Call - Simulation and Computer Experimentation in Music and Sound Art

Fotos | Videos | 1 von 1 |

Call - Simulation and Computer Experimentation in Music and Sound Art

erstellt am 01. Dezember 2018

Orpheus Research Seminar 2019


21–22 March 2019, Orpheus Institute, Ghent, BE




- ‘Music, Thought and Technology’

  (Orpheus Institute, Ghent):

- ‘Algorithms that Matter’

  (University of Music and Performing Arts Graz, FWF AR 403-GBL):


Proposals are invited that critically explore the space spanned by the

different perspectives on simulation and experimental computation

addressing their role in all areas of music, sound art and related

research, in all its possible technical, technological, musicological or

theoretical aspects.


Download call (.pdf):



Computational methods have made their way into most of scientific and

artistic fields; simulation has become a paradigmatic mode in

contemporary practices. In science, in design, in medicine and in art,

simulations of natural, human, technological or abstract systems (or

techniques derived from simulation) are ubiquitous. The development of

new methods of computation and simulation in the natural sciences

initiated an ongoing discussion about the relationship of _in silico_

experiments to empirical or theoretical modes of investigation.


The seminar aims to bring together practitioners and scholars to discuss

the wide-reaching implications of the ‘agential cut’ (Barad) or ‘ontic

cut’ (Rheinberger) – the separation between operationalised model or

abstract theory and perceived or experimentally verified ‘reality’, the

fissure already indicated by Husserl and realised in experimental

computational systems. These introduce a new type of interface between

the machinery and what is implemented, allowing for the ongoing

production of new data and going beyond the traditional atemporal

theoretical models; crucially, simulations also allow new and mobile

perspectives onto the ‘object’ modelled by tracing contingent, situated,

multiple paths through what DeLanda describes as ‘a space of

possibilities’ – alternative realities within a space that displays

stability or consistency at another level. In Rheinberger’s words ‘it

becomes urgent to ask whether computer simulations represent a new

category of epistemic object altogether.’


Computational models afford a way to test theoretical constructs or

observe the consequences of non-physical or even imaginary hypotheses.

One arrives at a critical conception of computation, situating it beyond

the dualism of a deductive, representational approach and an inductive,

empirical approach, acknowledging a speculative quality of algorithms

that ‘are not simply the computational version of mathematical axioms,

but are to be conceived as actualities, self-constituting composites of

data’ and ‘equipped with their own procedure for prehending data.’

(Parisi) The very activity of experimentation and augmenting the

language of artistic creation is exposed through the use of algorithms.


## Call for proposals


Proposals are invited that critically explore the space spanned by the

different perspectives on simulation and experimental computation

addressing their role in all areas of music, sound art and related

research, in all its possible technical, technological, musicological or

theoretical aspects. We invite proposals for presentations in the form

of paper (20 minutes), demonstration or performance, or any hybrid

thereof. We particularly welcome proposals for presentations that

explore the role of simulation in innovative ways.


Proposals (200 words) should be sent to: almat(at) to arrive no later

than 1 December 2018.

We intend to send notification of acceptance by 15 January 2019.


A non-exhaustive list of possible questions and topics might include:


- Do computer simulations represent a new category of epistemic objects?

- The role of metaphor or verisimilitude in terms of the structure or

  behaviour under consideration. Of the brain in neural networks, of

  social or biological structures in A-life systems, for example. At

  what point can the metaphor be abandoned?

- Lines of enquiry suggested by Baudrillard’s distinction between

  simulation and simulacrum. Where, for instance, are the borders

  between reconstructions, interpretations and acts of ‘pure’

  imagination? If an act of ‘projected’ or ‘applied’ imagination can be

  seen in this light, why not one of personal creativity?

- Is there a relationship of simulation between the performance of music

  and the abstract ‘work’? Between the ‘work’ and its ineffable

  motivating impulse?

- Does the new state of science suggest that we rethink our entire model

  of the ways in which we understand the stages and ontologies of music

  production in general, including historical models?

- In which way does a system embody its author’s understanding of the

  phenomenon in question? That is, might it tell us as much about the

  context, the world-view of its own development as about its subject


- The way computation can merge with composition and performance opens

  to question our received understanding of the processes of

  contemporary musical/sonic creation.

- A major value of computation as a tool lies in the possibilities it

  offers for the development of instruments and apparatuses of enquiry

  or experience that would otherwise be impossible. What value do

  simulations of physically ‘impossible’ systems have? What relation is

  there to the tradition of ‘thought experiment’?

- Rather than remaining inert tools, computational processes tend to

  unfold a specific agency, retroacting on the research or creative

  process they are inserted into.

- What kind of materiality do computational experiments develop? If they

  lack the material resistance as part of the experimental arrangement

  (Gramelsberger), could there be a different kind materiality that

  comes into play?

- Computational methods enter in a ‘co-generative’ relationship with the

  entities they interact with: they co-determine the outcome of the

  research or artistic endeavours. Humans and computational processes

  are inextricably entangled in a network of relations, an ecosystem of

  interdependences devoid of hierarchies and separability.

- If there is always already an ‘experimental intelligibility internal

  to computation’ (Parisi) through which the premises of the input data

  are autonomously revised, what are the opportunities in this duality

  of experimentality (intrinsic to computation as well as introduced

  through an experimenter’s design)?

- What are the implications for artistic work if experimental computer

  systems are always the result of a collaborative writing process of

  several authors (Gramelsberger)?


## People


Convenors: Jonathan Impett, Hanns Holger Rutz, David Pirrò

Invited Speakers: Luciana Parisi, N.N.


    Kommentar verfassen:

    * - Pflichtfeld




    Weitere Artikel:


    Ballet Mechanique noch bis 20.10. im kunsthaus...

    ... Im Zentrum der Ausstellung steht die Reflexion des wegweisenden und revolutionären Ballet...


    signale graz Lecture

    Inszenierte AuthentizitätenJulia MIHÁLY 23. Oktober 2019, 18:00 Uhr, MUMUTH, PROBERAUM


    signale graz 10100

    signale graz 10011 am 24.10.2019 Julia Mihály - GRAND HOTEL ESTABLISHMENT Konzertbeginn: 19h30...


    TouchDesigner Workshop with Darien Brito, November 28-30

    In order to support these interests in the field of audiovisuals, the IEM is organizing a 3-day...


    s3dapc 2019

    Am Donnerstag 26.9.2019, von 16:15 bis 18:30 haben Franz Zotter und Matthias Frank im...


    Welcome Day KUG und TUG

    Welcome Day KUG 24.9. ab 13:30  MUMUTH- alle Studienrichtungen Welcome Day TUG 27.9. um...


    Stefan Riedel gewinnt Best Paper Award auf der ICMC 2019, New York

    Wir freuen uns mit Stefan Riedel. Er gewann am Dienstag 18.6. um 20:00 New Yorker Zeit mit seinem...


    Euro Pride Run Vienna 2019

    Helmuth Ploner-Bernard voran hat als Team-Leader gemeinsam mit Franz Zotter vom IEM in der...


    Wenn Räume klingen, träumen die Ohren

    Eine Veranstaltung des Forum Stadtpark in Kooperation mit dem IEM Eröffnung: 17.05.2019, 19h,...


    Wenn Räume klingen, träumen die Ohren

    Ausstellung, Klanginstallationen Wiedereröffnung: Dienstag, 04.06.2019, 19:00 UhrGeöffnet: bis...


    Konzert - Academic Gap!

    Dienstag, 04.06.2019, 20:00 UhrForum Stadtpark, Keller, Stadtpark 1, 8010 GrazAcademic Gap!eine...


    12. V:NM Festival 2019 auch am IEM

    Freitag, 31. Mai 2019 IEM / KUG, Inffeldgasse 10, 8010 Graz | IEM / KUG 16:30 Uhr We say...


    junge signale graz

    Samstag 11. Mai 2019, 19:30, MUMUTH, György Ligeti Saal, Lichtenfelsgasse 14, 8010 Graz junge...


    signale graz Soirée

    signale graz Soirée mit Prof. Dr. Franz Zotter und Dr. Matthias Frank (IEM), und MA Christof Ressi...


    Ambisonics-Buch von Zotter und Frank bei Springer Open veröffentlicht

    Die Ambisonics-Technologie zur Aufnahme, Verarbeitung und Wiedergabe von 3D Audio hat sich in den...


    Workshop mit Alberto Ricca \ Bienoise

    Alberto Ricca \ Bienoise Live Electronics: from DJ to DIY Freitag 3. Mai 2019,  14:00 im...


    signale graz 10011

    signale graz 10011 am 08.04.2019Werke von Manuella Blackburn, Ingrid Drese, Thomas Gorbach,...


    Tag der offenen Tür der Computermusik

    02. April 2019, 13:00, CUBE Tag der offenen Tür der Computermusik - Begrüßung und Einführung in...


    Gamified Composition and Performance – a Symposium in Artistic Research

    Gamified Composition and Performance – a Symposium in Artistic Research March 29-31, 2019 at...


    signale graz Soirée

    signale graz Soirée mit Univ.Prof. Klaus Lang (Institut 1) und MA Andreas Pirchner (IEM) am Montag,...