Sound designers, musicians, researchers and students of sound will meet in the coastal city of Busan, South Korea from 29 August – 1 September 2019 for the Kyma International Sound Symposium (KISS2019) — four days and nights of intensive learning, live electronic music performances, hands-on workshops and discussions on the theme: Resonance (공명).
“Resonance”, from the Latin words resonare (re-sound) and resonantia (echo), can describe the result of an actual physical reflection, of an electronic feedback loop (as in an analog filter), or even the metaphorical result of “bouncing” ideas off each other during a collaboration. When we say that an idea “resonates”, it suggests that we think of our minds as physical systems that can vibrate in sympathy to familiar concepts or ideas.
At KISS2019, the concept of resonance can be experienced through the opening concert dedicated to “ecosystemic” music (performances in which sounds are derived from the natural resonances of the concert hall and the electronic resonances of speaker-microphone loops), through paper sessions dedicated to modal synthesis and the implementation of virtual analog filters in Kyma, through live music performances based on gravity waves, sympathetic brain waves, the resonances of found objects, the resonance of the Earth excited by an earthquake, and in a final rooftop concert for massive corrugaphone orchestra where the entire audience will get to perform together and experience collective resonance.
The conference city of Busan, South Korea is also reflected in the program: a hands-on workshop for how to record and process 3d audio recordings of Busan for virtual and augmented reality; another workshop on how to take data from Busan Metropolitan City (like barometric pressure or sea level changes) and map that data into sound; a live performance celebrating the impact of shipping containers on the international economy (especially in a commercial port city like Busan); a piece inspired by Samul nori, traditional Korean folk music, where four performers will play a large gong fitted with contact mics to set up feedback loops, creating evolving resonators to evoke the spirits of lightning, wind, rain, and clouds; and a live performance of variations on the Korean folk song: Milyang Arirang, using hidden Markov models.
KISS2019 participants will explore new ways to compose, present, and experience music and immersive sounds presented by an international line-up of live computer music performers. Here is the full program.
A few highlights:
• Led Zeppelin bassist and composer John Paul Jones (johnpauljones.com) in a live performance with virtuoso new music cellist and composer Ainnsi Kartunen as “Sons of Chipotle” on grand piano and cello processed through two Kyma systems
• Greg Hunter (The Orb, Dubsahara, Alien Soap Opera and more) presenting a sneak preview from his new book on the art of audio engineering in a keynote address titled “The Duality of Order and Chaos”
• Italian DJ/producer Lucretio performing live generative music and graphics along with the audience (playing their cellphones) in “Resonating Kyma through the Web with Node.js”
• Carla Scaletti and Kurt Hebel, the inventors of Kyma, will be in residence, teaching at workshops and answering participants’ questions
• A rooftop finale concert and dinner featuring Osaka-based guitarist, Yasuski, and his multichannel Audio Hologram and Alan Jackson/Tom Daley’s “Maelstrom” for massive corrugaphone orchestra (where the entire audience gets to perform together and experience collective resonance).
In addition to a daily program of technical presentations and nightly concerts, afternoons at KISS2019 are devoted to palindromic concerts (where composer/performers share technical tips immediately following the performance) and hands-on workshops open to all participants, including:
• Sounds of Busan I: DATA SONIFICATION
What do the past 10 years of meteorological data sound like? In this hands-on session, we will take time series data related to the city of Busan and map the data to sound. Can we hear patterns in data that we might not otherwise detect?• The Shape Atlas: MATHS FOR CONTROLLING SOUND
How can you get your sound parameters to evolve over time? Participants will work together to compile a Shape Atlas of mathematical functions for controlling sound parameters.
• Sounds of Busan II: 3D SOUND TECHNIQUES
Starting with a collection of 3D ambisonic recordings from various iconic locations in and around Busan, we will learn how to process, spatialize, mix down for interactive binaural presentation for games and VR.
Participants can engage with presenters and fellow symposiasts during informal discussions following the presentations, workshops, and concerts over coffee and meals (all included with registration), and will be able to join their new-found friends and colleagues on a tour of Busan on the Monday after the conference (also included with registration).
Student and early registration discounts are available