Virtuoso Chances - Portrait Concert by Atelier Avant Austria - Se-Lien Chuang & Andreas Weixler
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Program

Asymmetric Stamina (2025) by Andreas Weixler
multichannel electroacoustic composition with video

flaming tears (2021) by Andreas Weixler & Se-Lien Chuang
R-IoT controlled realtime audio processing for mouth organ

gula huset (2017) by Se-Lien Chuang
multichannel electroacoustic composition with contemporary instrumental sounds and vocals

plastique (2026) by Se-Lien Chuang & Andreas Weixler
Interactive audiovisual comprovisation for e-guitar, green leaves & i-hands – GLISS (Green Leaves Imaginary Scenic Score)

WaterGhosts (2017 / Earthday Version 2022) by Andreas Weixler & Se-Lien Chuang
multichannel electroacoustic composition with video, based on contemporary instrumental sounds and vocals

 Momentum_C-Lab (2026)

Audiovisual interactive performance series by Se-Lien Chuang & Andreas Weixler


Performer

Se-Lien Chuang - composition, voice, kalimba,  interactive visuals, video
Andreas Weixler - composition, electric guitar, real-time audio processing

Kai-Ting Chang - acoustic bass

(Bios in links)

C-Lab Taipeh, spatial audio field
23. September 2026, 7 pm


with kind support of the Austrian Office Taipei, the City of Graz and the City of Linz


Detailed Information


Asymmetric Stamina (2025) by Andreas Weixler
multichannel electroacoustic composition with video

The composition was created during a Composer-in-Residence at the VICC – Visby International Composers Centre in Sweden in 2025.
All sounds were recorded on the island of Gotland. A special source of inspiration were the weekly gatherings of automobile enthusiasts on two Wednesdays at the harbor of Visby.
Carefully restored vintage cars, American cruisers, and newly modified vehicles, Hot Rods – all equipped with powerful V8 engines, even a motorcycle.
These deep resonant sounds became a central element of the sonic world, contrasted by the presence of young car posers noisily circling through the night.
This urban soundscape stood in striking opposition to the dramatic cries of the seagulls and the creaking of the floating piers in the Baltic Sea harbor.
Studio recordings of electric guitar and voice signal processed in real time form a fundamental musical framework of the composition.

Credits:
Field Recordings: Se-Lien Chuang, Andreas Weixler
Voice: Se-Lien Chuang
Electric Guitar & real-time audio processing (Max): Andreas Weixler
Video by Se-Lien Chuang @ Atelier Avant Austria 2026
For Günther, who was there for me all my life.
The creation of this work was supported by The Swedish Arts Grants.


flaming tears (2021) by Andreas Weixler & Se-Lien Chuang
R-IoT controlled realtime audio processing for mouth organ

Se-Lien Chuang - mouth organ
Andreas Weixler - R-IoT, realtime audio processing

The improvisation is completed by an audio realtime signal processing by fft freeze reverb, classic ring modulation as well as spectral delay together with a multichannel granular synthesis by a computer performer in mutual inducement with the instrumental player.

A playing ball serves as the performing interface of the computer player. A R-IoT sensor inside the ball is sending OSC data to a Mac Book with Max via udp and diverse real-time audio processing. The ball as a playful human interface is not performing in a one-to-one relation of position of the ball and sound processing but rather more as an enchanted tool for a realtime audio processing of acoustic instrumental sound in the sense of a modern séance.



gula huset (2017) by Se-Lien Chuang
multichannel electroacoustic composition with contemporary instrumental sounds and vocals

composed 2017 at VICC - Visby Internationale Centre for Composers

All electronic sounds are transformed from the recordings of acoustic instruments and voices.
The reminiscence of micro fragments was recalling consistently by the recurrent variations and nuances of the saturations during the episodes. Some strokes can surprisingly pull the listeners out of the state of a trance.

Gula huset is created in the Studio Alpha of VICC during a composer in residence in February 2017. I would like to acknowledge especially and respectively to Jonny Axelsson (Sweden), percussion and Ivo Nilsson (Sweden), trombone, the sounds of them are recorded 2016 at Jonny’s lovely atelier. And others - Jonas Nilsson (Sweden), double bass and author (Taiwan/Austria), vocal, the sounds of them are recorded 2017 in Studio Alpha VICC, Visby, Gotland, Sweden.



plastique (2026) by Se-Lien Chuang & Andreas Weixler
Interactive audiovisual comprovisation for e-guitar, green leaves & i-hands – GLISS (Green Leaves Imaginary Scenic Score)

Se-Lien Chuang - interactive visuals, voice & GLISS

Andreas Weixler - live audio processing, e-guitar

plastique is a comprovisational work featuring live audio and video processing. The performance focuses on audiovisual interaction, with its form and details evolving in real time through the encounter between the performers and the technological environment.
It is imaginary, complex, and exists only in the imagination.
It is real, unadulterated, and present.
The awareness of the existential threat posed by climate change is expressed through artistic reflection and innovative rethinking. Natural objects, surrounded by artificial plasticity, are transformed into an interactive audiovisual experience that invites contemplation of the fragile relationship between nature and human intervention.
GLISS (Green Leaves Imaginary Scenic Score) is a nature-object-oriented performance environment that fosters curiosity, diversity, and virtuosity in contemporary music. Acoustic sounds, electronic sound processing, and interactive visuals merge into a continuously evolving sonic and visual landscape.
Throughout the performance, the close interplay between compositional structure and improvisational practice becomes tangible, revealing a dynamic dialogue between performers, technology, and the natural materials that shape the work.


WaterGhosts (2017 / Earthday Version 2022) by Andreas Weixler & Se-Lien Chuang
multichannel electroacoustic composition with video, based on contemporary instrumental sounds and vocals

composition realised 2017 at VICC - Visby Internationale Centre for Composers, Sweden
Video by Se-Lien Chuang 2017 Visby, Sweden
edited for audiovisual version at Atelier Avant Austria 2022

WaterGhosts was created in the Studio Alpha of VICC 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,recorded 2016 in Stockholm, Sweden.
Matilda Andersson (S), vocal and Jonas Nilsson (S), double bass and Andreas Weixler (A) live electronics are recorded 2017 in Studio Alpha VICC, Visby, Gotland, Sweden.
Julia Russer (GER), Petzold subcontrabass recorder, recorded at the Computer Music Studio in Linz, Austria 2014. All recordings and electronic processing by the composer.


Momentum_C-Lab (2026)

Audiovisual interactive performance series by Andreas Weixler & Se-Lien Chuang

Se-Lien Chuang - interactive visuals, kalimba
Andreas Weixler - live audio processing, e-guitar
Kai-Ting Chang - acoustic bass


The Momentum series explores the dynamic interaction between acoustic instruments, live electronics, real-time sound transformation, and interactive visual environments. Each realization is developed as an audiovisual encounter between performers, technology, and the spatial characteristics of the performance situation.
Fragments of instrumental sounds and visual memories are continuously transformed through computer-based processes. Real-time granular synthesis, spectral processing, spatial sound diffusion, and interactive visual systems create a constantly evolving audiovisual landscape in which composition and improvisation merge.
Rather than presenting a fixed musical structure, Momentum investigates the moment of transformation itself: the transition between acoustic and electronic sound, between human gesture and computational response, and between intentional composition and emergent processes. The performers act simultaneously as musicians, controllers, and participants within an evolving audiovisual system.
The series has been realized in different versions with various instrumental constellations and collaborators. Each realization of Momentum is a unique encounter, investigating the relationship between human expression and computational systems, between physical performance and virtual transformation, and between composition and improvisation.


Bio

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, ISEA, NIME, NYCEMF, SMC, TENOR, Audio Mostly, SICMF Seoul, IAMAS Japan, etc..
2016-2019 lecturer at Computer Music Studio, Institute of Composition, Conducting and Computer Music at the Anton Bruckner Private University for computer notation and contemporary playing techniques.
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.

more: https://avant.mur.at/chuang/index.html


Andreas Weixler
born 1963 in Graz, Austria, is a composer for computer music with an emphasis in intermedia realtime processing.
He is teaching at the mdw - University of Music and Performing Arts in Vienna, at InterfaceCulture of the University of Arts in Linz and serves associate university professor at the CMS - Computer Music Studio of Anton Bruckner Private University in Linz where he initiated the intermedia concert hall the Sonic Lab.
Studies of contemporary composition at the University of Arts in Graz, Austria with diploma by Beat Furrer, completed by international projects and residencies. His concepts led to invitations to concerts, international conferences, performances, presentations and lectures in Europe, Asia, North and South America. Andreas Weixler is running Atelier Avant Austria together with Se-Lien Chuang.

more: https://avant.mur.at/weixler/awbio.en.html


Kai-Ting Chang, Double Bass
A doctoral candidate at Taipei National University of the Arts, double bassist Kai-Ting Chang specializes in contemporary performance and interdisciplinary arts. Having performed extensively as a chamber musician, she now focuses on electroacoustic and new media projects. Notable appearances include Wang Chih-Yun’s Penrose Misreading at C-LAB, along with Superimposed (s, t) (co-created by Wu Ping-Sheng and Wang Chih-Yun) and Cheng Nai-Chuan’s Eternal Overture before Darkness at the 2025 Ars Electronica Festival.