Q U A D R O P H O N I A 











Q U A D R O P H O N I A  #2.0
Internationales Festival Für Elektroakustische Kunst [  ]

14. und 15. Dezember 2012
Theater "O" in Nürnberg


Julian Scordato (IT): Apple Macbook Pro, Tc Electronics Konnekt 24D, Asus Nexus 7, Korg Nanokontrol
Andre Bartetzki (DE): MacBook, SuperCollider, Motu Traveler, iPad, Korg nanoKontrol, Kontaktmikrofone, Objekte.
Lawrence Casserley (UK): LC’s Signal Processing Instrument (SPI), two iPads>TouchOSC App., a Novation “Launchpad”,
a Keith MacMillen “SoftStep” Foot Controller.
Yiannis Tsirikoglou (EL): MacBook Pro 13, Korg Microcontrol 2, Max/Msp for control of sound parameters and spatial position
of separate sounds, M-Audio Audiophile.
Christopher Haworth (UK): Macbook Pro, 10.6.8., Midi Controller.
Bastus Trump (DE): MacBookPro mit Max/MSP, Ableton Live, Orphion, Wassereimer/Hydrophon.
Michael Ammann (DL): Diverse Kleinmembran Mikrofone, Laptop, Nuendo 4.1 Live Surround Processing, analoge und virtuelle Filter

He graduated in Composition and New Technologies at the Conservatory of Music in Venice. His chamber and electroacoustic music works have been performed in Europe and America (Biennale di Venezia, Festival 5 Giornate - Milan, Electronic Arts and Music Festival - Miami, EMUfest - Rome, Re-New Digital Arts Festival - Copenhagen, Gaudeamus Music Week - Utrecht, Siren Festival - Gothenburg, Deep Wireless Festival - Montreal and elsewhere), selected in international competitions (Roma Soundtrack Competition, Flores D’Arcais Composition Prize, Conlon Music Prize and others) and broadcasted (RAI Radio3, NAISA Webcast, Radio- Cemat). As a composer and performer he participated in scientific events like the Meetings of Music Informatics an the 8th Sound and Music Computing Conference.
He is a member of Arazzi Laptop Ensemble, group of electroacoustic music performers and composers and he is currently interested in the musical performance with the tablet.
Equipment: Apple Macbook pro, Tc Electronics Konnekt 24D, Asus Nexus 7, Korg Nanokontrol

Geboren 1962 in Berlin begann Andre Bartetzki seine Berufsausbildung und Arbeit als
Tontechniker in den Rundfunkstudios der ehemaligen DDR. 1987-1993 absolvierte er das Tonmeisterstudium an der Musikhochschule “Hanns Eisler” in Berlin, wo er das Studio für elektroakustische Musik gründete und bis 2002 leitete. Von 1999-2004 arbeitete er im elektroakustischen Studio der Musikhochschule “Franz Liszt” als Dozent und technischer Leiter und hatte gleichfalls einen Lehrauftrag an der Bauhaus-Universität in Weimar inne. Von 2009 bis September 2012 leitete er gemeinsam mit Volker Straebel das Elektronische Studio der TU-Berlin.
Bartezki gab weltweit Workshops und Vorträge über elektroakustische Komposition und Programmierung. Neben seiner Lehrtätigkeit arbeitet er als Programmierer und Klangregisseur im Bereich Neue Musik, Klang- und Medienkunst.
Seine eigenen künstlerischen Projekte, die er seit mehr als 15 Jahren verfolgt, umfassen vor allem elektroakustische, audiovisuelle und instrumentale Kompositionen und Improvisationen sowie Klang-
und Videoinstallationen, für die er oft mit Musikern und Ensembles, Tänzern und Bildkünstlern zusammenarbeitet. Er ist häufiger Gast auf vielen internationalen Festivals für zeitgenössische Musik und Computermusik sowie Medienkunst und war Stipendiat beim ZKM Karlsruhe, im Künstlerhaus Ahrenshoop sowie in der Denkmalschmiede Höfgen.
Musikalische Projekte:
- Zusammenarbeit in Duos mit Lenka Zupková, Günter Heinz, William Forman, Helge Harding, Maria da Rocha Gonçalves
- Mitglied im Ensemble Megaphon (Hannover) sowie im Ensemble unitedberlin
- Aufführungen von Computermusik und live-elektronischen sowie audiovisuellen Kompositionen sowie Improvisationen deutschlandweit
sowie auf Festivals und Konzerten in Italien, Frankreich, Portugal, Spanien, Großbritannien, Dänemark, Schweden, Türkei, Ukraine, Rumänien, Korea, Taiwan, Australien, Kanada, USA, Mexiko, Argentinien
- Klangkunstarbeiten auf Festivals und in Einzelausstellungen in Berlin, Zepernick, Torgau, Erlangen, Hannover, Lissabon, Andratx/ Mallorca, Höfgen, Hsinchu, Huddersfield und London
Equipment: MacBook // SuperCollider // Motu Traveler // iPad // Korg nanoKontrol // Kontaktmikrofone // Objekte
http://www.bartetzki.de // mailto:andre@bartetzki.de
Foto:  © Seong-Joon Moon

He (born Essex, England, 1941) has devoted his career since the late 1960s to the creation
and promotion of live performance electronic music. In 1967 he became one of the first students
of electronic music on the new course at the Royal College of Music, London, taught by Tristram Cary. Subsequently he became Cary’s assistant, and then Professor-in-Charge of Studios and Advisor for Electroacoustic Music at the RCM until his early retirement in 1995. Since then he has focused on live computer processing in improvised music, working with many of the leading improvisers, most especially Evan Parker and his Electracoustic Ensemble.
While his primary focus is on the real-time transformation of other musicians’ sounds, he also uses voice, percussion, home-made instruments and found objects as sources for his Signal Processing Instrument. His work is documented on more than twenty CDs, and he has performed and given workshops throughout Europe and in North and South America, Asia and Japan. Another important interest has been collaboration with different media, starting with his intermedia group ‘Hydra’ and work with sound poet Bob Cobbing in the 1970s, the Electroacoustic Cabaret in the 1980s and his continuing work with Colourscape,
including sound and light installations. He is a Director of Eye Music Trust, who present Colourscape Music Festivals and other projects in GB and other countries.
“Lawrence has also been doing all this wonderful work with Evan [Parker] as well, and I’ve been listening to it for a long time. One thing that’s important about this kind of work is that it doesn’t obscure who the individual is, like a lot of work around right now. Lawrence likes the idea of these virtual personalities that emerge and get placed in conflict and contestation. I think it’s very exciting.” George E Lewis - Interviewed in The Wire - Issue 288.
“ ...o certo é que Lawrence Casserley consegue ser mais inovador e criativo do que muitos dos chefes de fila da jovem geração de ‘laptopers’.” - “...the certainty is that Lawrence Casserley can be more innovative and creative than many of the ringleaders of the young generation of ‘laptoppers’.” Rui Eduardo Paes
“With Casserley’s arrival, the internal dynamics of the band changed completely. Lawrence redesigned the electronic rig for the Parker band, and on ‘Drawn Inward’, it was possible for any of the processing musicians - up to four of them at a given moment - to take sound from any other player at any time. The whole ‘machine of the group’, as Wachsmann called it, accelerated. Everything was more manoeuverable, and also more complicated. And no one was faster than Casserley, drumming on the pads of his Signal Processing Workstation like a scientific congalero, on his way to becoming a bona fide soloist inside the ensemble.”. Steve Lake discussing the Evan Parker Electro-Acoustic Ensemble
Equipment: Lawrence Casserley’s Signal Processing Instrument (SPI) is a continuing development since the mid 1990s. The original version was created in MaxFST on the IRCAM Signal Processing Workstation, and was completed during a residency at STEIM Amsterdam in 1997. A paper on the original version can be seen at http://www.lcasserley.co.uk // Two iPads running the TouchOSC App // A Novation “Launchpad” // A Keith MacMillen “SoftStep” Foot Controller
www.lcasserley.co.uk // www.eyemusic.org.uk

He is a composer / performer / sound artist born in 1981 in Larissa, Greece. In 2000 he moved to Thessaloniki (Greece) where he studied Civil Engineering. In 2009 he attended the Sonology course at the Royal Conservatory in Den Haag, Netherlands and he has recently finished the Sonology Master studies at the same school with teachers like Kees Tazelaar, Paul Berg,
Richard Barrett, Joel Ryan and Johan van Kreij, dealing with subjects including algorithmic synthesis, sound sculpting using mathematical models and spatial composition / synthesis techniques.
As a member of the Thessaloniki based trio Eventless Plot, he has released several tracks and
albums like the critically acclaimed Ikon cd on Granny records (2009) and the new album Recon
which is released from Thanos Chrysakis’ label Aural Terrains in July 2012. E. plot shared the
stage with artists like Giuseppe Ielasi, Angel, Vladislav Delay [Synch festival 2008, Knot gallery
2011 (Athens) and many more]. He is also participating in the digital sound duo Duel Protocol with Auris Bavarskis, making sound installations and performances using new technologies and unconventional ways (light feedback systems, typing processes) presented in venues and festivals like Worm(Rotterdam), FIBER Festival(Amsterdam) and Jauna Muzika Festival(Vilnius-Lithuania).
Yiannis is working also as a composer / sound designer on !lm, dance and art installations. In 2011 he made the soundtrack for the animation .::. .::. .::. [DUST], a collaboration with visual artist Mariska de Groot originally made for 360 panoramic cinema and 6 loudspeakers presented at Oddstream Festival 2011(Nijmegen,Netherlands), nominated for punto y raya festival (Reina Sofía ,Madrid) competition and presented in the international Fest of Contemporary animation & media-art LINOLEUM (Moscow). .::. .::. .::. [DUST] soundtrack was released from More Mars label in a special 3’’ cd edition. Recently he created music and sound for the dance piece Mirage with the choreographer Loreta Juodkaite for the Korzo theater in Den Haag.
Active in the free impro scene, he lately attended workshops by Peter Evans, Evan Parker and Sarah Nicolls between others, collaborated with many musicians and participated in the Sonology Electroacoustic Ensemble, organized by Richard Barrett. For his multichannel compositions as well as his live performances he is building his own Max/Msp programs where mathematical models (as trajectories) and trackpad information are used (together with special mapping systems) to control several sound parameters and spatial position of sounds at the same time. His goal is to create immersive new forms of sound with “natural” or complex development in time and space while preserving an intuitive real - time control.
Equipment: Mac book pro 13. A Korg Microcontrol 2. All the instruments are made by me in Max/Msp for control of sound parameters and spatial position of separate sounds. I build special mapping systems that translate information from the computer’s trackpad (several combination of fingers) to synthesis parameters in complex ways for a “tactile” intuitive control as well as I use several mathematical models to control sound and space. My sound interface is a M Audio Audiophile.
soundcloud.com/yiannis-tsirikoglou // eventlessplot.com // duelprotocol.info

Christopher is a sound artist and writer from North-West England (UK). Much of his recent work focusing on the use of psychoacoustic phenomena as a compositional material. Works such as ‘Correlation Number One’ (2010) and ‘Vertizontal Hearing (Up & Down, I then II)’ (2012) are designed in such a way as to exaggerate aspects of everyday perception, encouraging ‘perceptual creativity’ and engaging voluntary and involuntary mechanisms of audition.
He also writes about music, emotion and subjectivity, the aesthetics of the present moment, and the mediumship of the listener in post-war experimental, electronic, popular music and sound art practices. His publications include: “Xenakisian Sound Synthesis: Its Aesthetics and Influence on ‘Computer Noise’” (in Resonances: Noise and Musics, Continuum Publishing House, 2013); “Ear as Instrument: Sound at the Limits of Audition” (in Leonardo Music Journal, Volume 22, 2013); “Composing with Absent Sound”, (in Proceedings of the ICMC, ICMA, 2011)
Education: Sonic Arts Research Centre, Queens University Belfast (2009 - 2012) Title: “Vertical Listening: Musical Subjectivity and the Suspended Present” / Goldsmiths University, University of London (2007 - 2008) Mmus in Composition Chelsea College of Art / University of the Arts, London (2000 - 2003) B.A. in Fine Art

Research: Awards: “Correlation Number One”, winner of ‘Shut up and Listen!’ award, Dec 2011 / Articles in peer-reviewed journals and books: ‘Xenakisian Sound Synthesis: It’s Aesthetics and Influence on ‘Extreme Computer Music’ In: Resonances: Noise and Musics, Continuum Publishing House, 2013 (forthcoming) ‘Ear as Instrument: Sound at the Limits of Audition’ Leonardo Music Journal, Volume 22, Nov 2013. ‘Composing with Absent Sound’, Proceedings of the ICMC, Huddersfield, 31 July - 5 August 2011. San Francisco: ICMA, 2011. 415-420.
Conference presentations: “Sound Synthesis With Auditory Distortion Products.” Co-authored with Gary Kendall and Rodrigo Cadiz. International Computer Music Conference, Ljubljana, Slovenia, Sept 2012. “Giving Voice to the Inaudible: Perception and Non-perception in Iannis Xenakis’s Late Electroacoustic Music” Xenakis: The Electroacoustic Music, International Symposium, Université Paris 8, May 2012. “Composing with Absent Sound” International Computer Music Conference, Huddersfield, Aug 2011. “Against Time: On Visual Aesthetics in Sonic Art”, Electroacoustic Music Network Conference, New York University, Jun 2011. “Xenakian Sound Synthesis: its Aesthetics & Influence on ‘Post-digital’ Computer Noise”, Noise, Affect, Politics Conference, University of Salford, Jul 2010.
Selected performances: “Vertizontal Hearing (Up & Down, I then II)” 8-channel, fixed media computer music composition performed at ICMC, Slovenia, Sept 2012. “Vertizontal Hearing (Up & Down, l then II)” Sonorities, Belfast, Mar 2012. “Correlation Number One” 8-channel fixed-media computer music composition performed at ‘Shut Up And Listen Festival’, Vienna, Dec 2011. “Correlation Number One” ICMC, Huddersfield, Aug 2011. “Correlation Number One” CMC New Music Marathon, University of Ulster, Mar 2011. “Song of Blak Deth” ICMC, New York University, Aug 2010. “Ghost Line Up” 60x60 ICMC, New York University, Aug 2010.
Exhibitions: “SHO-ZYG”, audio-visual exhibition, St. James’s Hatcham Church, London, 21-27 Sept 2012.
Recordings: “Inchborough” by Littl Shyning Man. E.P. released on Sonic360 records (Oct 2008). “Mockery” by Littl Shyning Man. Album on Sonic360 records (Nov 2006). “Hart of the Wud” by Littl Shyning Man. Album on Sonic360 records (May 2005)
Selected press: 30 min live performance/discussion for ‘Scaledown’ show on Resonance F.M., June 2006. “‘Neath the Chewy Bridge” included on ‘Mixing It’ BBC Radio 3 ‘selected highlights of 2006’, Dec 2006
Selected radio: ‘Hanging With Mr Cooper‘ played on ‘Mixing It ‘ BBC Radio 3, 01 Apr 2005. ‘Thee Hart Shaped Into A Fist’ played on ‘Aural Innovations’, 20 Mar 2005. ‘Hart Broake’ played on Totally Radio, 21 Jan 2005. ‘Hart Of The Wud’, John Peel show BBC Radio 1, 08 Dec 2004
Equipment: Macbook pro, 10.6.8. / Midi controller


Bastus Trump studierte Jazz-Saxophon und klassisches Saxophon an der Hochschule für Musik Nürnberg. Im Laufe des Studiums begann er sich auf den Bereich Live- Elektronik zu spezialisieren. 2009 erhielt er den Leonhard und Ida Wolf-Gedächtnispreis der Stadt Fürth zur Förderung junger Künstler und ist seither mit unterschiedlichen klangkünstlerischen Ansätzen in Ausstellungen, Konzerten und Performances zu hören.
2011 schloss er den Masterstudiengang Sound Studies an der UdK Berlin mit der Entwicklung eines elektronischen Percussionsinstruments für Touchscreens ab. Neben seiner Lehrtätigkeit an der Hochschule für Musik Nürnberg arbeitet er als Sound Designer für Film-Produktionen und interaktive Medienanwendungen.

2008 Free-Jazz & Tanz Projekt mit Tobias Birke, Romantic Space Sound: Performance/Installation zur Blauen Nacht 2009, 2009 Im Auge der Zentrifuge: Klanginstallation, 2009 Radio Rohrdamm Berlin-Siemensstadt, 2010: Interdisziplinäres Kunstprojekt Sans Souci mit Katrin Kaa Riedl (Video) und Alexandra Rauh (Choreographie) Nürnberg, 2010: QUADROPHONIA #1 Festival für experimentellen Klang und Musik, Zentrifuge Nürnberg, 2011: Music for places: TransitRaum, Klanginstallation an der Hochschule für Musik Nürnberg, 2011: Klanginstallation Goldrauschen, ORTUNG VII Schwabach Equipment: MacBookPro mit Max/MSP, Ableton Live, Orphion, Wassereimer/Hydrophon.


Acoustic Improviser >> Phonetik // UKO // Spatial // Filter
1998 Hochschule für Kunst und Design Hannover. Klangkunst bei Prof. Eller 1999-2004 Akademie der Bildenden Künste bei Prof. Hölzinger / Prof. Georg Winter. Kunst und Öffentlicher Raum. Seit 2002 Meisterschüler bei Ottmar Hörl.
“Ich begreife Improvisation als die Möglichkeit zum gegenwärtigen schöpferischen Akt und die zeitgleiche/zeitnahe Veräußerung und Rezeption meines situativen Selbst. Als Impulsquelle dient alles was situativ auf mich wirkt und was ich ‘im Jetzt’ in mir und im Außen erlebe. Ich kann es mir bewusst machen, es aufgreifen und treffe Entscheidungen der Veräußerung. Improvisation folgt meinem Bedürfnis nahe bei mir zu sein und ist konzentrierte Forschung im Augenblick.”
Ich benutze live 3 Settings, die ich je nach Umgebung (Solo, Zusammenspiel, Raum, Kontex) und Befindlichkeit einsetze.
1. Direkt Phonetik: Phonetische Improvisation nur mit Mikrofonen, Panning über rechts/links Mikrofonie, keine Filter.
2. Laptop Phonetik: Direkte Manipulation der phonetischen Signale mit virtuellen Filtern, Räumen, 4.0 Pannings. (Q4 Basic_Setting)
3. Filter Phonetik: Direkte Manipulation der phonetischen Signale mit Hilfe von diversen analogen Effekten.

> Aufführungen (Auswahl): ARS Elektronica Linz (2003), Blaue Nacht Nürnberg (2003/2006), Deutschlandradio (2004), Leipziger Buchmesse (2004) und LNdW Berlin (2007), Metropolis WfS Amsterdam 124th AES Convention (2008), Hörbar Hamburg (2012), ImAusland Berlin (2012) diverse Klangkunstfestivals.
> Interplay mit Eleonora Allerdings, Peter Fulda, Gunnar Lettow, Stark Bewölkt, Jörg Hufschmidt, Rayka Wehner, Robert Schlund, Tobias Robens, Peter Popp, Birgit Ulher, Sascha Pieler, Irene v. Fritsch, Uwe Weber, Zoy Winterstein, Bastus Trump....
> Releases (Auswahl): Clinic - amorph fictions. Live Hörstück im 5.1 Format und generiert für die Wellenfeldsynthese. (2005), WORK 01-03 - Manipulated Instant Auditives (2006-2011), Paarung 01-10 (Teilstrukturierte elektroakustsche 4.1 Interplays)
> Filmton: 5.1 Neuvertonung ‘Metropolis’ 1927. Teilgeneriert für die Wellenfeldsynthese (2006-2010). 5.1 Neuvertonung der Film ‘Vampyr’ 1932 (2010) und ‘The Fall of the House Usher’ 1928 (2010).
> Kooperation: Kunstsalon Fürth e.V., Metropolmusik e.V Nürnberg., Hörkunst e.V. Erlangen, Zemtrifuge e.V. Nürnberg
> Research: Konzepte und Positionierungen zur Improvisation. QTip - Analoges Tool zur Produktion und 4.0 Verortung von Klängen, Equipment: Kleinmembran Mikrofonie (Mikrofon Panning), Laptop, Nuendo 4.1 Live Surround Processing, analoge und virtuelle Filter, (Kaoss Pad, RAT, Pitch Shifter, Whammy, Ring Modulatoren, Delays digitale und analoge 4.1 Raumsimulationen