Clouds·Dyeing (Jinglong Wang)

• Notes: The aesthetic consciousness of the "mysterious" refers to the object's far-reaching, subtle and mysterious mood, which creates an inexpressible feeling of lingering emotion.It is hidden from view, and is contained within, as in the case of the 'light clouds around the bright month' and the 'mist around the red leaves'. Although we cannot directly perceive the object in its entirety, through the obscured parts we can in turn stimulate all our senses and concentrate on the deeper realm.

• About the Artist: Jinglong is a 2021 graduate student of the Electronic Music Department of Sichuan Conservatory of Music. The work《钟鸣苍山》( "Bells form the high mountain " ) won the 2021 International Electronic Music Competition Excellence Award.The work "Clouds·Dyeing" was selected for the 2022 NYCEMF(New York City Electronic Music Festival)、 ICMA (International Computer Music Association) 2022 Asian Special Performance SeasonIn 2021, he will give a speech at EMSAN(the Asian Electronic Music International Forum), with the title of "Interweaving of Sounds - A Brief Analysis of the Creation of Mixed Electronic Music Work <Fantasy Scene>"

4!5 (Tuce Alba)

• Notes: This project emerged to define the dissonance between timeless sounds. Sometimes it is necessary to emphasize the opposite in order to understand some things better. The opposite meaning here is dissonance. The relationship between emotions and sounds is based on describing this contrast. While emphasizing that ‘5 should not come after 4’, here one is actually saying ‘5 comes after 4’.

• About the Artist: ‘Tuce Alba is an Istanbul-based artist. After completing her architectural education, she channeled her professional career into sound and music which are subjects she always intensely practiced before, and in this direction, she started studying master's in Sonic Arts. She continues to create and experience spatial and temporal spaces with her music by using multiple approaches with the help of synthesizers, instruments, field recordings, and all kinds of tools that break the silence and turn that into sound. For this purpose, she released her first EP titled “Black Mind” in 2022. While sharing her experimental sounds as well as music that is born from this audio pursuit under the name of Thu Bird, she continues to extend her musical practice by involving in sound installations, concerts, or album recordings belonging to various genres of music with mystical instrument 'ney'.

Reinterpretation of the Sydney CBD Covid-19 Soundscape (2021). (Jules Ambroisine)

• Notes: Reinterpretation of the Sydney CBD Coivd-19 Soundscape' is a composition based on sound recordings captured to sonically document the affects of the 2020 Covid-19 lockdown on the soundscape of the Sydney Central Business District. The work is from a chapter within my doctoral research that investigates the concept of peeling back primary sound layers to explore the near silent sonic substructure, or lowest sound layer, of the selected locations. Here, the Covid-19 lockdown peeled back sound layers by restricting human movement in the city, revealing the sonic substructure usually masked by the primary sounds of people, traffic, and general city function.

  'Reinterpretation of the Sydney CBD Coivd-19 Soundscape' is an interpretation of the field recordings and findings of the recording process. For instance, with the minimisation of human function, the mechanical drones of heating and cooling systems emitting from large buildings were revealed as the continuous sonic substructure of the city, while the sound of wind blowing leaves along the empty footpaths or waves lapping at the harbour shore were heard in greater detail and focused on through loops and repetition. All sounds were sampled from the field recordings and used as the basis for composition that follows strict limitations; only the Covid-19 field recordings were to be used in composition, with sound processing limited to volume, equalisation, and compression. The composition is an interpretation of a walk from the University of Technology Sydney moving north through the city to Sydney harbour.

  Further info at:

  http://www.juliusambroisine.com/p/the-covid-19-sydney-cbd-soundscape.html

• About the Artist: After completing a Bachelor of Music (hons) Jules worked as a teacher and musician. He then moved on to working in film and television as a sound recordist and sound designer for 15 years. He lived and worked in China for a number of years, travelling to numerous other regions such as Africa and South Korea for documentary film work. He then returned to Australia in 2012 to continue work in film/TV. It was always his intention to return to teaching and working with sound outside of film/TV to focus on sound independent of image in composition and research through a Doctor of Creative Arts at the University of Technology Sydney. Jules now lives full time in Amsterdam where he is returning to teaching and beginning a research career pursuing concepts explored in his doctorate research.

Decontrol (Daniel McKemie)

• Notes: Decontrol is a work for live electronics and audience originally written for livestreaming performance. Now that we are (mostly?) out of the livestreaming world, it is adapted here from a series of recordings of the piece, as a "Distance Mix" specifically for ACMC. A corresponding web page is provided to the viewing audience that allows direct control over the soloist's instrument. The page is an interface of sliders and buttons that when interacted with transmit high resolution, 14-bit MIDI data via WebSockets to the performer’s computer. This data converts to control voltage signals and are sent to points in a modular synthesizer. Almost as if inviting the audience directly on stage to turn knobs. The performer does not know how the audience will engage with the web page, what information it will transmit, or when it will be transmitted. The audience may access the web page on your computer, phone, or tablet. It should also be noted that the audience members need not be present in the hall or on the same network to be a part of the performance.

  The interaction comes from the audience visiting the website and moving the GUI elements to change the indicated patchpoint on the synthesizer. The tech side uses HTML, Node.js, WebSockets, Web MIDI API and a Max Patch to allow for the connection to take place from multiple audience members on almost any device, at any location regardless of network. The original conception of this work came from first developing a way to transmit MIDI through local networks via the web browser. This grew to its current state through explorations of using WebSockets for data transmission to move beyond local network reliance and converting HTML integer ranges to HSB/LSB combos for 14-bit MIDI generation in the browser using the Web MIDI API. The addition of the Max/MSP patch takes the 14-bit MIDI input and converts it to useable signals for a modular synthesizer.

Ah 1 (Jeremy Segal)

• Notes: Ah 1 (Voice) and Ah 2 (Drone) are part of a collection of multi-channel, semi-generative pieces exploring algorithmic treatments of the voice. Each piece was designed in Max MSP as a generative system. Jeremy’s compositional process involved refining the limits and proclivities of these generative systems in response to their output—in a sense collaborating with generative systems through listening and response. These pieces employ a similar semi-generative form—pre-determined structures define the limits of indeterminate moment to moment gestures. Ah 1 and Ah 2 were made using the same limited collection of sound materials—five vowel sounds sung by composer and sound artist Annika Moses. These pieces were initially presented in six-channel surround sound at Callaway Auditorium in June 2022.

• About the Artist: Jeremy Segal is a musician and sound artist based in Perth, Western Australia. His work traverses a range of styles and contexts, from multi-channel computer music to synth-pop under the moniker Segue.

  Jeremy predominantly makes ambient and experimental electronic music with a particular interest in process-based composition and semi-generative systems. In 2020 he presented Four Footprints, a collection of ambient and environmental pieces, in six-channel surround sound at Callaway Auditorium. In 2021 he released Plateaux, an EP exploring audible process and transformation through elements of ambient, techno, and noise. In June 2022, Jeremy presented Voice · Rhythm · AM · Drone - a collection of multi-channel, semi-generative works exploring algorithmic treatments of the voice.

  Jeremy has performed at venues, festivals, and events across Western Australia including Aesoteric at WA Museum Boola Bardip, Audible Edge, Fremantle Biennale, Weekend at Bernie’s, and Outcome Unknown. As am audio engineer and producer he has worked with a number of local artists including Grace Sanders, Buckland, and Didion’s Bible.