Forum Ircam speakers bio


The next european meeting with the IRCAM Forum members, the IRCAM research teams and all the innovative tech aficionados in the field of sound and music

General Information

Juan Manuel Abras Contel

Dr Juan Manuel Abras, PhD is an internationally awarded composer, conductor and musicologist (Theodor-Körner-Preis, TRINAC-ISCM-UNESCO, 2nd place Wiener Filmmusik Preis, etc.). Abras’ commissioned works have been premiered at leading international festivals (Warsaw Autumn, Gaudeamus Music Week, Festival MANCA, etc.) and venues (Stiftung Mozarteum Salzburg, Bimhuis-Muziekgebouw aan ‘t IJ, Teatro Colón, etc.), and are currently included on 9 CDs. Abras has been University Professor (UNLa and CSMCBA), researcher (UCA) and member of Österreichischer Komponistenbund, SEdeM, SADAIC, etc. A disciple of Krzysztof Penderecki and Kurt Schwertsik, he also studied with Karlheinz Stockhausen, Helmut Lachenmann, Wolfgang Rihm, etc. Abras pursued postgraduate and graduate studies (University of Music and Performing Arts Vienna, Conservatorio di Musica Benedetto Marcello di Venezia, Academy of Music in Kraków, etc.) and is Doctor (PhD) in Music-Composition (UCA), Doctor (PhD) in Musicology (UCM and UVa), Master in Hispanic Music (USAL and UVa).


Rémi Adjiman

Director of the SATIS Department (Sciences, Arts et Techniques de l’Image et du Son) at the Université d’Aix-Marseille and Master’s –level instructor in 5 programs (production and filmmaking, photography, editing and post-production, sound for images, and music for images). 
• Scientist in the PRISM laboratory • Member of the board of directors for the Semaine du Son
• Member of the board of directors for PRIMI (cluster of audio-visual companies in the PACA region of France).
• Research subjects: image-sound interactions, description and uses for ambient sounds in audiovisual creations and video games


Andrea Agostini

Andrea Agostini is a composer of instrumental and electro-acoustic music. He is one of the developers of the Bach and Cage libraries for musical representation and computer-aided composition in Max. He currently teaches computer music at the conservatory of Turin.


Nadir Babouri

Nadir Babouri is an active member of IRCAM Forum and a user of IRCAM software formed by Alexis Baskind (Spatialisateur), Jean Lochard (Audiosculpt), Mikhail Malt (Open Music), Benjamin Thigpen (MaxMsp), Nicolas Misdariis (Sound Design).

 nadir B.

Daniel Mancero Baquerizo

Daniel Mancero Baquerizo (Equator, 1983) is a composer, jazz pianist, and computer music designer. Since 2015, he has been a part of the Centre de recherche Informatique et Création Musicale CICM laboratories as well as the Musidanse laboratory at the Université Paris VIII where he worked on his research-creation thesis under Alain Bonardi and Makis Solomos. In 2017, he was selected to take part in the project “music with fresh ink” he published “Turgescences” for mandolin, guitar, and flute (commissioned by the CDMC — Ariam Île-de-France). In parallel, his work “Estambre Urdido” for an ensemble of 5 percussionists was selected and received an award during the “XIII Festival Ecuatoriano de Música Contemporánea” in Quito. In 2013, was invited as both a composer and pianist to the International Vienna Jazz Festival as well as the Festival Iberoamericano de Música — Uruguay 2013. In 2011, the album “Yangana” was released, featuring 13 pieces of contemporary Equatorial music composed by Baquerizo. With his group, Mancero Trio, he represented Equator in the opeing concert of the Festival Internacional Ecuador Jazz 2011 alongside the John Scofield Quartet. From 2007 to 2009, he was part of the artistic direction of the jazz trio Rarefacción (winners of the Festival Internacional de Jazz de la Habana 2008 ) and the music project Kichwa « Shuk Shimi Waranka Shimi » by Mariela Condo. From 2004 to 2017 he published 15 independent albums as a pianist, musical director, arranger, and composer.


Andreas Bergsland and Robert Wechsler

The two authors are Andreas Bergsland, Associate Professor, music technology, Norwegian University of Science and Technology, and Robert Wechsler, choreographer, CEO MotionComposer GmbH. Together they have presented and published at MOCO’2017, Guthman competition (award winners)’2016, NIME’2015, ICMC’2014, NYCEMF’2014, Concordia Univ.’2014


Aurélien Bertrand

To come…


Denis Beuret

Swiss composer, trombone player, video artist, computer developer, and improv musician, Denis Beuret is specialized in sound research: playing techniques for the bass trombone and the integration of electronics in concerts. He has perfected an augmented bass trombone with sensors that make it possible for him to control musical programs based on his movements and performance. Education: Denis Beuret studied drums, trombone, computer music, conducting, and orchestration. Drum classes at EJMA, Lausanne from 1985-1986 with Gaëtan Fama. He studied trombone at Delémont in 1986-87 with Jean-Jacques Orzan and from 1991-93 with Michel Garcia. Beuret received his trombone certificate from La Chaux-de-Fonds in 1995 under Jacques Henry and his professional diploma from Delémont in 1998 under Jannick Speisser. Beuret studied conducting and orchestration under Pascal Favre and Jean Balissat in Lausanne from 1996-98. He has also studied in masterclasses with Guy Destanques (1986), Michel Becquet (1993), Dany Bonvin (1994), Werner Bärtschi (1994), Jean-Pierre Leguay (2003), Barre Philips (2006), and Christophe Baumann (2009). Method: Denis Beuret’s working style and current musical method include live electronics with the performance of a bass trombone and focuses on three main points: 1 – Exploration of the bass trombone’s 5-octave tessitura. Beuret includes double sounds in his playing, formants, and sound from ordinary (and unusual) mutes. In addition to the trombone’s mouthpiece, he uses an array of reeds and mouthpieces (horn, tuba, saxophone, clarinet, flute, contrabassoon, etc.), like Vinko Globokar. These combinations let him vary his instrument’s sonorities like no one else. 2- He also develops an augmented bass trombone equipped with sensors, uses external sensors, and a MIDI pedal to control musical programs like Max, Omax, and Logic while playing. He programs applications and graphical interfaces adapted to his material and music in Max and Logic. 3- He has perfected a number of graphical writing styles adapted to his music, inspired by the graphical notations of Morton Feldman and Vinko Globokar. Denis Beuret’s work is a fusion of bass trombone in an electronic world where the trombone sounds are transformed via his limitless imagination.

 Beuret © Fabien Queloz

Per Bloland

Per Bloland is a composer whose works have been described by the New York Times as “lush, caustic,” and “irresistible.” He has received awards and recognition IRCAM, SEAMUS/ASCAP, Digital Art Awards of Tokyo, the Martirano Competition, and ISCM. A portrait CD of his work is available from Tzadik.


Julia Blondeau

Julia Blondeau (1986) is a french composer of contemporary mixed, instrumental and electroacoustic music. She has a doctorate in musical composition in the Ircam-Sorbonne Université-CNRS program. She also composes pieces for theatre and is interested in the interaction between instrumental writing and “electroacoustic” writing in the same space of expressivity. Julia Blondeau first studied piano and saxophone (Gap) and then studied analysis, writing and composition at the Lyon CRR. In 2007, she joined the CNSMD de Lyon in the composition classes of Denis Lorrain and François Roux. She obtained her PhD in composition at Ircam in 2017 and worked in the Musical Representations team (directors of research: Jean-Louis Giavitto (CNRS) and Dominique Pradelle (Paris Sorbonne, Philosophy) and worked on the Antescofo language and the new possibilities of writing electronics that it implies, from 2013 to 2017. She is a resident of the Cité Internationale des Arts de Paris from July 2013 to June 2015. In 2014, she attended the Ircam Manifest Academy and the Summer Composition Institute at Harvard in the United States. She received commissions from Radio France, the Wittener Tage Fage Für Neue Kammermusik, the Musica Festival (“Tesla ou l’ effet d’étrangeté”), the Percussions de Strasbourg (“Théâtres d’ ombres”), the GMEM (Festival “Les Musiques” for “Sortir du noir”) and Françoise and Jean-Philippe Billarant for her piece “Namenlosen” premiered at Philharmonie de Paris in June 2017 for the Manifeste Festival 2017. Julia Blondeau has worked with Ensemble Intercontemporain (2017), Ensemble Court-Circuit (2018), Ensemble Talea (2014), Ensemble Insomnio (2016-2017), Ensemble XX-21 (2014) and with the interpreters Christophe Desjardins and Séverine Ballon. Future projects include collaborations with Philippe Hattat (2018), Hae-Sun Kang (2019), Sarah Maria Sun and soloists from Musikfabrik (Witten 2019) and the Diotima Quartet. She will be resident at Snape Maltings (England) in 2018.


Alain Bonardi

Alain Bonardi est compositeur, chercheur et réalisateur en informatique musicale. Il développe sa recherche-création en musique mixte. Il travaille actuellement à un cycle de douze pièces pour piano et électronique temps réel -intitulé Pianotronics qui interroge les relations entre ces deux mondes sonores. Depuis 2016, il aborde l’univers de la guitare et de la musique temps réel avec Fil de Soi. En 2012 paraît le CD Liszt Voyageur (Intrada) enregistré par la pianiste Emmanuelle Swiercz, pour lequel Alain Bonardi compose trois pièces en commentaire d’œuvres de Liszt. Sa musique est jouée en concert par de nombreux artistes comme Pauline Buet, Geoffroy Couteau, Franco Venturini, Emmanuelle Swiercz, etc. Il est également actif dans le domaine de la production de concerts, participant à la direction artistique de l’ensemble Entretemps (1994-1998) et des concerts de musique de chambre Cantabile (2010-2015). Alain Bonardi est Maître de Conférences Habilité à Diriger des Recherches en informatique musicale au Département Musique de l’Université Paris 8, membre de l’Equipe d’Accueil EA 1572 : Esthétiques, musicologie, danse et créations musicales. Il est chercheur associé à l’IRCAM, dans l’équipe Analyse des Pratiques Musicales. Il développe une intense activité pédagogique sous la forme de résidences de compositeur et de workshops d’informatique musicale (Conservatoire de Vilnius en 2008, Conservatoire de Bayonne entre 2009 et 2014, Toho Gakuen Music School à Tokyo en 2014).


Øyvind Brandtsegg

Øyvind Brandtsegg is a composer and performer working in the fields of algorithmic improvisation and sound installations. His main instruments as a musician are the Hadron Particle Synthesizer, ImproSculpt and Marimba Lumina. Hadron is a very flexible realtime granular synthesizer, widely used within experimental sound design with over 200.000 downloads of the VST/AU version. Brandtsegg use it for live processing of the acoustic sound from other musicians. As musician and composer he has collaborated with a number of excellent artists, e.g. Oslo Sinfonietta, Motorpsycho, Trondheim Jazz Orchestra, Zeena Parkins, Maja Ratkje.
In 2008, Brandtsegg finished his PhD equivalent artistic research project, focused on musical improvisation with computers. Øyvind has done lectures and workshops on these themes in USA, Germany, Ireland and Norway. Since 2010 he is a professor of music technology at NTNU, Trondheim, Norway. Currently he is doing research into cross-adaptive processing for live performance, collaborating with an international team of researchers from the UK, USA, Holland and Norway.


Richard Albert Bretschneider

Richard Albert Bretschneider (born 1983 in Germany) is working internationally in the fields of user experience and music composition. He studied informatics and communication studies at the RWTH Aachen university (Germany) and the Universidád de Cádiz (Spain). As a specialist for mobile, web and musical applications he constantly is exploring and researching in the fields of gestural controllers, tangibles and sensors. Richard regularly is holding talks on conferences like the HCI international in Los Angeles or the Designing Interfaces for Creativity at the University of Sussex. His latests UX and/or music projects took place in inspiring metropoles like Chicago, Paris, Havana or Berlin.


Maurilio Cacciatore

Maurilio Cacciatore’s music stems out of a combination of acoustical instruments with tools for digital music. It also incorporates electromechanical objects and uses various resources of informatics.
It results in complex, multi-layered texture, presenting on the surface classical instruments and electronics, while containing an inner core of hybrid and non conventional techniques.
Beyond the conventional standard of spatialization, Maurilio Cacciatore’s loudspeaker setups explore non-coded solutions that integrate hardware and software within various musical contents.
The theatrical dimension of his works tends to integrate visual aspects and music into the score, seeking an improvement of communication among the players on stage.
He has been composer in residence at the Studios of the Ircam, the ZKM, the Muse en Circuit of Paris and the Elektronisches Studio Basel.
He has been student of Fabio Cifariello Ciardi and Ivan Fedele, always obtaining the beast marks in Italy, Sweden and France. He is currently working toward a PhD at the Catholic University of Porto and the Academy of Music of Basel under the guidance of Erik Oña. He is lecturer of Electroacoustic Composition at the Conservatory of Castelfranco Veneto (Italy).
In 2010 he got the “G. Petrassi” Prize of the President of the Republic of Italy; in 2012 he got the First Prize at the International Composition Competition “Premio Trio di Trieste”.
In 2016 he has been nominated by RadioRai3 (Italy) for the International Rostrum of Composers.
In 2017 he has been awarded the Giga Hertz Produktion Preis of the ZKM | IMA of Karlsruhe.
He has begun as guest professor to start the first electronic music class of Mozambico at the Conservatory of Music and Dramatic Art of Maputo.
Maurilio is active as composer, professor and researcher in Europe, Asia, North America and Australia.
His music is published by the Edizioni Suvini Zerboni, Milan.


René Caussé

Scientist emeritus with the S3AM team at the IRCAM-CNRS lab, René Caussé continues his research on the functioning of musical instruments, whatever their origin, or their époque, such as here with a study of trumpets from Pompeii in the ancient Mediterranean world. These studies enhance our knowledge of the multiple processes of oscillation, radiation, instrument design, the problem of the interface between the instrument and the performer, and the connection between the acoustic possibilities and the music produced. The application side is, above all, musical with the development of software for synthesis via physical modelling and with a contribution to innovation in the domain of musical instrument design. In the particular case of musical instruments from Antiquity, this research also provides an acoustic viewpoint to the archeological study of musical instruments.


Peter Connelly

Peter’s career within the video games industry started out in 1995 and has since been employed at various levels of expertise including Music Composer, Sound Designer, Audio Lead and Audio Manager. His musical and sound engineering background spans 4 decades and has composed sound tracks and created sound effects for many AAA titles including Driver: San Francisco, Herdy Gerdy, Fast n Furious: Tokyo Drift and the legendary Tomb Raider series of which the Angel of Darkness sound track was performed by the world renowned London Symphony Orchestra at Abbey Road Studios. Peters most recent projects, as both Audio Lead and Composer, includes two of Ubisofts most highly anticipated releases in years Watch_Dogs and The Crew.


Violeta Cruz

Composer and sonic artist, Violeta Cruz first studied music at Javeriana University in Colombia before going on to the Conservatoire national supérieur de musique et de danse de Paris. Her oeuvre includes instrumental and electroacoustic pieces as well as “sound objects”, mechanical machines with partially random rhythmic behaviors with sounds prolonged by an interactive electronic system. One of the points found in all three of these categories is the relationship between sound and material. In the instrumental context, it can be seen through her work on the musical texture (the relationship between the sound strata that make up the musical whole). In the case of “sound objects”, this is particularly connected to the basic elements that interest her: those materials found in our daily lives that always have their place in the mystical sphere of humanity like water or light. Violeta Cruz took IRCAM’s Cursus program in 2013-14 at the end of which she premiered God game: el nuevo mito de los Lemmings for violin and electronics. Selected performances and exhibitions of her works include Quadrophonia Exposition (FR), Festival Fabbrica Europa (IT), Court-Circuit (FR), Ensemble SurPlus (GER), Duo Sincronía (ESP). Her studies are funded by Nadia et Lili Boulanger International Foundation, France Foundation., Fondation Salabert and Diaphonique, Franco-British fund for contemporary music.


Thomas Deuel

Dr. Thomas Deuel is a neuroscientist, musician, sound artist, and neurologist. His work combines his interests and professional skills in understanding brain physiology with those of music composition and sound art, to re-enable paralyzed patients to create music again for healing.


Jan Dietrich

Jan Dietrich
 Artist, Designer, Instrument Maker.
Partner at MAUPI experience design Hamburg, Vienna. After his training and work as an organ and harmonium builder in Hamburg, Jan Dietrich studied product and process design at the Universtiy of Arts, Berlin. Here he joined the preliminary programme of the SoundStudies Master course. He completed his studies in 2006 with works on the subject of “Product, Space & Sound”. In 2005, together with Angelo D’ Angelico, he founded „Acoustic Consult“, a design company with projects for Bahlsen, Warsteiner and Mars on the sound of consumer goods. As Manager Sound Design at Products & Innovation at Deutsche Telekom, he was responsible for the development of the Styleguide Sound for interfaces and hardware from 2009 – 11. As a partner of MAUPI experience design he has been managing free sound and interface projects for customers from the automotive and consumer goods industries since 2010. As a lecturer, since 2006 he regularly gives workshops and seminars on „Invisible Design“ at universities such as Unversity of Applied Sciences
, Vienna, the HCU Hamburg or the University of Wuppertal. Since 2016, starting with the performance LTE Babylon, Dietrich has also been working on independent artistic projects. Jan Dietrich was born 1972 in Wedel, Germany.

Jan Dietrich © Maiwolf Photography

José Eduardo Fouilloux

Eduardo is a visual thinker with a technical flair and strong international experience. While his specific responsibilities are focused on the front-end design, he’s got his hands on all aspects of product development. He co-founded decochon in order to realize his many ideas and to have fun making novel and powerful interactive experiences in the company of friends. “it is hard to understate the potential impact of interactive VR experiences. We just want to contribute to the revolution!”


Pedro Garcia-Velasquez

Columbian composer born in 1984, Pedro Garcia-Velasquez began by studying the violin and then composition at the Pontificale Javeriana University in Bogota under Harold Vasquez-Castañeda. He received his diploma in 2006 and came to France to continue his education. Pedro first joined Jean-Luc Hervé’s class at the CRR de Boulogne-Billancourt before taking Frédéric Durieux’s class at the Conservatoire de Paris (CNSMDP) where he received his diploma in composition. In 2008, he founded the ensemble Le Balcon in residence at the la Fondation Singer-Polignac and the L’Athénée Théâtre Louis Jouvet with Alphonse Cemin, Maxime Pascal, Juan-Pablo Carreño et Florent Derex. Together, they seek to develop a new concept of contemporary music concerts and question musical creation, performance, and the relationship with the public. This project makes it possible to work with other composers such as Michaël Levinas, Claude Ledoux, Pierre Boulez, and Kathinka Pasveer. Among his recent works, Pedro Garcia-Velasquez premiered a concerto for cello, chamber orchestra, and electronics Moro de Venecia in January 2014 at the Orchestre National de Lille.  This piece is a follow up to several works on connections with the past, in which the audience’s perception is of the upmost importance.  The piece evokes a sound gallery where old memories can be relived. It digs into the collective memory of the cello and its history. It sinks the audience into a re-adaptation of “old musical memories” from the melismata of medieval or ritual music. Beyond purely musical projects, Pedro Garcia-Velasquez is also interested in the dramatic arts and has developed a new universe over the past few years as the result of his collaborations with the director and video artist Nieto, the director Benjamin Lazar, and the choreographer Tatiana Julien. In July 2012, he premiered Plip for sonorized ensemble and video for the festival Paris Quartier d’été. Inspired by \”Utopía de un hombre que está cansado\” by J.-L. Borges, Plip, with its video created by Nieto, develops the idea of doubling the concert world. The work opens a fantasy world where shadows and distort our relationship with reality. In October 2014, a second version of Plip was performed at the Théâtre de Cornouaille – Scène nationale de Quimper. He co-wrote Douve with the choreographer Tatiana Julien in February 2013—a trio of dancers and music for chamber orchestra and electronics­—for the festival Faits d’hiver. The show, inspired by the texts of Yves Bonnefoy, questions the way poetic forces in music can orchestrate the poetic forces of gesture and vice versa. This collaboration continued with the creation of Ruines, a solo for a dancer and music for ensemble and electronics, premiered at the Espace des arts – scène nationale de Chalon-sur-Saône. In December 2015, he began a new collaboration with the director Benjamin Lazar who took on the dramaturgie and sonic direction of the performance Théâtre acoustique I: Lieux Perdus, a concert on headphones for a sonified ensemble, electronics, and binaural listening premiered at the Fondation Singer-Polignac. Entering abandoned buildings incarnated by sound, the work tells the story of wanderings towards a far-off past. The binaural technique, elaborated with Augustin Muller, offers an experience that is both immersive and intimate for the listener.  The listener is immersed in the dimensions on the verge of reality. In the continuity of this imaginary world and its reflections on the acoustic dramaturgy. Pedro Garcia-Velasquez wrote Théâtre acoustique II: fête dans le vide for the singer Léa Trommenschlagen premiered in March 2015 at the Athénée Théâtre Louis Jouvet with the ensemble Le Balcon. He is currently working on a new choreographic opera: Arioso.


Marta Gentilucci

Marta Gentilucci studied Vocal Arts as a soprano at Conservatory of Perugia (IT); there she obtained also her Master Degree in English and German Literature. She studied composition at the Conservatory of Florence, then she moved to Germany, where she completed her Master Degree in composition and in composition/computer music at the University of Music Stuttgart under the guidance of Marco Stroppa. She was selected for the two years program in computer music at Ircam in Paris (Cursus1 and Cursus2). She completed the Ph.D. program in composition at Harvard University under the guidance of Chaya Czernowin and Hans Tutschku.
She was in residence at the Experimentalstudio des SWR Freiburg and the electronic studio of the Akademie der Kunste in Berlin (DE). Her electronic music was selected for SICMF 2012 (Korea); nycemf 2013 and 2015 (New York City); ICMC 2011 (UK), ICMC 2013 (AU), ICMC 2014 (GR), where she awarded the ICMA Best Student Music, ICMC 2015 (Texas, US), and ICMC 2017 (Shanghai, CHN).
Her music has been performed in Italy, France, Greece Germany, Korea, Japan, USA, UK by ensembles as Wind-Soloist of the Orchestra Nazionale RAI, Ensemble Surplus, Ensemble Ascolta, soloists of Neue Vocalsolisten, ensemble, soloists of Ensemble Intercontemporain, Les Cris de Paris, Jack Quartet, Chiara Quartet, L’Arsenale Ensemble, Hand Werk, Nikel Ensemble, Elision Ensemble, Promenade Sauvage, Dal Niente and Contrechamps. Recently, She received the Mivos/Kanter Prize Honorable Mention for the string quartet Proof Resilience. In 2015, she worked on new composition for large ensemble and Live-Electronics in collaboration with IRCAM and the Ensemble Contrechamps. She was selected to write a mini opera for the Darmstadt Staatstheater and she won the second price of the Opera Competition Project Staatstheater Darmstadt. She has been in residence for the Artistic Research Residency Program at IRCAM in 2017 with a project on the voice and its extended techniques. Among her upcoming projects, the composition of a new piece for ensemble for the VERTIXE SONORA Festival in Spain, and a new piece for soprano will be premiered at the Mozarteum University in Salzburg (AU). In 2018, she will be in residence at the Experimentalstudio des SWR Freiburg to work on a new piece.


Rama Gottfried

Composer and sound artist Rama Gottfried’s recent work aims to magnify the plethora of details that connect humans with the computers, instruments, plants, insects, amphibians, architecture, and other animate and inanimate entities and spaces that surround us. During his recent PhD studies at the University of California, Berkeley, Rama studied composition with Franck Bedrossian and computer music with Edmund Campion and David Wessel at the Center for New Music and Audio Technologies (CNMAT). Previously, he completed studies at the Universität der Künste Berlin, The Manhattan School of Music, and New York University. He has had pieces featured at Lincoln Center’s Mostly Mozart Festival, MaerzMusik, SPOR, Cycle, Bludenzer Tage zeitgemäßer Musik, MATA, Klangwerkstatt, ICMC, Wet Ink, and Machine Project/Hammer Museum festivals, and sound installations at the Berliner Congress Center, Complice, Mino Washi Paper Museum, Stadtbad-Wedding, and Pacific Basin Building. In 2002 he joined Ensemble Pamplemousse where he collaborated for many years working in electro-acoustic music and the merging of sound, installation, and performance arts. In 2012, Rama Gottfried was in residence at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) working with the Acoustic and Cognitive Spaces Team on aesthetic applications of Wave Field Synthesis (WFS) and Higher Order Ambisonics (HOA). In 2017-18, he has been in residence at IRCAM and Zentrum für Kunst und Medientechnologie (ZKM) working on notation and audio/visual performance systems for spatial movement.



Suguru Goto

Suguru Goto has worked at IRCAM in Paris, France since 1995 and he has developed Virtual Musical Instruments there. Suguru Goto, Associate Professor at Tokyo University of the Arts is a media artist, an inventor and a performer and being one of the most innovative, is considered the mouthpiece of a new generation of Japanese artists. He is highly connected to technical experimentation in the artistic field and to the extension of the existing potentialities in the relations of man-machine. In his works, new technologies combine in interactive installations and experimental performances. He is the inventor of these “virtual musical instruments,” having created an interface for the communication between human movements and digital technology, where sound and video imagery are controlled by virtual musical instruments in real-time via computers. He has been internationally active and has received numerous prizes and fellowships, such as Koussevitzky Prize, BSO fellowships, the first prize at the Marzena, Berliner Kompositionaufträge, a prize by the IMC International Rostrum of Composers in UNESCO, Paris, DIRECAM, French Cultural Minister, Music Theater Award 2008 in Berlin, “OFQJ-dance and new technology prize” at Bains Numérique #4, International Festival of digital art of Enghein-Les-Bains, in France, in 2009, Electronic Sonority Honor Award Prize, FILE PRIX LUX, in Brazil, in 2010, the winner of the Action Sharing 2, in Italy, in 2011, the 2nd prize in the 2013 KAO International Kinetic Art Competition, Prix Ars Electronica 2013 Digital Musics & Sound Art | Honorary Mention and so on. His works have been performed in major festivals, such as Resonaces/IRCAM, Sonar, ICC, Haus der Kultures der Welt, ISEA, NIME, AV Festival, STRP Festival 2009, Venice Biennale, etc.


Jan-Marc Heckmann

Combining years of practice-based experience and research, Jan-Marc has delivered successful projects for clients spanning across urban planning, retail and entertainment industries.
Jan-Marc is our technical powerhouse. An obsessive learner, he spends much of his time researching and perfecting his craft. When not playing with procedural graphics and simulation, he is outdoors, backpacking, rock climbing, and growing his awesome caveman-style beard. “Virtual reality seems to be naturally intuitive for most users. Unlike traditional computer interfaces. In VR, people can use the same motions and expressions that they use in real life, which makes for a much more direct and much more intimate interaction. ”


Emmanuel Jourdan

Born in 1980, Emmanuel Jourdan began studying the clarinet at the age of 8, and later studied computer music at the National Music School of Montbéliard and at the Conservatory of Besançon. He received many awards and honors and scholarships in clarinet, chamber music, conducting, computer music, and computer-assisted composition. From 1998 to 2001 he taught clarinet and played with several orchestras in eastern France. In 2001, be began working at IRCAM, teaching computer music to young students and music educators, and was involved with the development of “Musique Lab 1”, a project for the French National Ministry Education. From 2003, he was principally involved with teaching Max/MSP/Jitter to the students of IRCAM’s year-long cursus, as well as conducting workshops and seminars on IRCAM software. After working at Ircam for 15 years, he left to work at Antescofo, on the new AI application for classical musicians. Since 2006, he has been working as a developer for Cycling ’74, Inc, working on Max, Max for Live and Mira.


Knut Kaulke

Composition, production and live performance of experimental electronic music focused on Sound Design. Member of Malcolm Braff’s GreenWoman collective -Lecturer of sound design workshops and seminars Doctor of Science. Scientific doctoral thesis, Universitätsklinikum Carl Gustav Carus, Dresden (Germany)
-Research project organization and experimental investigation of the role and function of non-coding RNA (microRNA) in prostate cancer -Participation and giving scientific talks at international conferences. Organization of cross-disciplinary events. Workshop: ,Visual programming workshop’, Dresden Audio Visual Experience (DAVE)-Festival 2015
-Panel: ,The role of the future in electronic music’, International Cities of Advanced Sound (ICAS)-Festival 2015
-Events: ,SPECTRA’ and ,Light Stage’ – audiovisual concert evening supported by cultural foundation Saxony (Germany), DAVE-Festival 2015/16/17


Karolina Kotnour

Karolína Kotnour is an architect-artist dedicated to an architectural spatial and audio-visual production. In her projects and installations, she connects architectural and sound structures. She understands space as a common time-varying medium of sound and architecture. In this context, defines space and its understanding. Space is changing over time, in parallels and mutual confrontations and reflections. In this context, defines space and its understanding. Space is changing over time, in parallels and mutual confrontations and reflections. A significant role in her work plays human and his acoustic print in space. She observes the presence of „acoustic holes“ in space and transformation of sound vibrations in their surroundings. Consequently compares these effects in relation to the circumstances of the origin of „structural holes“. She understands to the reciprocal confrontation of sound waves as is a liberated contour of space. I am a Ph.D. research fellow at FLOW studio at CTU faculty of architecture in Prague. My research brings together sound design, architecture, and neuroscience. I am exploring sound and space and tangible expression of sound and space in generated architecture forms. At this moment, I am looking for possibilities and connections in these two artistic fields as well as research fellows working at the edge of sound and spatial design and Brain-Computer Interface technology /BCI/.


Sahin Kureta

Studied physics in Ankara University (2002-2006) and composition in Yildiz Technical University, Istanbul (2009-2013), I have been working with composers of the Istanbul Composer’s Collective, including Emre Dundar, Mehmet Ali Uzunselvi, and Mithatcan Ocal, for many years. Provided them with small pieces of software, OM patches, Max/MSP patches, Python scripts, etc. Also helped my colleagues as a recording, mixing, mastering engineer. I have also composed for Turkish television networks.


Robert Lisek

Robert B. Lisek is an artist, mathematician and composer who focuses on systems and processes (computational, biological, social). He is involved in the number of projects focused on radical art strategies, hacktivism and tactical media. Drawing upon conceptual art, software art and meta-media, his work intentionally defies categorization. Lisek is a pioneer of art based on Artificial Intelligence and Machine Learning. Robert Lisek is also a composer of contemporary music, author of many projects and scores on the intersection of spectral, stochastic, concret music, musica futurista and noise.
Lisek is also a scientist who conducts a research in the area of foundations of mathematics and computer science. His research interests are theory of ordered sets, logic, algebra, category theory in relation with artificial intelligence and machine learning.
 He is a founder of Institute for Research in Science and Art, Fundamental Research Lab and ACCESS Art Symposium. Author of many exhibitions and concerts, among others: QUANTUM ENIGMA – ZK< Karlsruhe, Harvestworks Center New York and STEIM Amsterdam; TERROR ENGINES – WORM Center Rotterdam, Secure Insecurity – ISEA Istanbul; DEMONS – Venice Biennale (accompanying events); Manifesto vs. Manifesto – Ujazdowski Castel of Contemporary Art, Warsaw; NGRU – FILE, Sao Paulo; NEST – ARCO Art Fair, Madrid; Float – DMAC Harvestworks and Lower Manhattan Cultural Council, NYC; WWAI – Siggraph, Los Angeles; Falsecodes – Red Gate Gallery, Beijing; Gengine – National Gallery, Warsaw; Flextex – Byzantine Museum, Athens, FXT- ACA Media Festival, Tokyo and ISEA, Nagoya.


Marco Liuni

Resarcher and computer music designer, my activity spans applied mathematics and computer science focused on audio signal processing. My PhD (IRCAM / University of Florence) dealt with automatic adaptive algorithms for audio analysis/synthesis, while my current postdoc position is about audio processing applications to cognitive neuroscience (CREAM project, Perception and Sound Design team). Since 2016 I have the opportunity to emerge from the R&D labs at the -2 floor, to work with composers attending IRCAM’s cursus program, as a computer music designer with teaching charge (RIMce, Education & Cultural Outreach department). As a computer music designer, my personal projects and collaborations involve electronics, electroacoustic and mixed (instruments and electronics) works, as well as development of real-time audio applications for music processing and interactive multimedia installations.


Alexander Mihalic

A classically-trained composer, he continues his work in two distinct, yet complementary, fields. On one hand, he explores reality via sound and acoustics: sonification. On the other hand, he focuses on the development of solutions for mixed music through the creation of a new electronic instrument: Sampo.


Augustin Muller

After studying music (classical & jazz percussions, improvised music) and sciences, Augustin Muller studied at the Conservatoire de Paris (CNSMDP), graduating with a diploma in sound in 2010. A specialist in computer music, he has worked in France and abroad with several artists and ensembles (e.g. le Balcon, the Ensemble Intercontemporain, International Contemporary Ensemble, 2e2m, the Orchestre de Chambre de Genève) as well as on concerts and festivals such as IRCAM’s festival ManiFeste, The Venice Music Biennale, Musica, Festival Berlioz, etc. A part of the generation faced with the question of the performance of the mixed-music repertoire, he carried out his Master’s degree at IRCAM on this subject. Since then, he has worked on concerts, research projects, and premieres of a number of works. Augustin has worked with several composers (M. Levinas, P. Garcia-Velasquez, R.HP Platz, JP Carreño, L. Durupt, F. Bedrossian), musicians, and performers, and has been involved in several projects on sound diffusion, electronics, and new technologies, with the ensemble Le Balcon since 2008, for example. In 2014, he created the electronics and sound design for Michaël Levinas’ opera Le Petit Prince based on the book by St Exupéry for the Opéra de Lausanne, the Opéra de Lille, and the Théâtre de Châtelet. Former student in the generative improvisation class at the CNSMDP, Augustin also works with several improvisation artists (ONCEIM & Stephen O’Malley, Frederic Blondy, Eve Risser, Jean-Luc Guionnet) on recordings and concerts (METEO festival, CRAK).


Garth Paine

Garth Paine is a professor of Digital Sound and Interactive Media at the School of Arts Media and Engineering and Digital Culture program at Arizona State University. He has created interactive responsive environments where the inhabitant generates the sonic landscape through their presence and behavior and composed many music scores for dance works, generated through realtime video tracking and bio-sensing. He was awarded a Green Room Award for Outstanding Creativity, for Escape Velocity (Company in Space) and was a finalist for the Best new Musical Score for Dance, 2014. His work has been shown across the globe. Recent performances in Australia, USA, Korea and Europe have presented works for percussion and live electronic processing, resonating metal instruments, motion tracked dance and Tibetan singing bowl robots. The breadth of his practice is expressed through an enquiry into sound as material. Garth established and directed the Virtual, Interactive, Performance Research environment (VIPRe) and is internationally regarded as an innovator in interactivity for experimental music and performance. His scholarships ranges from leading the Taxonomy of Interfaces for Electronic Music performance (TIEM) project with partners McGill and the EMF, producing an online database of NIME practices, to papers on interaction and somatics. He presented the Keynote at NIME2016 which outlined a framework for digital music instrument design.


Emanuele Palumbo

Emanuele Palumbo (Italy, 1987) studied composition at the Milan conservatory and then at Conservatoire national supérieur de musique et de danse de Paris under Gérard Pesson. He was taught by Hèctor Parra during the Cursus 1 & 2 program in composition and computer music at IRCAM. Emanuele has followed numerous master classes with composers such as Francesco Filidei, Franck Bedrossian, Pierluigi Billone, Stefano Gervasoni, Raphaël Cendo, and Mark Andre. His works have been performed by the Ensemble Linea, the Ensemble Multilatérale, the MDI Ensemble, the Ensemble Talea, and soloists such as Alfonso Alberti and Christophe Mathias and have been broadcast on France Musique. In his music, he creates temporal musical structures based on sounds that come from instrumental research. The focus of this research is to find the strength and uniqueness of sound material. He creates new, unusual playing modes using, occasionally, accessories to create new sounds. The instrumental ensemble becomes a space with a new aura. He is currently working on a piece for piano and transducers, and is working on a biophysical musical project with dancers, interpreters, and musicians. Through the latter project, he is developing a system for physiological and emotional recognition (LISTEN).


Raphael Panis

A music lover and composer of electroacoustic music, I have taken several professional-level classes at IRCAM. I decided to follow a Master’s program in computer music design at the Université de St Etienne to reaffirm my desire to be a part of the music world. 


Herve Porcedda

To come…

Mina Rafiee

My body of work explores innovative human/ non-human centered experiences through interactions with objects, spimes, spaces and environments. Emphasizing on micro scale of human interactions with events and “things”, I’m interested to create haptic immersive experiences by fully engaging human senses in exploration of my physical and sonic installations.
With a background in architecture, photography, design and technology(graduated from Pratt Institute 2012 and Parsons Design technology 2017) , my range of projects focus on exploring and designing immersive experiments and experiences for both humans and non- humans with their environments. Through my design proposal, I constantly re-imagine the ways one can interact and investigate his/ her/ its environment in both macro and macro scale. In my project “ Void” I created a sonic, haptic and augmented sculpture exposing it’s participants to different auditory spatial experiences through their body movement and haptic sense by interacting with a physical sculpture. As an emerging artist I am very much interested to expand the scale of my projects and being able to test/ fabricate them in larger scale to engage larger number of people. What matters in these types of interactions is the body movement of subjects in space, their interactions with installations and the memories they create in such constructed, natural/ artificial environment. Other than instant interactions with my installations I am interested to create conversations between artists, architects, engineers and anthropologists in order to address and discuss the need to step away from human centric design. By being able to imagine a different perspective from non- human perspective, and being able to convey the feeling of being a rock, river or a forests. In other word do we live in our world if we were able to feel how other spices would feel? In my multidisciplinary practice I make physical objects, short films, speculative objects/ landscapes, soundscapes, collages to engage my audience with my anthropocentric dilemmas.


Antoine Schmitt

Installation artist, Antoine Schmitt creates artworks in the form of objects, installations and situations to address the processes of movement in all of their modalities, and question their intrinsic conceptual problematics, of plastic, philosophical or social nature. Heir of kinetic art and cybernetic art, nourished by metaphysical science-fiction, he endlessly interrogates the dynamic interactions between human nature and the nature of reality. Originally programming engineer in human computer relations and artificial intelligence, he places the program, a contemporary artistic material and unique by its active quality, at the core of most of his artworks, to reveal and literally manipulate the forces at stake. Antoine Schmitt has also undertaken an articulation of this approach with more established artistic fields like music, dance, architecture, literature or cinema, and has collaborated with Franck Vigroux, Atau Tanaka, Vincent Epplay, Jean-Jacques Birgé, Delphine Doukhan, K. Danse, Patrice Belin, Don Nino, Cubenx, Alberto Sorbelli, Matthew Bourne… As theoretician, speaker and editor of the portal, Antoine Schmitt explores the field of programmed art.


Norbert Schnell

Norbert Schnell is professor of Music Design at the Digital Media Faculty at the Furtwangen University since autumn 2017. He studied sound engineering at the Music University and the Technical University in Graz before joining IRCAM as researcher and developer in the field of interactive digital audio processing and interaction design. He chaired the 6th International Conference on New Interfaces for Musical Expression (NIME 2006) and the first Web Audio Conference (WAC 2015). In 2013 he obtained his doctorate on key aspects of sound and interaction design with recorded sounds. Over the past years, he coordinated the CoSiMa project exploring collective interactions in the context of participative art and music projects, collaborative digital media, and music pedagogy based on mobile and web technologies.


Diemo Schwarz

Diemo Schwarz, born in Germany in 1969, is a researcher and developer at Ircam (Institut de Recherche et Coordination Acoustique-Musique, Paris), composer of electronic music, and musician on drums and laptop. His research work includes improving interaction between musician and computer, and exploiting large masses of sound for interactive real-time sound synthesis, collaborating with composers such as Philippe Manoury, Dai Fujikura, Stefano Gervasoni, Pierre Jodlowski, Aaron Einbond, Sam Britton. He holds a PhD in computer science applied to music, awarded in 2004 for the development of a new method of corpus-based concatenative musical sound synthesis by unit selection from a large soundbase. His compositions and live performances—under the name of his solo project Mean Time Between Failure, or improvising with musicians such as George Lewis, Evan Parker, Frédéric Blondy, Victoria Johnson, Etienne Brunet,Luka Juhart, Pierre-Alexander Tremblay—explore the possibilities of corpus-based concatenative synthesis to re-contextualise any sound source by rearranging sound units into a new musical framework using interactive navigation through a sound space.


Hugo Silva

Hugo believes he’s one of the few lucky people that can say he worked very few days in his life… not because of lack of a job (fortunately), but because when you do stuff you love and you’re passionate about almost every single day, there’s no boundary between what’s work and what’s just pure fun. He completed his PhD in Electrical and Computers Engineering at the University of Lisbon. Since 2004, Hugo is a researcher at the IT – Instituto de Telecomunicações. Hugo is also one of the co-founders of PLUX – Wireless Biosignals, established in 2007 as an innovative technology-based company operating in the field of medical devices for healthcare and quality of life, where he is currently a Board Member and Innovation Advisor. More recently, he has been actively working (i.e. having fun) towards making the world a bit more physiological through BITalino , an open source software and low-cost hardware toolkit, that allows anyone from students to professional app developers, to create cool projects and applications with physiological sensors. His main interest areas include physiological computing (aka biosignals), system engineering, signal processing, and pattern recognition.


Tristan Soreau

Tristan Soreau holds a degree from the École Supérieure des Beaux-Arts du Mans in sound design and space design. In his work, he endeavors to find a meeting point for sound, a work on volume, and certain emerging technologies in the hope of offering new sensorial experiences.


Franck Vigroux

Franck Vigroux is a multifaceted artist whose universe brings together music, theater, dance, and video. Prolific and not restrained by any stylistic barriers, he spent a certain time in the experimental, improv, noise, and electronic music scenes. After the production of “concept albums”, experimental films, working with playwrights, sound poets, and other choreographers, he became more and more interested in live audiovisual forms and writing for the stage. This led him little by little to stage his music in multidisciplinary performances bordering the plastic arts. Beginning in 2010, he created his first productions with the company Autres Cordes. He worked with authors, musicians, playwrights, and directors such as Mika Vainio, Reinhold Friedl, Laurent Gaudé, Michel Simonot, Kenji Siratori, Ben Miller, and Alexis Forestier in addition to video or installation artists Antoine Schmitt, Kurt d’Haeseleer, and Félicie d’Estienne d’Orves. DAC Records, Radio France Signature, Leaf, Cosmo Rhythmatic, Erototox have released his recordings.


David Zicarelli

David Zicarelli is the founder and CEO of Cycling ’74. He has been working on Max since 1989.