Name: Orpheus Instituut
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Introduction

Speculative Sound Synthesis

David Pirrò, Ina Thomann, Leonie Strecker

Article

Emergent Behaviors in Sound Synthesis

Luca Spanedda

Article

Following the Material

Tom Mudd

Article

utrumque

Ludvig Elblaus, Gerhard Eckel

Article

Black Box Music

Thomas Grill, Angélica Castelló, Patrik Lechner, Marco Döttlinger, Arthur Flexer

Article

Peaks, Valleys, and Troughs

Chiara Percivati, Andrés Gutiérrez Martínez

Article

Proxies

Alejandra Maria Pérez Núñez

Article

Muta: material-driven sound synthesis in a mutable feedback instrument

Mia Windsor

Artist statement

Noise Re(in)duction

Nico Daleman

Article

Synthesizing the Signal from the Noise: Reflections on Mary Had a Little Lamb (2019)

JO Kazuhiro, Nobuhiro MASUDA

Article

From Staves to Screens

Daniel Louis Lythgoe

Introduction

Roberto Alonso Trillo, Helena McFadzean, Marek Poliks

Article

Interface After AI

Roberto Alonso Trillo, Marek Poliks

Commentary

Prompt in the Shell

M. Beatrice Fazi

Artist statement

Inter-interaction

Charlotte Lengersdorf

Article

Loss Moves

Jesse Josua Benjamin

Artist statement

New Sounds

Agnes Cameron

Article

Driving Ms. Chimère

Maria Sappho, Chimère, Jonathan O'Hear, Nathalie Ponlot, Raymond MacDonald, Colin Frank

Artist statement

Speculative Phonetics

Stefan Maier

Artist statement

MIDI vs. MID-Ai

Charles Hagelsteen

Artist statement

Imagine

Lyn Hagan, Helena McFadzean, Roberto Alonso Trillo, Nick Rush-Cooper

Artist statement

The Body, the Building, the Beat, the Bot!

Ying Xuan Chian

Introduction

Introduction: Thinking through Performance Technology in Music / Sound

Anthony Gritten, Caroline Wilkins

Article

Exploring sonic worlds

Louise Devenish, Sam McAuliffe

Artist statement

Telematic Dance and Live Coding

Iannis Zannos, Stella (Styliani) Dimitrakopoulou

Artist statement

Drifting: Integrating Embodied Practice and Making as a Compositional Process

Jaehoon Choi

Artist statement

Performing with Technology

Jörgen Dahlqvist, Kent Olofsson

Artist statement

CyberTouch: An interdisciplinary research on Dance, Music and Live Coding

Vasileios Agiomyrgianakis, Stella (Styliani) Dimitrakopoulou

Article

Instrument de/reconstruction as a feministing practice

Maureen Wolloshin, Khabat Abas

Introduction

New Mimesis: Introduction

Jonathan Impett

Article

Through the Membrane

Adam Linson

Article

Dog Barks at Own Echo

Jorge Boehringer

Article

Score: Mechanical Asynchronicity

Martin Scheuregger, Danica Maier

Artist statement

Pond Sound Mystery

David Rothenberg

Article

New Sounds–Ancient Resonances

Jean Penny

Artist statement

Plasticity vs. mimesis

Frédéric Mathevet

Article

Playing Attention

Chris Chafe, Greg Niemeyer

Artist statement

Listening Back

Jasmine Guffond

Article

Balancing Behaviours

Bjarni Gunnarsson

Artist statement

Speaking machines

Lottie Sebes

Introduction

Networks: Introduction

Juan Parra Cancino

Introduction

Feedback: Introduction

Adam Pultz Melbye

Article

Feedback and materiality on the spatial and energetic planes

Scott McLaughlin

Article

Feedback and the Loss of Control in "Possession"

Marcus Whale

Article

A continuously receding Horizon

Adam Pultz Melbye

Article

Feedback, Modularity, and the Global Subjects of Electronic Soundmaking

David Novak

Article

Late Realizations

You Nakai

Article

Cybernetic Feedback Processes in Music-Theatre Practice: The Im-Medea Cycle

Thanos Polymeneas-Liontiris, Eugenia Demeglio

Artist statement

Roll, Pitch and Yaw

Nicolas Collins

Article

Making a pitch map for a vibrotactile feedback instrument

Øyvind Brandtsegg

Article

A Relational Ontology of Feedback

Agostino Di Scipio

Article

Towards the formalisation of structurally-coupling performance modalities and interfaces in human-machine interaction

Dario Sanfilippo

Article

Patterns of emergence and feedback topology in Ecos Study

Ricardo Thomasi

Article

Exploring Sinew0od

Mattias Petersson, Robert Ek

Artist statement

The future: another scale of feedback?

Mario van Horrik, Petra Dubach

Artist statement

Brushing II

Jaehoon Choi

Artist statement

Acoustic Pendulum

Virgile Abela

Article

Creatively Processing the Pandemic

Diana Chester, Benjamin Carey, Liam Bray

Article

Understanding complexity via network theory

Vaiva Vasiliauskaite, Fernando Rosas

Artist statement

Music of Many Nows

David Rosenboom

Article

On Timbre Networks

Juan Parra Cancino, Fernando Rosas

Article

Musicians’ Networks in Early Modern Venice

Mollie Ables

Article

Channels of Diffusion

Ben Neill

Artist statement

Time Crystal-ized, 5-Feb-2021

Chris Chafe

Article

Doubtful Sound

Ann Warde

Historical document

The Fly in the Ointment

Nicolas Collins

Introduction

The First Echo: Editorial

Nicolas Collins, Jonathan Impett

Introduction

Archive(s): Introduction

Matt Wright

Article

The role of Storing, Archiving and Organizing Sound Material in Time

Daniela Fantechi

Article

Material Resistance

Andy Birtwistle

Artist statement

The 42 Mirrors Of Narcissus

Mariam Rezaei

Article

Paths through Pasts

Matt Wright, Evan Parker

Article

The musical instrument as archive in free improvisation

Tom Jackson

Article

Rewriting the body archive through performance

Nguyễn Thanh Thủy

Article

Salvage (2008) and The Royal Touch (2014)

Nicolas Collins

Article

The Other Archive

Wolfgang Ernst

Article

hearmleoþ-gieddunga: temporal and material layeredness

Lauren Redhead

Articles with ""

Speculative Sound Synthesis

Emergent Behaviors in Sound Synthesis

Following the Material

utrumque

Black Box Music

Peaks, Valleys, and Troughs

Proxies

Muta: material-driven sound synthesis in a mutable feedback instrument

Noise Re(in)duction

Synthesizing the Signal from the Noise: Reflections on Mary Had a Little Lamb (2019)

From Staves to Screens

Introduction

Interface After AI

Prompt in the Shell

Inter-interaction

Loss Moves

New Sounds

Driving Ms. Chimère

Speculative Phonetics

MIDI vs. MID-Ai

Imagine

The Body, the Building, the Beat, the Bot!

Introduction: Thinking through Performance Technology in Music / Sound

Exploring sonic worlds

Telematic Dance and Live Coding

Drifting: Integrating Embodied Practice and Making as a Compositional Process

Performing with Technology

CyberTouch: An interdisciplinary research on Dance, Music and Live Coding

Instrument de/reconstruction as a feministing practice

New Mimesis: Introduction

Through the Membrane

Dog Barks at Own Echo

Score: Mechanical Asynchronicity

Pond Sound Mystery

New Sounds–Ancient Resonances

Plasticity vs. mimesis

Playing Attention

Listening Back

Balancing Behaviours

Speaking machines

Networks: Introduction

Feedback: Introduction

Feedback and materiality on the spatial and energetic planes

Feedback and the Loss of Control in "Possession"

A continuously receding Horizon

Feedback, Modularity, and the Global Subjects of Electronic Soundmaking

Late Realizations

Cybernetic Feedback Processes in Music-Theatre Practice: The Im-Medea Cycle

Roll, Pitch and Yaw

Making a pitch map for a vibrotactile feedback instrument

A Relational Ontology of Feedback

Towards the formalisation of structurally-coupling performance modalities and interfaces in human-machine interaction

Patterns of emergence and feedback topology in Ecos Study

Exploring Sinew0od

The future: another scale of feedback?

Brushing II

Acoustic Pendulum

Creatively Processing the Pandemic

Understanding complexity via network theory

Music of Many Nows

On Timbre Networks

Musicians’ Networks in Early Modern Venice

Channels of Diffusion

Time Crystal-ized, 5-Feb-2021

Doubtful Sound

The Fly in the Ointment

The First Echo: Editorial

Archive(s): Introduction

The role of Storing, Archiving and Organizing Sound Material in Time

Material Resistance

The 42 Mirrors Of Narcissus

Paths through Pasts

The musical instrument as archive in free improvisation

Rewriting the body archive through performance

Salvage (2008) and The Royal Touch (2014)

The Other Archive

hearmleoþ-gieddunga: temporal and material layeredness