[expand title=”Juan Parra Cancino (Orpheus Institute)* – The role of the interpreter: An unsolved gap between musical expression and performative tasks for electronic practitioners“]
Contact : juan.parra@orpheusinstituut.be
This panel proposes to address the (still present) gap between
a) what is presented as developments in musical expression by electronic practitioners when dealing with improvisational setups, technological developments, etc, and

b) the still limited room for creative decision-making when performing works of notated music that deals with traditional instruments and live electronics.

Having worked as an interpreter and (re)constructor of setups for the performance of “historic” electronic music repertoire, as well as member of ensembles dealing with the role of the “interpreter” in computer music, by commissioning works that would address this issue, while problematising aspects such as notation, preservation and performance know-how transference, I consider still relevant to raise a question to our practice:

  • What is the creative role of the electronic practitioner in computer music today?
  • How do we deal with notions of interpretation, creativity, collaboration and politics of contemporary music making, when compared to traditional instrumentalists?
  • What can we learn from the unique blend of compositional, performative and instrument-building skills required for our practice?


[expand title=”Cristian Huepe (CHuepeLabs Inc.)* – Science and Computer Music: From Natural Algorithms to Generative Pieces“]
Contact : huepelabs@gmail.com
Scientific data and computer algorithms have long been used in music, but mostly with different objectives. Typically, scientific data is used to map the features of natural phenomena to a piece, whereas computer algorithms are used to create the generating rules for the music, rather than producing a specific piece. As computational power and our scientific understanding continue to grow, however, computer algorithms are increasingly capable of simulating nature to create virtual worlds that can generate data resulting from what we can view as “natural algorithms”, but that has not been measured in the real world. The difference between both approaches is thus becoming smaller and the reasons for using either one may be changing.

The purpose of this Panel is to discuss how the motivation and practice of producing computer music based on natural processes (through their resulting scientific data) rather than based on artificial algorithms is changing in the era of data science and machine learning, in which the barriers between natural and virtual phenomena are disappearing.

In this context, the Panel will address questions such as: What are the similarities and differences between these two approaches today? What is the purpose of using scientific data in the creation of computer music if virtual algorithms can generate simulated worlds of similar complexity? Do scientific datasets only contribute a connection to nature through the symbolism of their use, or do they still contain unique features that cannot be reproduced computationally and are worthy of musical exploration? Can generative algorithms learn from the natural algorithms that are behind scientific datasets? What is the future of data sonification, data-based music and algorithmic-based composition? How do these relate?

The panel will consist of five scientists and musicians with broad combined experience in computer music, music production, physics, astronomy and complex systems.

[expand title=”Tae Hong Park (NYU)* – Soundscapes, Acoustic Ecology, and the Urban Noise Phenomenon“]
Contact : thp1@nyu.edu
In this panel, we propose to discuss, bring to light, and share ideas and solutions focusing on the urban noise phenomenon affecting communities in megacities around the world. In particular, we propose to discuss noise through the lens of airports and airplanes which have brought havoc in cities like Chicago: in 2008 yearly complaints were a mere few thousand; in 2018 complaints rose to over five million per year. With this in mind, we will discuss topics surrounding current community noise conditions around the world including Santiago, technological solutions including AI-driven smart sensor networks, and artistic efforts in bringing awareness to this global environmental problem.

[expand title=”Felipe Nadeau ( Cosmovision Records)* – Música Electrónica Multi Cultural – Invitados Cosmovision Records Montreal y Sello Regional Chile“]
Contact : felipenadeau@gmail.com
Cosmovision Records Montréal es un sello discográfico formado el año 2018 en Montréal Canadá por dos inmigrantes, Thibaut Longo ( Francia ) y Felipe Nadeau ( Chile )

Desde la vereda de un inmigrante Latinoamericano en Norteamérica, se forma una nueva plataforma que innova en la forma de hacer música electrónica, presentando elementos tradicionales de la cultura Latinoamericana y presentándolos en un mercado donde el pop comercial es el Goliath que se debe enfrentar.

En Chile Sello Regional se presenta como uno de los grandes referentes de la música electrónica de raíz folklórica para el mundo.

Los retos y desafíos de hacer música electrónica desde la inmigración, la diversidad cultural y sonora, las formas sonoras no tradicionales para el oído occidental, y la forma en que Cosmovision Records logra convocar a un gran abanico de artistas Latinoamericanos y del mundo en un proyecto que crece día a día buscando nuevas formas de financiamiento y difusión.