BEGIN:VCALENDAR VERSION:2.0 PRODID:-//TYPO3/NONSGML Calendarize//EN BEGIN:VEVENT UID:calendarize-calendarevent-13012 DTSTAMP:20260510T051808Z DTSTART:20260525T220000Z SUMMARY:Konzert mit Trompete und Elektronik DESCRIPTION:_Jonathan Impett\n_Biografie: Juan Parra Cancino studied Compo sition at theCatholic University of Chile and Sonology atThe Royal Conserv atoire The Hague (NL)\,where he obtained his Masters degree withfocus on c omposition and performance ofelectronic music. In 2014\, Juan obtained his PhD degree from Leiden University with histhesis “Multiple Paths: Toward s a Performancepractice in Computer Music”. His work in the field of liv e electronic music hasmade him recipient of numerous grants suchas NFPK\, Prins Bernhard Cultuurfonds and theInternational Music Council. Founder of The Electronic Hammer\, aComputer and Percussion trio and Wiregriot(voice & electronics)\, he collaborates regularlywith Ensemble KLANG (NL) and He rmes (BE)\,among many others. Since 2009 Parra is afellow researcher at th e Orpheus Institute(Ghent\, BE)\, focused on performance practicein Comput er Music. Juan has been recentlyappointed as Regional Director for Europe ofthe International Computer Music Associationfor the period 2022-2026. Jo nathan Impett is a composer\, trumpet playerand writer. His work is concer ned with thediscourses and practices of contemporarymusical creativity\, p articularly the nature of thetechnologically-situated musical artefact. Hi s early development of the ‘metatrumpet’constituted one of the first p rojects to exploreinstrument\, performer\, interactiontechnologies and com poser as a single creativespace\, necessitating new conceptual models.As a performer he is active as an improviser\, asa soloist and in historical p erformance. Hisrecent monograph on the music of Luigi Nonois the first com prehensive study of thecomposer’s work. Jonathan is currentlyworking on a project considering the nature ofthe contemporary musical object and the technicity of music. Activity in the spacebetween composition and improvis ation hasled to continuous research in the areas ofinteractive systems\, i nterfaces and modes ofcollaborative performance. Recent workscombine insta llation\, live electronics andcomputational models with notated andimprovi sed performance\, using fluid dynamicsas a unifying behavioural model base d onwave phenomena. The new project Anamnesistakes a radical approach to A I\, usingtransformer models to suggest creative pathsimplied but unnoticed . Jonathan is also alongstanding member of The Orchestra of theEighteenth Century and The AmsterdamBaroque Orchestra. He is currently Director ofRes earch at The Orpheus Institute\, Ghent\,where he leads the research group “Music\,Thought and Technology”. Brice Soniano (FR) started to play th e doublebass with Jean Ané before leaving to study at the Royal Conservat ory of The Hague in theNetherlands. After his studies\, Brice spentsome ti me in Cameroon to live with a localethnic group. Since returning to Europe \, hedevotes himself entirely to creative music. Hetours with several ense mbles of new music inthe Netherlands and is part of the stringensemble Jar gon of Maurice Horsthuis. He is asoloist with l’Orchestre de Montpellier for thecreation of the opera Jetzt of the Germancomposer Mathis Nitschke travels all around toplay improvised music and jazz. Today\, BriceSoniano plays in several ensembles andfocuses principally on his collaborations wi thHarmen Fraanje\, Toma Gouband\, JoachimBadenhorst\, and on the trio 3/4 Peace withBen Sluijs and Christian Mendoza. Brice hasabout 25 albums to hi s record\, and takes careof the label ASTROPI. Brice has been a guestteach er in several conservatories of music\,such as Copenhagen\, Aarhus\, Antwe rp\, Ghent.\n_Programmtext: Three States of Wax has origins in research at the Orpheus Institute\, Ghent. Hybrid contextsof computational\, electroni c and acousticperformance are now paradigmatic ofcontemporary music-making . With wideexperience in improvisation\, composition andinteractive techno logies\, the trio investigatethe nature of musical material in such work.T hree States of Wax takes its name andinspiration from the work of Frenchph ilosopher of science Michel Serres. Inconsidering the nature of material i n modernknowledge-production\, Serres takes from Descartes the thought exp eriment of a piece ofwax: when its shape is changed\, how can it beconside red to be the same thing? Serres seesprevious modes of science description bygeometry and then properties. Now\, he says\,we should understand any o bject as a receiver\,store\, processor and conveyor of information.Materia l thus bears the traces of all ourinteractions with it – there is no sin gleobservable ‘objective’ state. Three States of Wax approaches musica lmaterial in this light. A network of AI and Alifeprocesses interact to re configure theinteraction of live performance. The pastexperience of a syst em and its materialbecome agents in themselves. We adoptDerrida’s notion of ‘hauntology’ – used by MarkFisher in reflecting on electronic mu sic – as thenonlinear memory and emergent reimaginingof previous states generate new artefacts. X-ALT-DESC;FMTTYPE=text/html:

_Jonathan Impett

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_Biografie:
Juan Parra Cancino studied Composition at theCatholic University of Chile and Sonology atThe Royal Conservatoire The Hague (NL)\,where he obtained his Masters degree withfocus on composition and performance ofelectronic m usic. In 2014\, Juan obtained hisPhD degree from Leiden University with hi sthesis “Multiple Paths: Towards a Performancepractice in Computer Music ”.
His work in the field of live electronic music hasmade him reci pient of numerous grants suchas NFPK\, Prins Bernhard Cultuurfonds and the International Music Council.
Founder of The Electronic Hammer\, aCom puter and Percussion trio and Wiregriot(voice &\; electronics)\, he col laborates regularlywith Ensemble KLANG (NL) and Hermes (BE)\,among many ot hers. Since 2009 Parra is afellow researcher at the Orpheus Institute(Ghen t\, BE)\, focused on performance practicein Computer Music. Juan has been recentlyappointed as Regional Director for Europe ofthe International Comp uter Music Associationfor the period 2022-2026.
Jonathan Impett is a composer\, trumpet playerand writer. His work is concerned with thediscou rses and practices of contemporarymusical creativity\, particularly the na ture of thetechnologically-situated musical artefact. His early developmen t of the ‘metatrumpet’constituted one of the first projects to explore instrument\, performer\, interactiontechnologies and composer as a single creativespace\, necessitating new conceptual models.As a performer he is a ctive as an improviser\, asa soloist and in historical performance. Hisrec ent monograph on the music of Luigi Nonois the first comprehensive study o f thecomposer’s work. Jonathan is currentlyworking on a project consider ing the nature ofthe contemporary musical object and thetechnicity of musi c. Activity in the spacebetween composition and improvisation hasled to co ntinuous research in the areas ofinteractive systems\, interfaces and mode s ofcollaborative performance. Recent workscombine installation\, live ele ctronics andcomputational models with notated andimprovised performance\, using fluid dynamicsas a unifying behavioural model based onwave phenomena . The new project Anamnesistakes a radical approach to AI\, usingtransform er models to suggest creative pathsimplied but unnoticed. Jonathan is also alongstanding member of The Orchestra of theEighteenth Century and The Am sterdamBaroque Orchestra. He is currently Director ofResearch at The Orphe us Institute\, Ghent\,where he leads the research group “Music\,Thought and Technology”.
Brice Soniano (FR) started to play the doublebass with Jean Ané before leaving to study at the Royal Conservatory of The H ague in theNetherlands. After his studies\, Brice spentsome time in Camero on to live with a localethnic group. Since returning to Europe\, hedevotes himself entirely to creative music. Hetours with several ensembles of new music inthe Netherlands and is part of the stringensemble Jargon of Mauri ce Horsthuis. He is asoloist with l’Orchestre de Montpellier for thecrea tion of the opera Jetzt of the Germancomposer Mathis Nitschke travels all around toplay improvised music and jazz. Today\, BriceSoniano plays in sev eral ensembles andfocuses principally on his collaborations withHarmen Fra anje\, Toma Gouband\, JoachimBadenhorst\, and on the trio 3/4 Peace withBe n Sluijs and Christian Mendoza. Brice hasabout 25 albums to his record\, a nd takes careof the label ASTROPI. Brice has been a guestteacher in severa l conservatories of music\,such as Copenhagen\, Aarhus\, Antwerp\, Ghent.< /p>\n

_Programmtext:
Three States of Wax has origins in research a tthe Orpheus Institute\, Ghent. Hybrid contextsof computational\, electron ic and acousticperformance are now paradigmatic ofcontemporary music-makin g. With wideexperience in improvisation\, composition andinteractive techn ologies\, the trio investigatethe nature of musical material in such work. Three States of Wax takes its name andinspiration from the work of Frenchp hilosopher of science Michel Serres. Inconsidering the nature of material in modernknowledge-production\, Serres takes from Descartes the thought ex periment of a piece ofwax: when its shape is changed\, how can it beconsid ered to be the same thing? Serres seesprevious modes of science descriptio n bygeometry and then properties. Now\, he says\,we should understand any object as a receiver\,store\, processor and conveyor of information.Materi al thus bears the traces of all ourinteractions with it – there is no si ngleobservable ‘objective’ state.
Three States of Wax approaches musicalmaterial in this light. A network of AI and Alifeprocesses interac t to reconfigure theinteraction of live performance. The pastexperience of a system and its materialbecome agents in themselves. We adoptDerrida’s notion of ‘hauntology’ – used by MarkFisher in reflecting on electr onic music – as thenonlinear memory and emergent reimaginingof previous states generate new artefacts.

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