International Computer Music Conference and New York City Electroacoustic Music Festival
June 16-23, 2019 New York City at New York University and the Abrons Arts Center.

Se-Lien Chuang: ignition 50 for ELAK
Concert 2: Monday 6/17/19 1:30-3:00 PM, Loreto

Andreas Weixler: Waterghosts

Concert 20: Saturday 6/22/19 1:30-3:00 PM, Grand Hall

reference link

Frederick Loewe Theatre
35 West 4th Street

The festival will run from Sunday, June 16 through Sunday, June 23, 2018 at New York University, in the Greenwich Village neighborhood of Manhattan.


with kind support of the Austria Cultural Forum New York
Proviences of Styria and Upper Austria, Cities of Graz and Linz


ignition 50 for ELAK
Se-Lien Chuang (2014)
16 channel electroacoustic composition

© Se Lien-Chuang

The composition makes use of the digital transformation of the instrumental sounds originating from a Paetzold contrabass recorder.
With respect to the multichannel spatialisation and the compositional aesthetics within an     electroacoustic and acousmatic connotation I use the stereo grouping positioned in 55x mostly circular arranged loudspeakers for the static impact on the one hand, and the migration of the sounds taking place between the loudspeakers dynamically assembles the circle on the other hand.
The digital transformation of the instrumental sounds was produced in ProTools by using WavesPlugins and GRM Tools. The piece was realized for a special jubilee in 2014 and was premiered within a spatialisation with a 55 loudspeaker Acousmonium in Vienna.

Andreas Weixler 2017 VICC
5 channel electroacoustic composition

© Andreas Weixler

WaterGhosts was created in the Studio Alpha of VICC in Visby, Sweden during a composer in residence in February 2017. All electronic sounds are based on recordings of acoustic instruments. A multichannel realtime audio processing studio session of voice and double bass gave gestural movements of acoustic as well as generated electronic sounds in a  mutual improvisation. Recordings of the acoustic sounds of low drums and a trombone are then altered by the same max msp live processing of granular synthesis and stochastic spatialisation. The compositions is then completed by a Petzold subcontrabass recorder audio processing in the studio to configure a spatial composition in an organic soundscape.

Jonny Axelsson (S), low drums and Ivo Nilsson (S), trombone
Matilda Andersson (S), vocal and Jonas Nilsson (S), double bass
Julia Russer (GER), Petzold sub contrabass recorder
Andreas Weixler (A) electronics


Since 1996 Andreas Weixler & Se-Lien Chuang are jointly running Atelier Avant Austria as an artist cooperation for composition, computer music and multimedia based in Austria. 2018 Andreas Weixler & Se-Lien Chuang are the ICMA award winner for the best European performance.
Currently both are specialising in intermedia concerts of improvisation and audiovisual realtime computing.

Se-Lien Chuang, © Peter Purgar

Se-Lien Chuang
composer, pianist and media artist, 1965 born in Taiwan, since 1991 residence in Austria.
The artistic and compositional emphases range from contemporary instrumental composition/improvisation, computer music to audiovisual interactivity. International productions, research stays and lectures as well as numerous representations of compositions in Europe, Asia, North- and South America: ICMC, SICMF Seoul, NIME, ISEA, IAMAS Japan, Ars Electronica Linz, among others.
Lecturer at Computer Music Studio, Institute of Composition and Conducting at the Anton Bruckner Private University. Since 1996 jointly with Andreas Weixler running Atelier Avant Austria, with key aspects in development of audiovisual interactive systems and audio/visual realtime/non-realtime processing, computer music and algorithmic composition.

  Andreas Weixler, © Se Lien-Chuang

Andreas Weixler
born 1963 in Graz, Austria, is a composer with an emphasis on audiovisual interactivity. He is teaching as an associate university professor at Anton Bruckner Private University computer music, music and media technology, where he initiated the development of the computer music studios and intermedia multichannel computer music concert hall, Sonic Lab as director of the Computer Music Studio CMS.
He is a senior lecturer at the University of Music and Performing Arts - in Vienna and lecturer at InterfaceCulture at the University of Arts in Linz.

His concepts led to invitations to performances, presentations and lectures in Europe, Asia, North and South America, selections for ICMC 2018 Daegu, 2017 Shanghai, 2016 Utrecht,  2014 Athens,  2013 Perth, 2012 Ljubljana, 2011 Huddersfield, 2010 New York, 2008 Belfast, 2007 Copenhagen as well as for several NIME, NYCEMF, SICMF, ISEA among others.


The New York City Electroacoustic Music Festival (NYCEMF) is the largest showcase of electroacoustic music in New York City, and one of the largest festivals of its kind in the world.  The festival began in 2009 with the intention of bringing the most innovative and creative new electroacoustic music from around the world to New York City.  Works are presented in high-quality multi-channel surround sound environments that include up to eight different simultaneous sound channels, and sometimes many more.  The festival includes music performed by acoustic musical instruments, laptops, and custom electronic devices, as well as works involving digital video, and sound installations.

The works presented each year are chosen by a panel of internationally respected composers and musicians.

The festival also features performances from a wide variety of internationally-known specialists in contemporary experimental music.  Featured performers have included cellist Madeleine Shapiro, clarinettist Esther Lamneck, pianist Keith Kirchoff, the C4 Choral Ensemble, and Patti Cudd, percussionist.

In 2019, the  New York City Electroacoustic Music Festival  NYCEMF will be presented jointly with the International Computer Music Conference ICMC.


Electroacoustic music is music whose sound incorporates electronic tools and instruments, including software, in its production or performance.  Electroacoustic music often seeks to explore all the sonic possibilities of new technologies, and it includes both works performed live on stage and works created in the studio and played back in concert, the latter sometimes called “cinema for the ears.”