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SUMMARY:Curiosity\, Play\, Innovation: International Computer Music Conference Installations at Emerson
DESCRIPTION:Emerson Contemporary has joined hands with the International Computer Music Conference (ICMC)\, one of the world’s largest and most prestigious gatherings of sound artists\, electroacoustic composers\, and music technologists from across the globe.  \n\n\n\nThis year\, the installation track of ICMC 2025 received 56 submissions from artists and researchers across 12 countries\, showcasing the expanding boundaries of sound art and interactive media. These installations will be on display at Emerson Contemporary’s Media Art Gallery from June 11th – 14th. \n\n\n\nRings…Through Rings by Tak Cheung Hai \n\n\n\nIn alignment with this year’s theme of “Curiosity\, Play\, Innovation\,” we accepted 19 installations that transform Emerson College’s Media Art Gallery and Bright Family Screening Room into laboratories of sonic exploration. The selected works span a rich spectrum of approaches—from immersive audiovisual environments and interactive sound sculptures to spatial audio experiences and video installations—each pushing the envelope of how we experience and interact with sound in physical space.  \n\n\n\nParticularly noteworthy is the diversity of artistic practices represented\, with creators employing everything from AI-driven systems and sensor-based interactions to acoustic phenomena and architectural resonances. Many works exemplify the democratization of technology that David Wessel championed\, utilizing accessible tools and gallery-provided equipment to ensure that innovative artistic expression isn’t limited by resource constraints.  These installations invite participants to move beyond traditional concert hall experiences and engage with sound as a sculptural\, architectural\, and deeply interactive medium\, and feature work by Michael Trommer\, Jane Tingley\, Zhitao Lin\, William Turner Duffin\, Tak Cheung Hui\, Matthew Ostrowski\, Matthew Azevedo\, Shomit Barua\, Betsey Biggs. \n\n\n\nRead more about the ICMC schedule of installations and screenings right here\, or about the installations at the Emerson Contemporary Gallery below.  \n\n\n\nForesta-Inclusive: (ex)tending towards by Jane Tingley\n\n\n\nContained by Michael Trommer \n\n\n\nContained presents a sonic auscultation of our Anthropocentric milieu\, integratingfield recordings\, 360o camera footage and 3D scans of urban corporate towers\,logistical networks\, industrial areas and other non-places [1] as well as urbanencampments and derelict locales that are resonant with both the heard andunheard acoustic emanations of the technotope we have become dependent uponfor our survival. In doing so\, it approaches sound as a material that can beapprehended as both corporeal and abstracted: in addition to the airborne\, audiblesound of the subject spaces\, Contained integrates the electrical\, vibrational andmnemonic emissions that permeate our everyday habitats\, highlighting their rolesas unheeded yet nonetheless deeply affective components of a quotidian andcontingent soundscape. \n\n\n\nContained – Project Still\n\n\n\nMichael Trommer is a Toronto-based sound and video artist; his practice has beenfocused primarily on psychogeographical and acoustemological explorations ofanthropocentric space via the use of spatial and tactile sound\, field recordings\,VR\, immersive installation and expanded cinema. \n\n\n\nEntrainment by Shomit Barua \n\n\n\nEntrainment is part of a series of phenomenological experiments that explore thetheme of spatial and temporal disorientation. Inspired by the passing landscapeviewed from subways and trains\, this audio-video installation employs severalmotion-based perceptual distortions: 1) the Doppler effect\, 2) Moiré interferencepatterns\, 3) skewed parallax (binocular disparity)\, and 4) the Wagon wheel effect.Entrainment refers to the synchronization of organisms to an external perceivedrhythm. \n\n\n\nEntrainment at SMOCA – Scottsdale Museum of Contemporary Art (2024-2025)\n\n\n\nShomit Barua is a Japanese-born\, Desi-American intermedia artist specializing inecoacoustics\, responsive environments\, and emergent narratives. His work is rootedin poetry and architecture\, and reflects the shared tenets of contained space\,economy of materials\, and movement that is both physical and emotional.Combining everyday technologies with esoteric programming languages\, he blursthe line between installation and performance\, weaving together object\, sound andimage. Digital and analog techniques are fused to investigate his core subject:corporeal presence in a physical space. \n\n\n\nForesta-Inclusive: (ex)tending towards by Jane Tingley\n\n\n\n(ex)tending towards is driven by sensor data collected using the Foresta-Inclusiveinfrastructure at the rare Charitable Reserve in Blaire\, ON. CA. This infrastructureincludes three networked ecosensors that are installed unobtrusively onto the trunk of atree and sense phenomenon such as: temperature\, humidity\, VOCs\, particulate matter\,wind\, C02 and rain. The in-gallery installation is composed of three main components: 1)a visualization that images 24hrs of collected data\, where the outer ring showscontemporary values and each subsequent smaller ring images the values from theprevious hour\, 2) a point cloud of the tree being sensed\, and 3) the soundscape thatsonifies the collected data. \n\n\n\n\n\n\n\nJane Tingley is an artist\, curator\, director of the SLOlab (Systems | Life | Ontologies) andAssociate Professor at York University. Her studio work combines traditional studiopractice with new media tools – and spans responsive/interactive installation\,performative robotics\, and telematically connected distributed sculptures/installations. \n\n\n\nthe ground beneath our feet\, the air inside our lungs by Matthew Azevedo\n\n\n\nthe ground beneath our feet\, the air inside our lungs explores the deep\, inviolableconnections between seemingly independent individuals. Visitors are invited to sitin cocoon-like hammock chairs where they will experience an infrasonicgenerative composition presented via tactile transducers built into the chair’sframe. The composition’s development is primarily directed by the visitor’s heartand respiratory rate\, which are monitored via a millimeter-wave radar sensor.While in this seemingly isolated state\, the visitor’s experience is continuouslyshaped by the sensor data from nearby hammocks and activity throughout thespace monitored by a seismic accelerometer mounted to the floor. \n\n\n\nDetail view of one of the “haptic hammock’s” two Dayton Audio TT25-8 tactile transducers.\n\n\n\nM. Azevedo (b. 1977) is an artist\, educator\, and researcher based in Providence\,RI whose work is focused on the outer edges of human perception\, in particularthe liminal space between touch and hearing occupied by infrasound. They aremost widely known for their recorded works and international performances asRetribution Body\, composing site-specific works for architectural spaces driveninto resonance by massive custom subwoofers. \n\n\n\nLiminal by Zhitao Lin\n\n\n\nLiminal is an AI-driven audiovisual installation by Zhitao Lin that transforms tra-ditional Chinese aesthetics into a generative\, interactive experience. Inspired by the mythical Peach Blossom Spring\, the piece uses real-time gesture tracking to control the sound of Guqin\, Xiao\, and percussion\, along with dynamic digital ink landscapes rendered as 3D particle systems. Only one audience member is tracked at a time\, allowing for a focused and intimate interaction. Each motion becomes a brushstroke in both sound and image\, creating a deeply personal and ephemeral version of this imagined utopia. \n\n\n\nA Generated visual output from Liminal\, illustrating gesture-driven 3D particle ink landscape.Image by Zhitao Lin.\n\n\n\nZhitao Lin is a forward-thinking composer whose work bridges traditional Chineseaesthetics\, spectral music\, and cutting-edge technology. Currently a Doctor ofMusical Arts (DMA) candidate in Composition at the Peabody Institute of the JohnsHopkins University\, he also holds a Master’s degree in Composition from Peabodyand a Bachelor’s degree in Music from the University of California\, Berkeley. Hisresearch focuses on the intersection of artificial intelligence and musiccomposition\, exploring new possibilities in sound art through deep technologicalintegration. \n\n\n\nMELT: the memory of ice by Betsey Biggs\n\n\n\nMELT: the memory of ice (topographic remix) is a spatial remix of my music-film MELT: thememory of ice\, an invitation to sit bedside in communion with our earth’s body melting andspilling through climate change. Created during a summer spent in Greenland with my mother and 5-year-old\, the installation creates a spectacular\, otherworldly\, immersive river of icebergs\, increasingly interrupted by flashes of memories of the north. A musical drone rich with glimmers of sound — calving ice\, reindeer bells\, sled dogs — surrounds a choir reciting an unfathomable list of winter’s loss — flurries\, orca\, snow angels. The transformation and relocation of the film’s sounds and images opens up a new\, imaginative space for the audience to sit with and wander through\, a kind of inner topography of the north. The ice melts on. \n\n\n\nStill\, MELT: the memory of ice (topographic remix)\, 2024\n\n\n\nBetsey Biggs (Writer/Director/Composer) is a composer and media artist whose workconnects the dots between sound\, image\, place and technology. Her work has been described by the New Yorker as “psychologically complex\, exposing how we orient ourselves with our ears.” For more than twenty-five years\, she has composed music\, created live multimedia performances\, and created participatory art installations. \n\n\n\nRings…Through Rings by Tak Cheung Hui and Xiaoqiao Li\n\n\n\nRings. . . Through Rings transforms historical military cartography of Hong Kong into an immersive sound installation\, where laser-etched vinyl discs—each encoding geographical data—are physically manipulated by participants. These custom turntable-based artifacts translate map engravings into sonic textures\, generating evolving soundscapes thatreflect the landscape’s temporal shifts. Through real-time audiovisual processing\, users explore the dynamic interplay between natural topographies\, human intervention\, and technological mediation\, experiencing history through physical engagement and spatial listening. \n\n\n\nLaser-etched vinyl disc on a turntable\, showcasing processed cartographic engravings of Hong Kong’s Northern Metropolis.\n\n\n\nHUI Tak-Cheung\, a Hong Kong-born composer\, creates works spanning chamber and orchestral music\, electronic pieces\, sound installations\, and interdisciplinary projects. His multidisciplinary approach integrates immersive audio\, spatial sound\, and advanced music technologies to reconstruct soundscapes and tell stories across eras and cultures. \n\n\n\nXiaoqiao Li is an artist\, academic\, and researcher whose work examines the intersection of analogue imprints and digital imprints\, particularly in analysing digital print matrices. Li’s practice-based approach sheds light on the complexities of printmaking in the digital era by investigating how digital imaging information is captured\, retained\, lost\, and transmitted. Li holds a BA in Visual Arts from Macao Polytechnic University\, an MA in Visual Arts: Printmaking from Camberwell College of Arts\, University of the Arts London\, and a PhD from the Academy of Visual Arts\, Hong Kong Baptist University\, supported by the Hong Kong PhD Fellowship Scheme. His PhD thesis was selected by the Leonardo Graduate Abstracts (LGA) Peer Review Committee as a top-rated LABS Abstract for advanced research in Art and Science\, published by Leonardo (MIT Press Journals). Li’s work has been exhibited internationally\, earning accolades such as the Clifford Chance Purchase Prize (UK) and the Chinese Young Artists’ Work Award at the Beijing International Art Biennale. Beyond his studio practice\, Li actively contributes to academia through presentations at conferences and articles published in the IMPACT Printmaking Journal and Leonardo (MIT Press)\, fostering dialogue among artists and scholars in both traditional printmaking and digital art. As he continues to learn and grow\, Li hopes that his continuous efforts will contribute to evolving discussions in the field. \n\n\n\nSummerland by Matthew Ostrowski\n\n\n\nSummerland explores the intersection of the technical and the mystical at thedawn of the electrical age. Morse code sounders are driven by texts from fromtwo critical figures in early long-distance communication: Samuel Morse himself\,the telegraph’s inventor\, and Spiritualist medium Kate Fox\, who communicatedwith the dead through a ‘spiritual telegraph.’ Excerpts from Morse’s writings aretranslated into the code that bears his name\, and 21st-century analysis/synthesistechniques are used in a futile attempt to resynthesize recorded transcripts ofFox’s sessions with the beyond using 19th-century means. \n\n\n\nSummerland at the Albany Institute\, 2020 (detail). Photo by Andrew Neumann.\n\n\n\nA New York City native\, Matthew Ostrowski is a composer\, performer\, and installation artist. Using digital tools and formalist techniques to engage with quotidian materials: sonic\, physical\, and cultural; Ostrowski explores the liminal space between the virtual and phenomenological worlds. Engaged with tropes of interruption and flux\, his works function as environments in a constant state of change\, exploring the process of consciousness in its constant state of collision with the world.
URL:https://emersoncontemporary.org/event/curiosity-play-innovation-international-computer-music-conference-installations-at-emerson/
LOCATION:Emerson Media Art Gallery\, 25 Avery Street\, Boston\, Massachusetts\, 02111\, United States
CATEGORIES:Artist Spotlight,Exhibition
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