 / 18:30           Constantin Basica (Stanford\, USA
 )\n                                               The Last Piece: Musical 
 AI for an Immersive \n                                               Syncr
 etic Concert\n\n15:00 / 18:00 / 19:00          Helen Bledsoe  (Ensemble Mu
 sikfabrik\, Germany/USA)\n                                              Ar
 t as an Act of Tulpamancy\n\n15:30 / 18:30 / 19:30          round table\n\
 nMay 29 – New technologies\, new thoughts\, new paths\n\nCalifornia / S
 ão Paulo\n\n12:00 / 16:00                       JoAnn Kuchera-Morin (Dept
  of Music/MAT/UCSB\, USA)\n                                              M
 usic and Technology at UCSB: 40 years of history\n                        
                       (CREATE/MAT)\n\n13:00 / 17:00                       
 Celeste Betancur (Stanford\, USA)\n                                       
        Blurring boundaries between body and interface\n\n13:30 / 17:30    
                    Marcus Bastos – (PUC - Sao Paulo\, Brazil\n          
                                     Events\, from live audiovisual perform
 ance to artificial intelligence\n\n14:00 / 18:00                       Yif
 eng Yvonne Yuan (Dept of Music/MAT/UCSB\, USA)\n                          
                     Glitch Breath: Real-Time Neural Deconstruction of Voca
 l Meaning\n\n14:30 / 18:30                       Felipe Ribeiro – (UNESP
 AR – Paraná\, Brazil\n                                              How
  has technology affected musical language                       \n 15:00 /
  19:00                      round table\n\nMay 30 – CCS: conferences abo
 ut the concert program from May 23rd with Switch Ensemble (TBD): Compositi
 on Processes\n\nCalifornia / São Paulo\n\n 14:00 / 18:00                 
   Andrew A. Watts (CCS/UCSB)\n                                           S
 aturation Triplex (2025-2026) \n\n 14:30 / 18:30                   Julie H
 erndon (Cal Poly)\n                                           Mud (2025) \
 n\n15:00 / 19:00                    Igor Santos (Cornell University)\n    
                                        mirror scenes (2025)\n             
               \n15:30 / 19:30                    Jason Thorpe Buchanan (Hy
 brid Music Lab\,  Dresden)                         \n                     
                       & Chris Chandler (Union College)\n                  
                         GRIDS (2025)\n\nABOUT THE RESEARCHERS AND ABSTRACT
 S\n\n \n\nJoão Pedro Oliveira holds the Corwin Endowed Chair in Compositi
 on for the University of California at Santa Barbara. He studied organ per
 formance\, composition\, and architecture in Lisbon. He completed a Ph.D. 
 in Music at the University of New York at Stony Brook. He has\n\nreceived 
 over 70 international prizes and awards for his works\, including the pres
 tigious Guggenheim Fellowship in 2023\, the Bourges Magisterium Prize\, an
 d the Giga-Hertz Special Award\, among others. His publications include se
 veral articles in journals and a book on 20th century music theory.      \
 n\nIracema de Andrade Brazilian cellist\, researcher\, and creator based i
 n Mexico\, Iracema de Andrade has developed an internationally recognized 
 career in contemporary and electroacoustic music. She holds a Doctorate in
  Music from the National Autonomous University of Mexico\, where she gradu
 ated with honors and received the Alfonso Caso Medal for Academic Excellen
 ce. She also pursued postgraduate studies in England at the University of 
 West London and the London College of Music\, following her professional t
 raining at the University of São Paulo\, Brazil. She is currently a resea
 rcher at the National Center for Music Research\, Documentation\, and Info
 rmation “Carlos Chávez”\, a member of Mexico’s National System of A
 rt Creators\, and recipient of the 2024 First Prize for Academic Research 
 Achievement awarded by the National Institute of Fine Arts and Literature.
 \n\nEmbodied and Situated Practices in Mixed Electroacoustic Music\n\nAbst
 ract: Mixed electroacoustic music has increasingly become a space for ques
 tioning traditional hierarchies between body\, technology\, composition\, 
 and performance. explores performer-led artistic practices grounded in int
 ermediality\, corporeality\, and critical feminist decolonial perspectives
 . Through contemporary electroacoustic performance\, the presentation exam
 ines how the body operates not as a neutral vehicle of interpretation\, bu
 t as a situated site of agency\, memory\, and knowledge production. \n\nTr
 io Janela (Viv Corringham - voice\, electronics\; Cássia Carrascoza - flu
 te\,  \; Diane Roblin - piano\, keyboards)  is a group of three profession
 al women musicians who are based in three different countries. We came tog
 ether during the pandemic specifically to make contemporary work for the i
 nternet and related technologies. Working collaboratively we create\, deve
 lop\, and perform music live via the platforms of Jacktrip and Zoom\, acce
 pting and working within their latency and the properties of the virtual e
 nvironment. The music draws from our various backgrounds in classical musi
 c\, improvisation\, multimedia\, electronics and jazz. As an international
  group we use our different skills to create music telematically through t
 he tools and possibilities of live\, network-based online performance. We 
 have performed at the University of Sao Paulo Brazil\, Now Nets Conference
 s domestic and abroad as well as at Earth Day Conference celebrations.  Tr
 io Janela celebrates community and connection.  \n\nViv Corringham  (voice
 \, electronics\, field recordings) is a US based British vocalist and soun
 d artist\, who has been described as “a vital force in improvised music 
 since the late 1970s” (BBC Radio 3) and “a vocalist of stunning virtuo
 sity” (The Wire). Her definitive contribution to sound art practice is t
 he 20 year ongoing “Shadow-walks”\, which have occurred in 18 countrie
 s\, are taught in sound art classes and have been the focus of many articl
 es.\n\nCássia Carrascoza (flute and technological support for network art
 ) is a Brazilian flutist\, improviser\, educator\, and researcher. She is 
 professor at the Department of Music of the University of São Paulo (USP)
 . She regularly engages in virtual performances with transnational ensembl
 es and publishes research on telematic music. She also coordinates the Tel
 ematic Ensemble LaFlauta\, a student-led group from USP's Department of Mu
 sic.\n\nDiane Roblin (piano\, keyboards) is an International Songwriter Co
 mpetition winner. Her diverse compositions and expressive keyboard style b
 lend technical agility with a deep commitment to the connective power of m
 usic. As a composer\, pianist\, keyboardist\, improviser\, and bandleader\
 , Diane’s spirited\, genre-crossing work has led to collaborations with 
 artists ranging from avant-garde improviser Charles Gayle to the iconic ro
 ck band Rough Trade. Diane’s collaborations span an impressive range of 
 international jazz and experimental musicians including telematic music. D
 iane Roblin’s dynamic career has earned her a place among Canada’s mos
 t respected women in jazz. Known for her powerful compositions. \n\n \n\n 
 \n\nGustavo Sol (Dr. Gustavo Garcia da Palma) is a Brazilian artist\, rese
 archer\, and director working at the intersection of performance\, artific
 ial intelligence\, and biosignal interaction. He holds a PhD in Performing
  Arts from the University of São Paulo (ECA-USP)\, with research focused 
 on neurophysiological processes in performance and digital dramaturgy. His
  work explores hybrid ecologies between human and non-human systems\, inte
 grating EEG\, EMG\, and AI into live audiovisual creation. He is currently
  a professor at the Belas Artes University Center in São Paulo\, where he
  leads the VOXEL Research Group on Neurocomputing of Performativity\, and 
 a postdoctoral researcher at the University of São Paulo\, focusing on re
 lationships between artificial\, artistic\, and organoid intelligence in l
 ive performative contexts.\n\nFrom Opera to Physical Theater\, from the Sc
 ore to Biosignal-Driven Performance\n\nAbstract: This presentation explore
 s the influence of the notion of the score as a dramaturgical marker in ph
 ysical theater and its evolution into biosignal-driven performances within
  my creative process. The research investigates the transition from tradit
 ional models of scenic composition — such as opera and fixed score-based
  structures — toward performances integrating physical theater\, digital
  dramaturgy\, artificial intelligence\, and living organisms. Building on 
 experiments with EEG\, biological sensors\, and the slime mold (Physarum p
 olycephalum)\, the project develops hybrid systems in which bioelectrical 
 variations directly interfere with dramaturgy\, movement\, and the tempora
 l organization of the scene. In dialogue with bioart\, neurocomputing of p
 erformativity\, and perspectives from Digital Dramaturgy\, the research pr
 oposes real-time creative processes in which body\, environment\, algorith
 ms\, and biological systems collectively shape the performance.\n\nConstan
 tin Basica is a Romanian composer who creates music that is deeply intertw
 ined with video and performance.He completed a postdoctoral research fello
 wship at Stanford University's Center for Computer Research in Music and A
 coustics (CCRMA) in California\, where he also earned his doctorate in Com
 position. Before this\, he obtained a master's degree from the Hochschule 
 für Musik und Theater Hamburg in Germany and bachelor's degrees in both C
 omposition and Conducting from the National University of Music Bucharest 
 in Romania. In recent years\, he has collaborated with other researchers o
 n the development of systems for co-creativity between humans and artifici
 al intelligence. Constantin is currently a Lecturer at CCRMA / Stanford Un
 iversity\, where he teaches composition and interdisciplinary courses.\n\n
 _The Last Piece_: Musical AI for an Immersive Syncretic Concert\n\nThis pr
 esentation introduces an AI-based system that merges brain–computer inte
 rfacing with generative audio synthesis in the context of an immersive syn
 cretic concert. Designed for two performances at the 2025 George Enescu In
 ternational Festival\, the project enables composer Constantin Basica to g
 enerate new music through imagined sounds captured via EEG. Recordings are
  made with an EMOTIV EPOC X headset equipped with 14 sensors\, and a custo
 m seven-layer convolutional neural network processes the resulting 512 × 
 14 channel input. The model classifies the imagined sounds and retrieves a
 udio excerpts from Basica’s complete catalogue of recorded works. These 
 excerpts function as prompts for a second AI pipeline\, which produces aud
 io that reimagines the composer’s style\, effectively turning thought in
 to sound. The concert environment situates this process within an immersiv
 e audiovisual setting\, where neural activity\, personal memory\, and mach
 ine creativity interact in real time. Beyond its premiere performance\, th
 is system contributes to broader discussions on AI\, creativity\, and huma
 n–machine collaboration. The project will also be the subject of a forth
 coming Routledge book chapter (2026)\, offering a more detailed account of
  its technical development and artistic implications.\n\nHelen Bledsoe is 
 a flutist\, educator\, composer and researcher. As a member of Cologne's E
 nsemble Musikfabrik\, she has premiered works by numerous composers. She i
 s guest faculty for the Lucerne Festival and Grafenegg Academies. In Septe
 mber 2026\, she will begin her PhD research titled: "The Embodied Interfac
 e: Assembling Alife Systems for Musical Performance" at the Orpheus Instit
 ute\, Ghent and the Royal Conservatoire of Antwerp. She been published by 
 Tempo and the Contemporary Music Review\, and her blog on contemporary flu
 te\, composing\, and creative coding has been a basis of research for flut
 ists and composers.\n\n Art as an Act of Tulpamancy\n\nAbstract: This talk
  will introduce my PhD research project "The Embodied Interface: Assemblin
 g Alife Systems for Musical Performance"\, addressing concepts from post-h
 umanism and artificial life research from the performer's perspective. It 
 will also touch the importance of techno and AI-fluency for performers (es
 pecially female and non-binary)\, and present an audio-visual work-in-prog
 ress.\n\nJoAnn Kuchera-Morin is a composer\, Professor of Media Arts and T
 echnology and Music\, and a researcher in multi-modal media systems\, cont
 ent and facilities design. She created\, built\, and designed the Center f
 or Research in Electronic Art Technology and is the Center Director since 
 its inception in 1986. Her years of experience in digital media research l
 ed to the creation of a multi-million dollar sponsored research program fo
 r the University of California\, the Digital Media Innovation Program. She
  was Chief Scientist of the Program from 1998 to 2003. In 2000 she began t
 he creation\, design\, and development of a Digital Media Center within th
 e California Nanosystems Institute. The culmination of her design is the A
 llosphere Research Laboratory\, a three-story metal sphere inside an echo-
 free cube\, designed for immersive\, interactive scientific and artistic i
 nvestigation of multi-dimensional data sets. A composer of mixed media wor
 ks\, she received her Ph.D. in 1984 from the Eastman School of Music\, Uni
 versity of Rochester. Her current music research is focusing on a general 
 purpose interface for control of digital information through natural perfo
 rmance gesture. A composer of primarily electro-acoustic works\, her music
  has been performed throughout the United States\, Europe and Asia.\n\nCel
 este Betancur is a researcher at Stanford University’s Center for Comput
 er Research in Music and Acoustics (CCRMA)\, where her research explores t
 he intersections of music\, technology\, and algorithmic composition. As a
  composer\, digital artist\, and live coder\, her work spans a broad spect
 rum—from academic concert halls to underground electronic music scenes
 —emphasizing real-time score generation\, live coding performance\, and 
 the development of interactive audiovisual systems. \n\nBlurring boundarie
 s between body and interface\n\nAbstract: The rise of generative AI tools 
 has sparked important questions about the creative process for artists. Ho
 w do these tools affect our relationship with our creative work\, our inte
 ractions with others\, and our aesthetic preferences? How can we integrate
  them into our performances and compositions—blending them with our skil
 ls and creative language? \n\nPandora’s Dream is a versatile live coding
  environment and an experimental playground developed for my own use to ex
 plore these questions. It serves as a platform for testing diverse approac
 hes\, algorithms\, programming languages\, and techniques. Rather than bei
 ng designed for general use\, it supports my practice across roles—perfo
 rmer\, conductor\, digital luthier\, sound designer\, and composer—as I 
 navigate the complexities of live computer music. More than just a tool\, 
 Pandora’s Dream functions as a conceptual framework\, continually evolvi
 ng and being reimplemented with each performance.\n\nI examine the use of 
 Pandora’s Dream across many different iterations and use cases. Showcasi
 ng examples of audiovisual works produced with each version of the system 
 and analyzes the creative process from the dual perspective of technician/
 programmer and artist/performer. Additionally\, I offer insights into the 
 project’s sources of inspiration and provide a brief conceptual and tech
 nical context for understanding its development.\n\n \n\nMarcus Bastos is 
 Full Professor in Communication and Arts by PUC-SP\, where he is a profess
 or in the Arts Department\, since 2023\, and the Intelligence Technology a
 nd Digital Design postgrade program\, since 2012. His most recent projecti
 on piece was the videomapping 0802\, created with german artist Alexander 
 Peterhaensel for the Luminafest festival 2025.\n\nEvents\, from audiovisua
 l performance to artificial intelligence\n\nAbstract:The concept of event 
 is complex. After its appearance in stoic philoshophy\, the greek material
 ist alternative to Plato and Aristotle\, it endured a period of discredit 
 during an epoch in which thinkers where more interested in the stability o
 f systems\, and reappeared in the end of the 1960s through a double folded
  impulse from Deleuze´s The Logic of Sense and the aftermath of May 68. F
 rom then on\, the concept dislocated from philosophy and language studies 
 to other fields of knowledge. From catasthrophes to performances\, the con
 cept of event became broad and diverse. This lecture will give an overview
  of the concept of event and analyse a performance that changes its logic\
 , as it suggests and idea of a virtual event. With that in mind\, it will 
 end by questioning to what extent can artificial intelligence be thought o
 f as an event.\n\nYifeng Yvonne Yuan converts the frequency of herself los
 ing socks into the frequency of the pitches\; she weighs raindrops to dete
 rmine the weight of her noteheads. She is a composer\, performer\, and med
 ia artist\, born and raised in Taiyuan\, China\, and currently resides bet
 ween Santa Barbara and Los Angeles. Yvonne is currently pursuing a Ph.D. d
 egree in Music Composition at UCSB. She is also a master's student in the 
 MAT department. Yvonne holds a master’s degree in music composition and 
 bachelor's degrees in Sociology and Musicology from UCLA. Yvonne draws ins
 piration from the ritualistic practices of early human beings. She explore
 s the transient and vulnerable experiences inherent to human existence in 
 her works. Sound and poetry are her primary mediums of artistic expression
 . \n\nGlitch Breath: Real-Time Neural Deconstruction of Vocal Meaning\n\nA
 bstract: This paper introduces Glitch Breath\, a real-time neural effect u
 nit and aesthetic inquiry designed to deconstruct semantic speech into a n
 on-meaning-making "glitched" vernacular. While current research in neural 
 audio synthesis predominantly prioritizes high-fidelity replication and se
 mantic clarity\, these frameworks often erase the paralinguistic meaning a
 nd semiotic space inherent in human vocalization\, such as the involuntary
  physiological tremors\, the breathy sound\, and the raw\, unpolished text
 ures of the vocal apparatus that resist linguistic organization. By utiliz
 ing IRCAM’s RAVE architecture within Max/MSP\, this aesthetic research s
 eeks to develop a real-time effect unit that transforms semantic voice to 
 a visceral and embodied sonic output.\n\nFelipe de Almeida Ribeiro is a Br
 azilian composer of instrumental and electroacoustic music. He was a stude
 nt of Dániel Péter Biró\, Gordon Mumma\, and Cort Lippe throughout his 
 master’s and PhD-level studies. His music has been performed in various 
 concert halls in a number of countries\, including the U.S.\, Germany\, Hu
 ngary\, Austria\, England\, Canada\, Brazil\, Argentina\, Spain\, Sweden\,
  and the Netherlands. Dr. Ribeiro is currently a faculty member at the Uni
 versidade Estadual do Paraná (Brazil).\n\nHow has technology affected mus
 ical language\n\nAbstract: This research was conducted between 2022 and 20
 25 at the State University of Paraná (Brazil)\, within the activities of 
 the Núcleo Música Nova research group. We sought to understand how techn
 ology involving modular synthesizers has affected and continues to affect 
 musical language for the electronic music artist. This study revisits the 
 modular synthesizer as a tool for tactile instrumental practices\, recover
 ing a relationship among body\, gesture\, and sound creation. However\, un
 like other (acoustic) instruments\, the modular synthesizer presents a fun
 damental paradox: although limited to the available modules (deterministic
  in character)\, its reconfigurable design through patching drives the art
 ist toward the discovery of sounds not anticipated in the initial project\
 , revealing creative dimensions through systematic experimentation. Furthe
 rmore\, physical playing (the manipulation of potentiometers and cables) i
 s not merely a performative procedure\; it is constitutive of listening an
 d sound creation in real time. This practice manifests what Simon Emmerson
  characterizes as “learning by doing” (2020). The study is grounded in
  artists’ statements and in the perspectives of embodied cognition\, ext
 ended mind theory (Clark & Chalmers\, 1998)\, and philosophy of technology
  (Flusser\, 2002\; Simondon\, 2005) in order to understand the integration
  of body\, cognition\, and technology. As a result\, a dedicated space was
  established within the Laboratory of Music\, Sonology\, and Audio (LaMuSA
 )\, including several acquisitions of modular Eurorack synthesizers. This 
 made possible the offering of activities ranging from sound synthesis work
 shops for the broader community to undergraduate courses (“Consort of Sy
 nthesizers”) and graduate courses (“Laboratory Practices in Music and 
 Technology”).\n\nJulie Herndon is a composer\, performer\, and sound art
 ist whose interdisciplinary work explores the relationship between body\, 
 sound\, and technology. Influenced by folk\, classical\, and experimental 
 pop\, her electroacoustic work has been described as “truly brilliant”
  (Kulturpunkt)\, “like a signal from another world” (Tages-Anzeiger)\,
  and “blended to inhabit a surprisingly expressive space” (San Francis
 co Classical Voice). She has performed original work for piano and electro
 nics at international festivals including Blaues Rauschen in Germany (2025
 )\, San Francisco Electronic Music Festival (2024)\, and Sonorities in Ire
 land (2024). Her sound installations have been awarded by the Society of A
 merican Registered Architects (2025) and featured at the Museo de Arte Con
 temporáneo de Oaxaca in Mexico (2020). Her chamber works have been perfor
 med at Musica Nova Helsinki in Finland (2025)\, Música Estranha Festival 
 in Brazil (2023)\, Music Biennale Zagreb in Croatia (2021)\, National Sawd
 ust (2020) and MATA Festival (2019) in New York\, and Abbotsford Convent i
 n Australia (2018). She has collaborated with ensembles including the Deco
 der Ensemble\, andPlay\, JACK Quartet\, Ensemble Dal Niente\, and Kukuruz 
 Quartet. Julie is the recipient of the Elisabeth Crothers Award for Music 
 Composition\, American Composers Forum Bay Area Residency\, National Sawdu
 st New Works Commission\, George Lurcy Fellowship\, Chamber Music America 
 Commissioning Grant\, and New Music USA Creator Fund Award. She has been s
 upported by artist residencies at institutions including the Cité interna
 tionale des arts\, Yaddo\, Rock and Roll Hall of Fame\, Center for Music a
 nd Audio Technologies (CNMAT) at Berkeley\, I-Park Foundation\, and Djeras
 si. Herndon is currently Assistant Professor of Music Technology and Compo
 sition at California Polytechnic State University. She previously taught c
 omposition and electronic music production techniques at San Francisco Con
 servatory of Music (SFCM) and the Center for Computer Research in Music an
 d Acoustics (CCRMA) at Stanford University. She holds a DMA in music compo
 sition from Stanford\, MA in music composition from Mills College\, and BA
  from St. Mary's College of Maryland. Her writing is published in Leonardo
  (MIT Press) and Organised Sound (Cambridge University Press)\, and her mu
 sic can be found on labels such as New Focus Recordings\, Infrequent Seams
 \, and Innova Records.\n\nMud (2025)\n\nAbstract: Mud is pretty magical st
 uff. It can transform just about anything into itself. Given enough time\,
  it can support new life growing out of it again.\n\nFor this piece\, I tr
 aced the migrations of dirt: metabolized in compost\, filtered underwater 
 by oysters\, and airborne on wind and tree branches. I made field recordin
 gs underground\, underwater\, and on land. I analyzed and extracted pitche
 s\, textures\, and rhythms to shape the musical material. I collaborated w
 ith scientist James Weiss who created video footage of microbial life in t
 hese sorts of everyday mud sources.\n\nTo start a conversation with mud\, 
 I planted a garden and fed it with my compost. I learned that plants respo
 nd well to sound\, so I “toned” my garden\, playing frequencies into t
 he earth and recording responses. The ground murmured back with insect lif
 e\, and the plants chirped with ultrasonic voices. In the piece\, performe
 rs enter this conversation by interjecting and improvising with audio and 
 video\, expanding the dialogue between mud and organic matter.\n\nIgor San
 tos Described as “otherworldly and mysteriously familiar” (Chicago Cla
 ssical Review)\, and as “exciting and clear... with a striking boldness"
  (Luigi Nono Competition Prize)\, Igor Santos’ music has been performed 
 internationally\, by leading musicians such as Ensemble Modern\, Ensemble 
 Intercontemporain\,Ensemble Dal Niente\, Yarn Wire\, Alarm Will Sound\, PO
 ING\, the American Composers Orchestra\, and The Florida Orchestra. His wo
 rk is centered on mimetic relationships between found sounds\, acoustic in
 struments\, and recently with video\, all of which is dramatized through r
 epetition and the use of microtonal keyboards. Igor has earned degrees in 
 Music Composition from the University of Chicago\, the Eastman School of M
 usic\, and the University of South Florida. He has been awarded the Rome P
 rize (2022)\, a Guggenheim Fellowship (2023)\, and has won additional priz
 es such as the International Ferruccio Busoni Competition\, the Luigi Nono
  International Competition\, the RED NOTE Competition\, the Salvatore Mart
 irano Award\, and was also awarded Best Sound Design from Theater Tampa Ba
 y (for his incidental music). Igor is a native of Curitiba\, Brazil. He is
  currently an Assistant Professor of Music at Cornell University.\n\nmirro
 r scenes (2025)\n\nAbstract: mirror scenes explores and questions ideas of
  immersion\, and the desire to dissolve boundaries and lose oneself. The m
 irror serves as a central theme—both as a tool/symbol for immersion as w
 ell as a connective thread throughout the work.  mirror scenes make use of
  found footage\, found sounds\, and mirror-like musical and visual techniq
 ues\, all joined in a mimetic cycle—constantly navigating between video\
 , sound\, and live performance\, as well as back and forth in historical t
 ime.\n\nJason Thorpe Buchanan is a tri-continentally active composer\, int
 ermedia artist\, and technologist. His works explore multiplicity\, causal
 ity\, behavior\, and the integration of live performance with technology. 
 Since 2025\, he is Professor für Komposition mit digitalen Medien at the 
 Hochschule für Musik Würzburg\, Germany\, and leads the graduate program
  in Komposition mit Neuen Medien as director of the Studio für experiment
 elle elektronische Musik. He has been recognized internationally through f
 ellowships and commissions from the Fulbright Foundation (Hochschule für 
 Musik und Theater Hamburg\, 2010-11) as a visiting scholar\, the American-
 Scandinavian Foundation\, EMPAC\, Royaumont (France\, 2016 & 2017)\, TIME 
 SPANS (NYC)\, the Mizzou International Composers Festival (MICF\, 2013)\, 
 the International Horn Society\, Eklekto Percussion (Switzerland)\, Tetrac
 tys New Music (Austin)\, Tzlil Meudcan\, the Earle Brown Music Foundation\
 , two ASCAP Morton Gould Awards (2014 & 2015)\, Ernst von Siemens Musiksti
 ftung\, as winner of Iron Composer (2014)\, the Howard Hanson Orchestral P
 rize (2014) and more\, including selection as Artist-in-Residence at USF V
 erftet (Norway)\, the Embassy of Foreign Artists (Geneva)\, the Brush Cree
 k Foundation (Wyoming)\, nomination for the 2015 Gaudeamus Prize\, as a 20
 24 Aaron Copland Bogliasco Fellow (Italy)\, and as an SWR Experimentalstud
 io Fellow (Germany\, 2026). His works have been described as “an unearth
 ly collage of sounds”\, “sharply-edged”\, and “free jazz gone wron
 g—in a good way.”\n\n Commissions and performances have included colla
 borations with Alarm Will Sound\, the Talea Ensemble\, Ensemble Interface 
 (DE)\, Ensemble Nikel (Israel)\, Linea (FR)\, Insomnio (NL)\, EXAUDI Vocal
  Ensemble (UK)\, Slagwerk Den Haag (NL)\, Eklekto Percussion (CH)\, the Mi
 vos Quartet (USA)\, Iktus Percussion\, wild Up\, the Eastman Musica Nova E
 nsemble\, TACETi (Thailand)\, the Hong Kong New Music Ensemble\, and Line 
 Upon Line. Scenes from his multimedia opera Hunger have received performan
 ces at the Internationales Musikinstitut Darmstadt\, The Industry’s FIRS
 T TAKE in L.A.\, and MATA (NYC) with the [Switch~ Ensemble]. “Hunger is 
 a kind of training session in mental disintegration… An ungodly opera ne
 eds ugly music\, singers who produce primal sounds\, an electric guitar th
 at sounds scraped raw\, a wailing orchestra effects\, cuts the ear like a 
 knife. Buchanan delivers.” – L.A. Times
GEO:34.412715;-119.847061
LOCATION:Music\, 2215
SUMMARY:Music Technology and Interactivity: Voices of the Edge (Web Confere
 nce)
URL;VALUE=URI:https://www.campuscalendar.ucsb.edu/event/conference-music-te
 chnology-and-interactivity-voices-of-the-edge
CATEGORIES:Conferences & Meetings
END:VEVENT
END:VCALENDAR