REAR EAR is a series of events designed by the young squad of Steim (Studio for Electro-Instrumental Music); master students and interns from the Institute of Sonology. They are setting up an evening full of different types of performances, from live electronics using self-built instruments to free improvisation and immersive listening experiences. It will be again a night full of surprising and exotic sonorities by a new generation of musicians from all over the world.

Spawned in the first generation of computer music hackers in San Francisco’s Silicon Valley, Joel Ryan is a composer who has long championed the idea of performance-based electronic music. Drawing on his scientific background, he pioneered the application of digital signal processing to acoustic instruments. Frances-Marie Uitti is an American cellist and composer known for her use of extended techniques and performance of contemporary classical music.
After a several year hiatus, cello ninja France Marie Uitti & hyperbaric digital musician Joel Ryan are back together at STEIM. A chance to track two outliers of electro-acoustic music.

Görkem looks for an intimate relationship between the computer and the body where they merge and become a musical instrument. His motion-sensing wearable interface enables sensor-driven twists and turns translating body movements into sounds and visuals.

Musician, musicologist and cultural activist from Bratislava. Performs with electronics, solo or as a member of various projects (Shibuya Motors, Vritti). During the last two years at STEIM he has been developing a system for computer improvisation with generative algorithms using pressure-sensitive sensors and an artificial neural network trained on performer’s gestures.

Toby Kruit develops audio-tactile instruments and installations that allow participants direct control over sonic manipulation. Through the sense of touch he emphasizes the present, the intimate, and the reflexive.

Kaðlín Sara Ólafsdóttir is a sound artist currently studying at the Institute of Sonology. Mostly she works with tape and cassettes, exploring the possibilities of low-quality sound and obsolete materials. Kaðlín makes sound installations and live performances using modified cassette players and old cassettes, exposing the fragile materiality of the cassette and the recorded stories that it holds.


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