English (Fluent), French (Conversation)

Dr. Thomas Grill, MA Curriculum Vitae Heinestrasse 13/7, 1020 Wien, Austria cell: +43 660 6110261, email: [email protected], web: http://grrrr.org - 1 -

Thomas Grill

Studies of Technical Physics at the Johannes-Kepler-University Linz, and of Interactive Electronic Instruments at the University of Music and Performing Arts, Vienna, Austria. Doctorate in Composition and Music Theory at the University of Music and Performing Arts, Graz, Austria. Research visits at IRCAM and CMMAS. Artistic work in most varied fields of audible and trans-media art, focused on loudspeaker-based music, sound installation and electro-acoustic improvisation. Numerous presentations of own compositions and installations at international festivals. Regular appearances as interpreter of composed contemporary music, as well as performer of structural and free improvisation. Ongoing cooperation with renowned artists in the fields of music, poetry, theater, dance and video. Works published on CD and DVD. Artistic and scientific research in fields of media arts, electroacoustic systems, sound perception, analysis and modeling, and machine learning. Publications, lectures and workshops at international institutions and conferences. Head of the Certificate Program in Electroacoustic and Experimental Music (ELAK), vice head of the Artistic Research Center (ARC), and head of the multi-year artistic research project “rotting sounds” at the University of Music and Performing Arts Vienna. Thomas Grill lives and works in Vienna, Austria.

Further information on http://grrrr.org

cv-en-long.docx – 14.04.21 00:27 Abstract Dr. Thomas Grill, MA Curriculum Vitae Heinestrasse 13/7, 1020 Wien, Austria cell: +43 660 6110261, email: [email protected], web: http://grrrr.org - 2 -

Contents

Personal data 3 Professional career 3 Education 3 Awards, prizes, residencies 4 Affiliations 5 Artistic works and publications 6 Profile 6 Artistic research projects 6 Compositions for instruments and electronics (selection) 7 Installations/interventions (selection) 10 Performative projects (selection) 12 Music/sound design for dance theater (selection) 12 Radiophonic works 13 Text-based works 13 Conference contributions in artistic research 14 Further works in artistic research 14 Technological und artistic realization of third-party projects (selection) 14 Discography 15 Some selected performance and presentation venues 16 Scientific research and development 18 Main research topics 18 Journal articles 19 Conference papers (peer-reviewed) 20 Book chapters 21 Further scholarly work 21 Major software publications (selection) 21 Peer review activities 22 Funds raised for research and development 23 Specialist competences 23 Teaching 25 Seminars and project supervision in university context 25 Invited scientific and artistic talks 28 Conduction of scientific and artistic workshops 30 Doctoral supervision 31 Supervised theses (selection) 31

cv-en-long.docx – 14.04.21 00:27 Contents Dr. Thomas Grill, MA Curriculum Vitae Heinestrasse 13/7, 1020 Wien, Austria cell: +43 660 6110261, email: [email protected], web: http://grrrr.org - 3 -

Personal data

Born on August 8th 1972 in Steyr, Austria – Austrian citizenship

Professional career

• Since 2020: Vice head of the Artistic Research Center at the University of Music and Performing Arts Vienna

• Since 2019: Head of the Certificate Program in Electroacoustic and Experimental Music at the University of Music and Performing Arts Vienna

• Since 2018: Project head and artistic researcher at the University of Music and Performing Arts Vienna, project „rotting sounds“ (FWF-PEEK AR445-G24)

• 2004-2012, and 2015-2019: Associate lecturer at the University of Music and Performing Arts Vienna, Institute for Composition and Electro-Acoustics

• 2008-2018: Researcher at the Austrian Research Institute for Artificial Intelligence (OFAI) in the research group Intelligent Music Processing and Machine Learning

• 2017: Paternal leave (3 months) • Since 1991: Independent composer, musician and media artist • 2004–2015: Curator for the concert series “Neue Musik in St. Ruprecht” • 2003–2015: Associate lecturer at the University of Applied Arts Vienna, Institute for Trans-Media Arts

• 2012/2013: Paternal leave (5 months) • 2011: Visiting artist/researcher at IRCAM, Paris (3 months) • 2009–2011: Scientific associate (project manager) at the University of Music and Performing Arts, Vienna 2003–2009: CEO and CTO of Köcher & Grill OEG (commercial development of interactive media systems)

• 1999–2000: Civil service as a social worker • 1991–2003: Consultant for ICT services, mostly for technical acoustics and interactive media.

Education

• 2009–2012: Doctoral study in Composition and Music Theory (specialization in Sound and Music Computing) at the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz on the topic of “Perceptually informed organization of textural sounds“. Supervision by Gerhard Eckel and Gerhard Widmer. Graduation (Doctor of philosophy) with distinction.

• 2006–2008: Individual bachelor and master studies of “interactive electronic instruments” at the University of Music and Performing Arts, Vienna (composition and electro-acoustics), the University of Applied Arts, Vienna (trans-media art), the Technical University, Vienna (media informatics), the Medical University of

cv-en-long.docx – 14.04.21 00:27 Personal data Dr. Thomas Grill, MA Curriculum Vitae Heinestrasse 13/7, 1020 Wien, Austria cell: +43 660 6110261, email: [email protected], web: http://grrrr.org - 4 -

Vienna (artificial intelligence) and the University Linz (mathematics and physics). Graduation with distinction (summa cum laude).

• 2000–2003: University course of „computer music and electronic media“ at the University of Music and Performing Arts, Vienna. Graduation with distinction.

• 1990–2002: Diploma studies of technical physics (specialization in semiconductor physics) at the Johannes Kepler University, Linz. Paused after finished diploma thesis (Title: “Strain calculations for structured semiconductors”).

• 1982–1990: Mathematisches Realgymnasium Fadingerstrasse, Linz (secondary school with focus on natural sciences and mathematics). Graduation with distinction.

• Private lessons in drums and clarinet • Languages: German (native), English (fluent), French (conversation)

Awards, prizes, residencies

• 2018: Project funding „rotting sounds“ (Austrian Science Fund FWF, A) • 2017: Work stipend at Villa Stonborough-Wittgenstein by the Kunstsammlung des Landes Oberösterreich (Gmunden, A)

• 2017: Work stipend by the Austrian Federal Chancellery (Vienna, A) • 2017: Winner of the international „Bird Audio Detection Challenge“ organized by by the Queen Mary University (London, UK)

• 2015: Work stipend by the Austrian Federal Chancellery (Vienna, A) • 2014: Outstanding Artist Award for Interdisciplinarity, Bonus prize (Vienna, A) • 2014: Artist residency at subnet.at (Salzburg, A) • 2013: Artist residency at the May space (New Orleans, USA) • 2013: Arts and science residency at Ars Bioarctica (Kilpisjärvi, FI) • 2012: Award of Excellence (Austrian Federal Ministry of Science and Research) • 2011: Artist residency at Cité des Arts (Paris, F) • 2011: Musical research residency IRCAM (Paris, F) • 2010: Artist residency at IEM/University of Music and Performing Arts (Graz, A) • 2010: Artist residency at Medienkunstlabor/Kunsthaus (Graz, A) • 2010: Theodor-Körner-Prize (Vienna, A) • 2009: Prix Ars Electronica 2009 (Linz, A) – Honorary mention • 2009: Appreciation Prize, University for Music and Performing Arts Vienna • 2009: Artist residency at CMMAS (Morelia, MEX) • 2003 and 2008: Artist residency in hotel pupik (Scheifling, A) • 2007: SKE Publicity Prize (for Low Frequency Orchestra) • 2006: Artist residency in Stazione di Topolò (I) cv-en-long.docx – 14.04.21 00:27 Personal data Dr. Thomas Grill, MA Curriculum Vitae Heinestrasse 13/7, 1020 Wien, Austria cell: +43 660 6110261, email: [email protected], web: http://grrrr.org - 5 -

Affiliations

• Research Institute for Audible Art and Contemporary Media (president) • International Society for Contemporary Music (ISCM), section Austria

Artistic works and publications

The sensual interaction of humans with their environment, the relationship between nature and artifact and their gradual entanglement are central themes of my artistic work. Acousmatic and multimedia compositions, as well as the formulation of a characteristic sonic language within “musicking” and improvisation represent approaches using audible media; interventions and installations integrating visual media extend the sensory spectrum. Additional focus is on cooperative projects with artists of most varied disciplines – by constituting frontier crossings these stimulate the continuous questioning and widening of the own perception and methodology.

Profile

Performance activities as an interpreter on drums and electronic instruments in composed contemporary music and in structural and free improvisation. Numerous public appearances, premieres of new pieces. (Founding) member of a number of fixed ensembles such as the Vienna Noise Orchestra, X-String-Quartett, UNO Ensemble, Fruitmarket Gallery, Low Frequency Orchestra, los autodisparadores, gxg. Instrumentalist in many ad-hoc constellations. Cooperation with composers and musicians of most varied stylistic orientations, among those are members of the Vienna symphonic orchestra, the Vienna radio symphony orchestra and Klangforum to also Trio Exklusiv, Polwechsel and Fuckhead – Katharina Klement, Wolfgang Mitterer, Burkhard Stangl, Volkmar Klien, Hannes Löschel, Manon Liu Winter, Wolfgang Reisinger, Thomas Lehn, Christian Wolfarth, Lucia Mense, Robyn Schulkowsky, Didi Bruckmayr, Gerald Preinfalk, Andreas Lindenbaum, Angélica Castelló, Maja Osojnik and many others. Interaction with dance, poetry, experimental theater, film and real-time video, painting, as well as urban und rural environment.

Artistic research projects

Conduction of the research project „Electro-acoustic instruments and musical structures in the triangle of sounds analysis, synthesis and interactivity“ (2009- 2011). Co-operation with Gerhard Widmer (OFAI – Austrian Research Institute for Artificial Intelligence), Dan Overholt (Aalborg University), Thomas Gardner (LCC, University of the Arts London), Rogrido Sigal (CMMAS – Mexican Centre for Music and Sonic Arts), Stefano Papetti (Università degli Studi di Verona). Project duration 2 years, funded budget 65,000€. The musical research residency at IRCAM/Paris on the topic „Exploring sound/gesture typo-morphology for enactive computer music performance“ (2011) focused on the co-action of sonic morphologies with bodily gestures and sensual perception. Cooperation with IRCAM’s Real-time Interactions Team (IMTR – Norbert Schnell, Frederic Bevilacqua a.o.). Starting with May 2018 manager and principal investigator of „rotting sounds“, elaborating on the causes, mechanisms and effects of deterioration, specifically in the context of digital audio. Hosted at the University of Music und Performing Arts

cv-en-long.docx – 14.04.21 00:27 Artistic works Dr. Thomas Grill, MA Curriculum Vitae Heinestrasse 13/7, 1020 Wien, Austria cell: +43 660 6110261, email: [email protected], web: http://grrrr.org - 7 -

Vienna, in cooperation with the University of Applied Arts Vienna (Till Bovermann) and the Academy of Fine Arts Vienna (Almut Schilling). Project duration 3.5 years, funded budget 400,000€ (Austrian Science Fund FWF, Project AR445).

Compositions for instruments and electronics (selection)

• rill / erosion (2021, 5’+5’) Electroacoustic composition, Ambisonics / based on rill by Adam McCartney. Premiere 12.11.2021, Wien Modern festival, Wien/A.

• Noise Shaping (2020, 20’) Electroacoustic composition, Ambisonics. Premiere 08.10.2020, Musikprotokoll festival, Graz/A.

• Merge and Dissolve (2020, 20’) Electroacoustic composition, 6 channels / with Till Bovermann Premiere 11.09.2020, Ars Electronica Festival, Linz/A.

• Residuals (2018, 24’) Electroacoustic composition, 4 channels Premiere 31.10.2018, re_composed festival, Wien/A.

• World construction, variation: better proportions (2017, 20’) Listening experiences with surroundings and immersive electroacoustics Premiere 07.10.2017, Seeschloss Orth, Gmunden/A

• The bore (2016, 8’30”) Electroacoustic composition, 3x4 channels Premiere 10.09.2016, ars electronica Festival / Anton-Bruckner-Privatuniversität, Linz, Austria.

• World construction, variation: here-hear-there (for augustina) (2015, 10’+30′) Electroacoustic composition/performance Premiere 09.10.2015, G.A.S. station, Berlin, Germany. Group exhibition 10.10.2015-5.2.2016, ibid

• Extended View (2014, 18’-25’) Modular multichannel electroacoustic composition/performance Premiere 21.10.2014, TADAEX festival, Tehran/Iran

• Tractu temporis (2014, 180’+60’) Electroacoustic composition/installation – with Angélica Castelló Premiere 03.06.2014, crossbreeds festival, Wien/A

• World construction, variation: corner passing (2013, 15’) Electroacoustic composition/performance. Premiere 18.04.2013, Kunstraum Niederösterreich, Vienna/A Group exhibition 19.–25.04.2013, ibid.

• luscinia megarhynchos (2011, 12’20”) Animate nature for computer-controlled carillon. Premiere 10.08.2011, Rathaus/Marktplatz, Weimar/Germany

• Unwege / untours (2011, 30’) Structural improvisations for bass clarinet and electronics. Commissioned by e_may Festival. Premiere 19.05.2011, Kosmostheater, Vienna/A

• Points of View (2010/2011, 18’) Acousmatic composition for 16 discrete channels. Premiere 29.03.2011, IEM Cube, Graz/A (rendition for 24 loudspeakers in half- spherical arrangement)

• MOLE (2007-2010, 32’) Collective composition/improvisation by Low Frequency Orchestra and Wolfgang Mitterer. Premiere 10.01.2007, ORF Radiokulturhaus, Vienna/A CD presentation 14.11.2010, Neue Musik in St.Ruprecht, Vienna/A

• In the mines of matter / 1 (2009, 45’) For electroacoustics, drums, performer and sounding objects. Premiere 17.10.2009, Ruprechtskirche, Vienna/A

• Vermessung (2003–2009) Series of structural improvisations based on urban structures for ensemble and electronics. Cooperative conception by „los autodisparadores“. Premiere 24.01.2004, blue tomato, Vienna/A

• Laut Fahrplan (2008, 50’) For ensemble, railway line and electronics – in cooperation with Volkmar Klien. Premiere 20.09.2008, VKK Eichgraben/A

• Von den Schwebungen einfacher Töne (2008, 7’) Monument for 3 soprano recorders and performance space.

• Servo-quatuor (2007) Generative quartets for computer-controlled floppy disc drives. Premiere 27.09.2007, University of Music and Performing Arts, Vienna/A

• Count the Stars (2006, 50’) For solo percussion, live electronics and planetarium equipment. Realization and performance of live electronics, cooperative conception with Burkhard Stangl and Didi Bruckmayr.

Commissioned by Festival Wien Modern. Premiere 04.11.2006, Planetarium Prater, Vienna/A

• Das Spiel vom Kommen und Gehen (The Coming and Going Show, 2006, 45’) For ensemble, video and electronics. Instrumentation and performance concept based on color scores by Robert Lettner. Premiere 03.05.2006, Essl Museum Klosterneuburg/A DVD presentation 18.01.2011, Museum of Applied Arts (MAK) Vienna/A

• De finibus (2005, 30’) For piano, recorder and electronics. Structural improvisation. Commissioned by Grabenfesttage festival. Premiere 29.06.2005, Grabenhof, Vienna/A

• Sich über sich (2005, 32’) For clarinet, viola, violoncello and tape. Commissioned by Grabenfesttage festival. Premiere 29.06.2005, Grabenhof, Vienna/A

• au’i o’i (2005, 31’) Electroacoustic sound theater for ensemble and electronics. Cooperative conception by „fruitmarket gallery“. Premiere 13.06.2005, Alte Schmiede, Vienna/A

• Umgebung (2004, 30’) Structural Improvisation for recorder, double bass and electronics. Premiere 23.06.2004, Alte Hellerfabrik, Vienna/A

• Odem II (2004, 10’15”) Acousmatic tape piece (stereophonic). Premiere 01.05.2004, ZKM Kubus, Karlsruhe/D

• Déjà vu (2003, 40’) For ensemble and electronics. Modular concept for structural improvisation. Premiere 25.11.2003, fluc, Vienna/A

• Tettigonia viridissima (2003, 45’) Electroacoustic sound theater for ensemble and electronics. Cooperative conception by „fruitmarket gallery“. Commissioned by Grabenfesttage festival. Premiere 24.06.2003, Grabenhof, Vienna/A

• Ride (2003, 3’50”) Acousmatic tape piece (stereophonic). Premiere 20.06.2003, University of Music and Performing Arts, Vienna/A

• Odem (2002, 18’) Acousmatic tape piece (stereophonic). Premiere 26.07.2002, ISMEAM Sarvar/HU

Installations/interventions (selection)

• Rieseln (2021) Mixed media installation, together with Nicole Krenn and Lisa Truttmann Solo exhibition 2021, Pavillon National Park Gesäuse, Gstatterboden/A

• Mutual Understanding (2019) Autogenerative sound installation Group exhibition 07.09.2019, Festival Ars Electronica, St.Florian/A Group exhibition 2020, Auditorium of Rotting sounds, Wien/A Group exhibition 2021, ESC Media Art Lab, Graz/A

• Depth Probing (2019) Photography and sound installation Group exhibition 19.7.-25.8.2019, Deutschvilla, Strobl/A

• Reference Tone (2019) Non-auditory sound object Group exhibition 27.6.-28.7.2019, Museum of Applied Arts, Wien/A Group exhibition 2021, ESC Media Art Lab, Graz/A

• Antenna (2019) Sound installation, in cooperation with Juliana Herrero Group exhibition 2019-2021, Auditorium of Rotting sounds, Wien/A

• Fields of Haze (2019) Image/sound installation, in cooperation with Nicole Krenn Group exhibition 2019-2021, Auditorium of Rotting sounds, Wien/A

• Midnight Song (2019) Non-auditory sound object Group exhibition 2019-2021, Auditorium of Rotting sounds, Wien/A

• Oberhalb/unterhalb (2018) Image/sound installation, in cooperation with Nicole Krenn Group exhibition 05.2018, Rising up/flowing down Festival, Wien/A Solo exhibition 11.2018, Kunstforum Salzkammergut, Gmunden/A

• Walter (2015) Generative sound installation, in cooperation with Lotte Geeven. Group exhibition 25-27.09.2015, todaysart festival, Scheveningen, NL.

• World construction, variation: jars of sound (2015) Interactive / generative sound environment. Group exhibition 10-19.9.2015, Schmiede, Hallein, A.

• World construction, variation: empty vessel, from a distance (2014) Multi-channel sound installation.

Group exhibition 25.10.2014-25.01.2015, P3+ Prospect Biennale, New Orleans, USA.

• die tönen / they sound (2014) Generative sound environment, together with Heike Kaltenbrunner. Group exhibition 17.-20.7.2014, Konfrontationen Nickelsdorf, A. Group exhibition 20.-22.11.2014, Klangkunsttage, Künstlerhaus Wien/A. Group exhibition 3.–12.12.2014, Klangmanifeste Wien/A. Group exhibition 2020, Kunst in der Natur, Gars/A.

• World construction, variation: empty vessel (2013) Generative sound environment. Solo exhibition 11.10.2013, The May Space, New Orleans, USA.

• World construction, variation: duoddaris (2013) Sound-based interventions. Premiere 27.-28.07.2013, Kilpisjärvi, Finland.

• hier nun nebst wider (2011) Analog photography and sound composition, with Lena Appl. Group exhibition 02.12.2011, Klangmanifeste festival, Vienna/Austria.

• 1/space (2010) Generative/interactive audiovisual installation. Commissioned by MedienKunstLabor. Solo exhibition 01–14.05.2010, Kunsthaus Graz/A.

• Mimikry (2008-2010) Situationist computer-based interventions. Group exhibition 18–21.05.2010, re_new festival Copenhagen/DK

• Point of time (2007/2008) Photo/Video and 1-channel sound installation. Concertante performance 29.03.2011, IEM Cube, Graz/A Group exhibition 09.-12.08.2011, Pure data convention, Weimar/Germany

• Relative realities (2007) Audiovisual installation. In cooperation with Volkmar Klien. Commissioned by Wien Modern festival and Klangraum Krems. Group exhibition 14–22.11.2007, Wien Modern festival, Vienna/A Solo exhibition 10.5.–8.6.2008, Minoritenkirche, Donaufestival, Krems/A Group exhibition 03–08.09.2009, ars electronica festival, Linz/A Solo exhibition 09–12.09.2009, La habitación del Ruido, Mexico City/MX Group exhibition 01–30.10.2010, Filament festival, EMPAC, Troy/USA Group exhibition 08–12.09.2016, ars electronica festival, Linz/A

• Ray traces (2006) Photo and 3-channel sound installation. Group exhibition 01–16.07.2006, Festival Stazione di Topolò/I

• Corrosion (2004) Net-controlled generative audiovisual installation, together with Martin Pichlmair. Group exhibition 02–17.06.2004, free bitflows festival, Vienna/A Screening 02.10.2004, pure data convention, IEM Cube, Graz/A Group exhibition 14–16.07.2005, hyperkult conference, Lüneburg/D Screening 04.02.2006, transmediale festival, Berlin/D Group exhibition 23.04.2010, LOVE, Vienna/A

• life – pkd edition, incubation 2 (2004) Generative audiovisual installation, together with Martin Pichlmair. Group exhibition 11–18.04.2004, Pink light festival, MUQUA, Vienna/A

• freeze/back (2003) Generative sound installation (monophonic). Group exhibition 14–29.06.2003, ESC Graz/A Group exhibition 29–31.08.2003, hotel pupik, Scheifling/A

Performative projects (selection)

• Instant Choir (2017, 30’) Interactive media theater, together with Mimu Merz and Martin Gasser. Shows 23.-25.06.2017, Vorbrenner, Innsbruck, Austria

• Music for Black Box (2011, 20’) For black box, performer and loudspeakers. Premiere 13.05.2011, jennyfair festival, Vienna/A

• In the mines of matter / 2 (2010, 20’) For performer, table and projection. Premiere 03.12.2010, Festival Klangmanifeste, Vienna/A

• In the mines of matter / 3 (2010, 25’) For performer, objects and microphones. Premiere 01.07.2010, Heiligenkreuzerhof, Vienna/A

Music/sound design for dance theater (selection)

• Quadrat*Quadrat (2003, 60’) Electroacoustic composition together with Florian Bogner and Gilbert Handler. Commissioned by Tanz*Hotel Wien. Premiere 03.04.2003, Raum 1020, Vienna/A

• Drei-Torus (2003, 50’) Music for amplified string quartet, soprano voice and electronics. Commissioned by Monika Huemer. Premiere 07.02.2003, Posthof, Linz/A

• Alle*Halle (2002, 20’) Electroacoustic improvisation with acoustic and sensory feedback. Premiere 28.06.2002, TanzHalle 1030, Vienna/A

Radiophonic works

• Voicings of an auralist – a series of transmissions from an unknown source (2021, 55’) Radio feature, together with Till Bovermann, Almut Schilling und Tobias Leibetseder Premiere 21.03.2021, ORF Ö1 Kunstradio

• 5 cm higher (2018, 48’) Augmented listening experience transmitted from the tower of Seeschloss Orth, Gmunden, Austria Premiere 08.04.2018, ORF Ö1 Kunstradio

• Odem 4 – City (2010, 30’) Acousmatic composition. Premiere 24.03.2004, web stream broadcast by Stazione di Topolò/I

• On the utopia of sound and the sound of utopia (2009, 38’) Radio feature together with students of the University of Applied Arts Vienna/A. Premiere 18.10.2009, ORF Ö1 Kunstradio (Austrian public radio)

• PPPS: Sucht Brunke (2003, 60’) Experimental radio play dedicated to Thomas Brasch’s “Mädchenmörder Brunke”. Premiere 03.11.2003, web stream by Studiobühne im Lofft, Leipzig/D

• Fluxus (1998–99, 32×30’) Weekly feature/radio play, 32 editions. Radio FRO, Linz/A

• Die Verschiffung der Zukunft (1997, 3×5’) 3 short radio plays. Premiere 25.07.1997. ORF Ö1 Kunstradio / dokumenta X festival, Kassel/D

Text-based works

• Bovermann T., Schilling A., Grill T. und Leibetseder T.: voicings of an auralist – a series of transmissions from an unknown source. In Knowing in Performing, transcript, 2021

• Pure words (2006) On the conception and realization of the composition sich über sich. Published in bang / pure data, Wolke Verlag, Hofheim, 2006

Conference contributions in artistic research

• Schilling A., Grill T., Bovermann T.: Digital Patina – [a CARE-ful excavation], Society of Artistic Research (SAR) conference, Wien/A, 2021

• Bovermann T., Grill T., Schilling A.: Rotting sounds – thinking degradation as transformation, Society of Artistic Research (SAR) conference, Zürich/CH, 2019

• Grill T., Schilling A.: Libre tools and strategies embracing the temporal deterioration of digital audio, isaScience conference, Reichenau/A, 2018

• Grill T., Bovermann T., Schilling A.: Embracing the temporal deterioration of digital audio – a manifesto, Politics of the Machine conference, Aalborg University, Copenhagen/Denmark, 2018

• Grill T.: On world construction, variation duoddaris, xCoAx 2014 – Computation, Communication, Aesthetics and X, Porto/Portugal, 2014.

• Klien V., Grill T., Flexer A.: Because We Are All Falling Down. Physics, Gestures and Relative Realities, Proceedings of the International Computer Music Conference (ICMC 2010), New York, USA, 2010

Further works in artistic research

• Grill T.: Two-dimensional gesture mapping for interactive real-time electronic music instruments, Master thesis, University of Music and Performing Arts Vienna, 2008

• Grill T.: Zur Gestaltung des elektronischen Teils der Komposition „granular“ von Katharina Klement, 2007

• Grill T.: Elektromagnetische Kammermusik, 2007

Technological und artistic realization of third-party projects (selection)

• Lisa Truttmann: A zig-zag attempt (2018) Sound installation

• Lisa Truttmann: The courser (2017) Surround-Mixing/Mastering

• Katharina Klement: Portrait (2011) Live-electronics and programming for electroacoustic/instrumental composition (premiere)

• Judith Unterpertinger: zone3 2.5 (2010) Live-electronics and sound design of composition for string quartet and electronics (premiere)

• Katharina Klement: granular (2008/09) Live-electronics and programming for electroacoustic/instrumental composition (premiere)

• Coop himmelb(l)au exhibition (2008) Multi-screen video projection, portrait of Wolf D. Prix. Contract work for coop himmelb(l)au architects. Exhibited at the Museum for applied arts (MAK), Vienna/A.

• Astro Balloon 1969 revisited by coop Himmelb(l)au (2008) Sensorics and heart rate sonification. Contract work for coop himmelb(l)au architects. Exhibited at the Architecture Biennale Venice/I.

• Making Things Public exhibition (2005) Neural/dynamic modeling of 384 digital sensors and actuators for meta exhibit The Phantom Public by Michel Jaffrennou and Thierry Coduys. Contract work for LaKitchen, Paris/F. Exhibited at the ZKM, Karlsruhe/D.

Additionally, supervision of a multitude of students’ projects and diploma works in solo and group exhibitions, connected to the lectureships at the University of Applied Arts, Vienna and the University of Music and Performing Arts, Vienna.

Discography

• Low Frequency Orchestra plays Robert Lettner: Das Spiel vom Kommen und Gehen (2011, DVD) Interdisciplinary cooperation of painting (Robert Lettner), video (Martin Pichlmair), writing (Stephan Sperlich) and improvised music (Low Frequency Orchestra). Produced by Thomas Grill, published at dieangewandte.

• Low Frequency Orchestra & Wolfgang Mitterer: MOLE (2010, CD) Electro-acoustic compositions and electro-instrumental group improvisation/composition. Published as chmafu nocords #38.

• V/A HOTEL PUPIK 99-09 (2010, 2 CD) Contribution 1: Low Frequency Orchestra: étude pour une anémone sanglante. Contribution 2: Los autodisparadores: polenta mit menthol – diana fehlt glykol. Free non-idiomatic improvisations. Published by hotel pupik.

• V/A sonntags abstrakt 06-07 (2009, CD) Contribution: Wendy and Jim: 72008435867. Free improvisation by Angélica Castelló (recorders) and Thomas Grill (electronics). Published as KIM 010.

• Klement, Grill, Reisinger, Roisz: granular (2009, DVD) Composition for piano, percussion and electronics. Published as KalK 09.

• los autodisparadores: s/t (2008, CD) Collective, structural improvisation for piano/clavichord, recorders and electronics. Published at ein_klang records, as EKR029.

• Low Frequency Orchestra: S (2008, CD) Collective, free improvisation for ensemble and electronics. Published at ein_klang records, as EKR028.

• V/A unerhört III (2006, CD) Contribution: Low Frequency Orchestra: Medusa and her two headed friend. Free collective improvisation. Published by Internationale Gesellschaft für Neue Musik (IGNM).

• V/A pd~ release 01 (2005, DVD) Contribution: Thomas Grill/Martin Pichlmair: corrosion. Published by pd~graz.

• Das kalte Herz (2005, CD) Contribution: sich über sich for three instruments and tape. Published by ORF Ö1, as GFT2005.

• Fruitmarket gallery: au’i o’i (2005, CD) Electroacoustic sound theater for ensemble and electronics. Published by ostblock records, as OST004.

• Charming nights (2003, CD) Contribution: The fruitmarket gallery: tettigonia viridissima. Electroacoustic sound theater for ensemble and electronics. Published by ORF Ö1, as GFT2003.

• Quadrat*Quadrat (2003, CD) Music for dance theater. Composition and realization by Florian Bogner, Gilbert Handler and Thomas Grill. Published by Tanz*Hotel, as T*H 403.

• V/A glear (2003, CD) Contribution: Thomas Grill: ride. Electroacoustic composition. Published by Karate Joe records, as KJ013.

Some selected performance and presentation venues

Festival Wien Modern/A, music unlimited (Wels/A), Kunsthalle Wien/A, Galerie maerz (Linz/A, ORF Kunstradio, Essl museum (Klosterneuburg/A), ZKM Karlsruhe/D, scene Köln/D, Porgy & Bess Wien/A, Heiligenkreuzerhof Wien/A, Künstlerhaus Wien/A, WUK Wien/A, STWST Linz/A, IEM Graz/A, ESC Graz/A, Kaleidophon Ulrichsberg/A, Grabenfesttage Wien/A, Großer Sendesaal des ORF (Wien/A), Alte Schmiede Wien/A, share New York City/USA, Planetarium Wien/A, MUQUA Wien/A, Galerie 5020 Salzburg/A, Musik Kultur St. Johann/A, Al-Qawmy National Theater Cairo/EG, MOT

Skopje/MK, ISMEAM Sarvar/HU, Ruprechtskirche Wien/A, Verein Kunst und Kultur Eichgraben/A, Klangraum Minoritenkirche Krems/A, Posthof Linz/A, Echoraum Wien/A, Passos Manuel (Porto/PT), re_new festival Copenhagen/DK, CMMAS (Morelia/MX), Filament festival EMPAC (Troy/USA), Habitación del Ruido (México City/MX), MKL/Kunsthaus Graz/A, Klangspuren Schwaz/A, e_may Festival Wien/A, una.casa Buenos Aires/AR, Konfrontationen Nickelsdorf/A, TADAEX Tehran/IR, Klangmanifeste Wien/A, Klangkunsttage Wien/A, Paraflows festival Wien/A, Blue Nile New Orleans/USA, European Forum Alpbach/A

Scientific research and development

The analysis and extension of the human sensory and expressive capabilities as well as their abstraction and reinterpretation using theoretical considerations, artistic strategies and technological means are in the focal point of my research and development activities. Fundamental research as well as cutting-edge applied research and development go together hand in hand. Areas within Artificial Intelligence, as Machine Listening and Machine Learning, and areas of perception psychology and interaction research merge with media informatics and practical artistic application for the development of music software and electronic instruments. The cooperation with local and international experts in arts and science and the continuous exchange in expert forums as academic conferences, publications and informal platforms goes as a matter of course.

Main research topics

• Since the year 2000 research and development in the area of real-time media, particularly using the modular development platforms Max/MSP and Pure Data for electro-acoustic composition and interactive software instruments. The resulting software packages flext, VASP modular, py/pyext, xsample, dyn~ etc. are publicly available as GPL-licensed open-source software. They are used all over the world by renowned institutions (e.g. IRCAM, ZKM, Create/UCSB, CCRMA/Stanford University, Goldsmiths University, Dartmouth College, Virginia Tech, Università di Verona), as well as by a multitude of independent artists and developers in teaching and artistic practice. The fundamental occupation with internals and extensions of Max/MSP and Pure Data, and the ongoing cooperation with developer communities yielded numerous bug fixes, modifications and new features which have been integrated in those software systems and are now available to all users.

• From 2003 to 2009 commercial software development of the real-time systems vibrez (OpenGL-based performance system based on Pure Data) and cuecat (CMS-based modular digital signage system for exhibition and kiosk operation). Internationally in the field in museums and temporary exhibitions.

• Since 2005 focusing on the topic of sample-based electronic music instruments and gestural interaction, especially sound modeling and embodied interaction. Graduation in the individual study “Interactive electronic instruments” with the master thesis “Two-dimensional gesture mapping for interactive real-time electronic music instruments”. Dissertation project at the Institute for Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz on the topic „More expressive and intuitive electronic music instruments through the integration of machine listening concepts“.

cv-en-long.docx – 14.04.21 00:27 Scientific research and development Dr. Thomas Grill, MA Curriculum Vitae Heinestrasse 13/7, 1020 Wien, Austria cell: +43 660 6110261, email: [email protected], web: http://grrrr.org - 19 -

• Since 2008 scientific associate at the Austrian Research Institute for Artificial Intelligence (OFAI) in the work group “Intelligent Music Processing and Machine Learning”. Research work and publications on questions of the annotation of electro-acoustic music and the analysis, modeling and classification of sonic structure elements for the project “Towards automatic annotation of electro-acoustic music” (FWF P21247). Co-operation with Denis Smalley (City University London) and David Hirst (University of Melbourne), finished in early 2011. Research project “Audiominer – Mathematical Signal Analysis and Modeling for Manipulation of Sound Objects“ (WWTF MA09-024) managed by Monika Dörfler (NUHAG, University Vienna), in co-operation with Simon Dixon (Queen Mary University of London) and Bruno Torrésani (CMI, Université de Provence). Research project “Automatic segmentation, labelling, and characterization of audio streams“ (FWF TRP 307-N23), managed by Gerhard Widmer (Johannes Kepler University, Linz/Austria). Ongoing research project “SALSA – Semantic Annotation by Learned Structured and Adaptive Signal Representations“ (WWTF MA14-018), managed by Monika Dörfler (NUHAG, University Vienna), in co-operation with OFAI.

Journal articles

• Nieto O., Mysore G. J., Wang C., Smith J. B. L., Schlüter J., Grill T., McFee B.: Audio-Based Music Structure Analysis: Current Trends, Open Challenges, and Applications, Transactions of ISMIR, 2020.

• Flexer A. and Grill T.: The problem of limited inter-rater agreement in modeling music similarity, Journal of New Music Research, 2016

• Holighaus N., Dörfler M., Velasco G. A., and Grill T., A framework for invertible, real-time constant-Q transforms, IEEE Transactions on Audio, Speech and Language Processing, Volume 21, Issue 4, pp. 775-785, 2013

• Klien V., Grill T., Flexer A.: On automated annotation of acousmatic music, Journal of New Music Research, Volume 41, Issue 2, pp. 153-173, 2012

• Darhuber A. A., Grill T., Stangl J., Bauer G., Lockwood D. J., Noel J.-P., Wang P. D., Sotomayor Torres C. M.: Elastic relaxation of dry-etched Si/SiGe quantum dots, Physical Review B 58(8), 1998

• Niquet Y.M., Gourgon C., Dang L., Mariette H., Priester C., Vieu C., Straub H., Brunthaler G., Darhuber A., Grill Th., Faschinger W., Bauer G.: Influence of inhomogeneous strain relaxation on the photoluminescence of II–VI nanostructures, Journal of Crystal Growth, Volumes 184–185, pp. 334–338, February 1998

Conference papers (peer-reviewed)

• Dörfler M., Bammer R., Grill T.: Inside the Spectrogram: Convolutional Neural Networks in Audio Processing. In Proceedings of the 12th International Conference on Sampling Theory and Applications (SampTA ’17), Talinn, Estonia, 2017.

• Grill T. and Schlüter J.: Two Convolutional Neural Networks for Bird Detection in Audio Signals. In Proceedings of the 25th European Signal Processing Conference (EUSIPCO 2017), Kos island, Greece, 2017.

• Holzapfel A. and Grill T.: Bayesian meter tracking on learned signal representations. In Proceedings of the 17th International Society for Music Information Retrieval Conference (ISMIR 2016), New York City, USA, 2016.

• Grill T. and Schlüter J.: Music boundary detection using neural networks on combined features and two-level annotations. In Proceedings of the 16th International Society for Music Information Retrieval Conference (ISMIR 2015), pp. 531–537, Málaga, Spain, 2015.

• Schlüter J. and Grill T.: Exploring data augmentation for improved singing voice detection with neural networks. In Proceedings of the 16th International Society for Music Information Retrieval Conference (ISMIR 2015), pp. 121–126, Málaga, Spain, 2015.

• Grill T. and Schlüter J.: Music boundary detection using neural networks on spectrograms and self-similarity lag matrices. In Proceedings of the 23rd European Signal Processing Conference (EUSIPCO 2015), pp. 1306—1310, Nice, France, 2015. • Ullrich K., Schlüter J., and Grill T.: Boundary Detection in Music Structure Analysis using Convolutional Neural Networks. In Proceedings of the 15th International Society for Music Information Retrieval Conference (ISMIR 2014), Taipei, Taiwan, 2014.

• Grill T.: On world construction, variation duoddaris, accepted for xCoAx 2014 – Computation, Communication, Aesthetics and X, Porto, 2014.

• Grill T., Flexer A.: Visualization of perceptual qualities in textural sounds, Proceedings of the International Computer Music Conference (ICMC 2012), pp. 589–596, Ljubljana, Slovenia, 2012

• Grill T.: Constructing high-level perceptual audio descriptors for textural sounds, Proceedings of the 9th Sound and Music Computing Conference (SMC 2012), pp. 486-493, Copenhagen, Denmark, 2012

• Velasco G. A., Holighaus N., Dörfler M., Grill T.: Constructing an invertible constant- Q transform with nonstationary Gabor frames, to appear in Proceedings of the 14th International Conference on Digital Audio Effects (DAFx-11), Paris, France, 2011

• Grill T., Flexer A., Cunningham S.: Identification of perceptual qualities in textural sounds using the repertory grid method, to appear in Proceedings of the Audio Mostly Conference, Coimbra, Portugal, 2011.

• Gasser M., Flexer A., Grill T.: On Computing Morphological Similarity of Audio Signals, Proceedings of the 8th Sound and Music Computing Conference, Padova, Italy, 2011

• Grill T.: Re-texturing the sonic environment, Proceedings of the 5th Audio Mostly Conference: A Conference on Interaction with Sound, pp. 42-48, Piteå, Sweden, 2010

• Klien V., Grill T., Flexer A.: Towards Automated Annotation of Acousmatic Music, Proceedings of the 7th Conference on Teaching Electroacoustic Music: Tools, Analysis, Composition, Shanghai, China, 2010

• Grill T., Köcher H., Blechmann T.: Enhancements to the pd developer branch initiated by the vibrez project, Proceedings of the 2007 pd convention, Montreal, 2007.

• Bukvic I., Kim J., Trueman D., Grill T.: munger1∼: Towards a cross-platform swiss- army knife of real-time granular synthesis, Proceedings of the 2007 International Computer Music Conference (ICMC2007), Copenhagen, 2007.

Book chapters

• Grill T.: pure words – (Ab)using Pd for Text-Based Score Generation, in Pd-Graz (ed.): bang. Pure Data, Wolke Verlag, Hofheim, 2006

Further scholarly work

• Grill T.: Perceptually informed organization of textural sounds, Dissertation, University of Music and Performing Arts, Graz, Austria, 2012

• Grill T.: Two-dimensional gesture mapping for interactive real-time electronic music instruments, Master thesis, University of Music and Performing Arts, Vienna, 2008

• Grill T.: Zur Gestaltung des elektronischen Teils der Komposition „granular“ by Katharina Klement, 2007

• Grill T.: Elektromagnetische Kammermusik, 2007 • Grill T.: Strain calculations for structured semiconductors, Diploma thesis, University Linz, 2002

Major software publications (selection)

All software publications for the systems Max/MSP and Pure Data are licensed under the GNU General Public License (GPL), ensuring access to the source code and the possibility of modification and sharing.

• flext – C++ development layer for Pure Data and Max/MSP The software library flext represents a uniform programming interface for the popular modular Real-time audio systems Max/MSP and Pure Data. Flext supports the development of extensions (plug-ins) for those systems, independent of the underlying operating system, Windows, MacOS or linux. Facilitated by its open- cv-en-long.docx – 14.04.21 00:27 Scientific research and development Dr. Thomas Grill, MA Curriculum Vitae Heinestrasse 13/7, 1020 Wien, Austria cell: +43 660 6110261, email: [email protected], web: http://grrrr.org - 22 -

source-ness flext is being used internationally, and has also been commercially licensed by renowned institutions. The systems antescofo (IMTR/IRCAM), Sound Design Toolkit SDT (Università di Verona), Soundspotter (Dartmouth), mootcher (freesound.org / Universitat Pompeu Fabra) and many more are based on flext.

• xsample – extended sample objects This library for Max/MSP and Pure Data bundles very efficient objects for convenient recording and playback of sampled sounds. It represents a popular fundament for loop-based and granular-synthesis software instruments.

• py/pyext – Python scripting objects This library enables embedding the omnipresent universal programming language Python in the framework of Max/MSP and Pure Data. This way many tasks that are difficult to implement in those systems can be realized much more efficiently. Python features a multitude of extension modules of all kinds that can now also be used within Max/MSP and Pure Data.

• VASP modular – vector assembling signal processor This extensive compilation of sound-processing objects enables the (within the Max/MSP and Pure Data) unusual but often desirable non-realtime handling of audio data – as comparable to the CDP (Composers Desktop Project) – for algorithmic composition and complex spectral and granular sound processing tasks.

• vst~ – VST plugin host This extension object enables the use of effect and instrument plug-ins adhering to the widely used VST standard within Pure Data.

• dyn~ – dynamic object management for Pd This extension object implements convenient management of dynamical program structures for Pure Data.

• pool – hierarchical data storage The hierarchical data base object pool enables easy and efficient management of varied data items.

• zconf – zeroconfig networking objects This library implements the registration and browsing of services in local networks. The constitution of network connections (e.g. for the transmission of control data using Open Sound Control) becomes thus much more convenient and robust.

• clk – syncable clocking objects This library implements a number of objects for highly precise and persistently stable timing, e.g. for the control of long-lasting sound installations or other complex time-related processes.

Peer review activities

• 2017: Reviewer for ACM Journal on Computing and Cultural Heritage

• 2017: Reviewer for Frontiers in Psychology • 2012–2015: Reviewer for the International Society for Music Information Retrieval (ISMIR) Conference

• 2013: Reviewer for the International Conference on Internet Technologies and Applications

• 2012: Program Committee Member for the International Computer Music Conference (ICMC)

• 2011 and 2012: Reviewer for the IRCAM Musical research residency • 2010-2012: Reviewer for the Sound and Music Computing Conference (SMC)

Funds raised for research and development

• Rotting sounds – Embracing the temporal deterioration of digital audio Principal applicant: Thomas Grill, Universität für Musik und darstellende Kunst Wien Funding body: Austrian Science Fund (FWF) Funding program: PEEK Topic: Medienkunst Total amount granted: 400.000 EUR

• Electroacoustic instruments and musical structures in the triangle of sound analysis, -synthesis and interactivity Principal applicant: Thomas Grill Funding body: Universität für Musik und darstellende Kunst, Wien Funding program: Uni:vision 2, 2008 Topic: music informatics, electroacoustic composition Total amount granted: 65.000 EUR

• Public Display Control Engine Principal applicant: Conceptual Art Technologies c:a:t Prix & Schiebeck OEG Funding body: Wirtschaftsförderungsfonds Wien Funding program: departure classic, C/0602 (2006) Topic: multimedia Total amount granted: 100.000 EUR

• Maestra, the multimedia performer Principal applicant: Köcher & Grill OEG Funding body: Wirtschaftsförderungsfonds Wien Funding program: Creative Industries Call 2003 Topic: multimedia Total amount granted: 100.000 EUR

Specialist competences

• Long-time practice as well as development and publication activities for the modular real-time systems Max/MSP/Jitter and Pure Data/GEM. Basic knowledge of supercollider, processing und ChucK.

• Conception, realization and staging of loudspeaker music, expertise in spatialization techniques of all kind (discrete, VBAP, ambisonics, WFS, acousmonium)

• Physical modeling and numeric, artificial intelligence (machine listening, machine learning, deep neural networks) and all aspects of audio processing (sound analysis, representation, classification and synthesis).

• Physical and audio computing on the platforms Arduino, Raspberry Pi, STM32 and Bela.

• Expertise with computer and media hard- and software of all generations, including pertinent practice in electronics. Long-time practice and professional development activities using the operating systems Microsoft Windows, Apple MacOS and linux.

• Long-time practice with diverse programming languages, especially C/C++, x86 assembly and Python. Furthermore, experience with C#, VBA, Pascal, Fortran, Java, Javascript, PHP, LISP and many more. Familiarity with important APIs as Quicktime, VST and OpenGL.

• Excellent knowledge of software packages for analytical and numerical mathematics (Mathematica, Matlab/Octave, numpy/scipy) and finite elements (MSC.Nastran).

• Professional knowledge of diverse standard software packages for office, scientific text processing (LaTeX) and presentation, as well as media (especially audio) software, such as DAWs (Logic, Cubase, Ableton Live, etc.), plugin packages, image processing, CAD, video editing and DVD authoring.

Teaching

My main focus lies in the students’ education towards originality, analytical and critical approach, experimentation with relish and independence from specific technologies for the conception and realization of media projects. Aspects of contemporary media technology can be both creative tools and actual subject, with the main focus being on the artistic idea and its adequate realization. Encouragement and guidance to active participation at exhibitions and performances, as well as contact to well-established artists shall help students to sharpen the senses, to overcome inhibitions and become immediately active.

Seminars and project supervision in university context

Since 2015 teaching as an associate lecturer at the University of Music and Performing Arts, Vienna (Institute for Composition and Electroacoustics)

Electroacoustic Music 5/6 Lecture and seminar (2 credit hours). Central artistic subject for the university course “Computer music and electronic media“.

• Advanced topics pertaining to music creation: Perception, Embodiment, Context • Repertoire of electroacoustic and experimental music • Study trips and guest lectures

Composition Lab 3/4 Project supervision (1 credit hour). Central artistic subject for the university course “Computer music and electronic media“.

• Individual project work

Studio technics Lab 3/4 Project supervision (1 credit hour). Central artistic subject for the university course “Computer music and electronic media“.

• Individual project work

Theory and Practice of Artistic Research 1/2

Artistic Research Lab 1–4

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From 2003 to 2015 teaching as an associate lecturer at the University of Applied Arts, Vienna (Institute for trans-media art):

Ton, Klang und akustische Gestaltung (sonic and acoustic design) I/II Seminar and project work (3 credit hours) Compulsory optional subject for the study “Media design – trans-media arts“ and “TransArts – trans-disciplinary art“.

• Basics of acoustics and perception • Technological basics: Equipment and tools, recording and editing (Cubase, Logic, Ableton Live), interactive systems (Pure Data, Max/MSP), sensorics (arduino) • Basics of musical creation: Notation systems, compositorial strategies, staging of sound in space • Repertoire of experimental and electroacoustic music • Study trips and guest lectures • Project work

Digitale Performance (digital performance) I/II Seminar and one-to-one-lessons (2 credit hours) Compulsory optional subject for the study “Media design – trans-media arts“ and “TransArts – trans-disciplinary art“.

• Conception and realization of intermedia compositions, performances and installations • Interactive systems, high/low tech, the interface between analog and digital • Repertoire of experimental media art • Supervision of semester, exhibition and diploma projects

In the years 2004 through 2012 teaching as an associate lecturer at the University of Music and Performing Arts, Vienna (Institute for Composition and Electroacoustics):

Programmieren für Musiker (programming for musicians) I/II Seminar and project work (2 credit hours) Elective course for the diploma study “Composition and music theory“ and the university course “Computer music and electronic media“.

• Programming basics in the context of new media: according to the knowledge and the orientation of the attendees using Pure Data/GEM, Max/MSP/Jitter, Python • Basics of physical computing (Arduino) • Strategies for the independent realization of compositorial, instrumental and installative media projects

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Invited scientific and artistic talks

• 2020 (October): Symposium at Musikprotokoll Festival, Graz/A, Panel discussion „Hidden Sounds“

• 2020 (January): Conference „Navigating the Postdigital“, Vienna/A, talk: “Sound Art and Curating – Machine Learning and Limits of Control

• 2019 (December): „Musical Materialities“, Symposium, University of Sussex, Brighton/UK

• 2019 (June): “Cassette Culture Node.Linz” Exhibition, Wien, talk: Artificial Intelligence and Music

• 2018 (September): Ars Electronica Festival @ Anton Bruckner University, talk and panel discussion: under control of Music | Music under control of … composing (in) digital worlds

• 2018 (June): “Cassette Culture Node.Linz” Exhibition, Kulturquartier Linz, talk: Artificial Intelligence und Musik

• 2018 (May): mur.at, Graz: Machine learning workshop Im Netz der Sinne, Vortrag • 2018 (May): Angewandte Praxis Vortragsserie, Angewandte Innovation Lab, Vortrag: Rotting sounds – embracing the temporal deterioration of digital audio

• 2018 (April): Artistic Research Symposium, Universität für Musik und darstellende Kunst Wien, Vortrag: Rotting sounds – embracing the temporal deterioration of digital audio

• 2017 (January): Berlin Interdisciplinary Workshop on Timbre, jointly organized by the Audio Communication Group, TU Berlin, the Department of Medical Physics and Acoustics, University of Oldenburg, and the Federal Institute for Music Research, Germany. Talk: Perceptual Modeling of Sound Textures by Use of End-to-End Deep Learning.

• 2016 (January): Department of Art&Science, University of Applied Arts, Vienna, Austria, talk: The sound of Listening

• 2014 (October): Faculty of Arts and Social Sciences, Sabancı University, Istanbul, Turkey, talk: Perceptually informed organization of textural sounds

• 2014 (May): Tecnologia Musical, University Nacional de Tres de Febrero (UNTREF), Buenos Aires, Argentina, talk: Strategies, concepts and examples of my work with recorded sound and its context – Artistic, technological and scientific aspects

• 2014 (May): Acoustic and Sound Perception Lab (LAPSO), University Of Quilmes, Buenos Aires, Argentina, talk: Strategies, concepts and examples of my work with recorded sound and its context – Artistic, technological and scientific aspects

• 2014 (May): Showroom of Contemporary Sound, Zagreb/Croatia, talk: Listening – sound and context

• 2014 (April): subnet.at – Meet the artist, Salzburg/Austria, talk: Towards “World Construction”

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• 2013 (December): 6th International Seminar on Multimedia technologies: New approaches in acoustics and sound, Nova Gorica/Slovenia, talk: Perceptually informed organization of textural sounds

• 2013 (October): Tulane University, Department of Music, New Orleans/USA, Artistic/technological talk: World construction – concepts and strategies

• 2013 (October): Loyola University, College of Music and Fine Arts, New Orleans/USA, Artistic talk: World construction – concepts and strategies, scientific talk: Analyzing, describing and organizing sounds

• 2013 (June): Athena Research Center, Institute for Language and Speech Processing, Athens/Greece, talk: Perceptually informed organization of textural sounds

• 2012 (November): Konservatorium Wien, Vienna/Austria, seminar: Live-Elektronik – Musikalische Erweiterung in Klang, Raum und Zeit

• 2012 (October): Austrian Research Institute for Artificial Intelligence (OFAI), Vienna/Austria, talk: Perceptually informed organization of textural sounds

• 2012 (June): University of Music and Performing Arts, Graz/Austria, talk: Perceptually informed organization of textural sounds

• 2011 (December): University of Music and Performing Arts, Vienna/Austria, lecture: Perspectives of Music Informatics – Algorithm and Perception and seminar: Digital sonic material – Structuring and interaction

• 2011 (November): IRCAM, Paris/France, Séminaire recherche – création: Exploring sound/gesture typo-morphology for enactive computer music performance

• 2011 (November): ISIR/UPMC, Paris/France, Touch the sound – aspects of interaction with concrete sounds

• 2011 (November): ICST/ZHdK, Zürich/Switzerland, Touch the sound – aspects of interaction with concrete sounds

• 2011 (September): IRCAM, Paris/F, Séminaire recherche–création: “Touch the sound“

• 2011 (May): University of Music and Performing Arts Vienna/A, Institute for Composition and Electro-Acoustics: „Touch the sound – aspects of interaction with concrete sounds“

• 2011 (May): Anton-Bruckner-Privatuniversität Linz/A, Computer Music Studio: „Touch the sound – aspects of interaction with concrete sounds“

• 2011 (January): Austrian Research Institute for Artificial Intelligence (OFAI, Vienna/A): „More expressive and intuitive electronic instruments through the integration of machine listening concepts“

• 2010 (November): Zurich University of the Arts (ZHDK, Zürich/CH), Institute for Computer Music and Sound Technology (ICST), Musical Gesture and Sonic Interaction workshop: „Exploring sound/gesture typo-morphology for enactive computer music performance“

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• 2010 (May): Austrian Research Institute for Artificial Intelligence (OFAI, Vienna/A), First International Audio-Miner workshop: „Characterization of audio textures with fluctuation patterns“

• 2009 (September): Centro Mexicano para la Música y Artes Sonoras (CMMAS, Morelia/MX), seminar talk: „Playing, sounding, listening“

• 2009 (May): Institut für Musik Und Medien, Robert Schumann Hochschule Düsseldorf/D, seminar talk: „öhren“ („earing“)

• 2008 (December): University of Technology (TU) Vienna/A, Institute for Media Informatics, seminar „Interactive arts“: Lecture on current installation works

• 2008 (November): IRCAM, Paris/F, Séminaire invité “Réalisation en Informatique Musicale” (RIM): „flext – C++ programming layer for cross-platform development of Max/MSP and Pd externals“

• 2007 (December): University of Technology (TU) Vienna/A, Institute for Media Informatics, seminar „Interactive arts“: Lecture on current musical works

• 2007 (November): Copenhagen Business School, Department of Innovation and Organizational Economics (INO), Copenhagen/DK, research seminar: „Incentives and methods of collaborative software development“

Conduction of scientific and artistic workshops

• 2019 (May): Herzen University, St.Petersburg/RU • 2018 (May): mur.at, Graz: Machine learning workshop Im Netz der Sinne • 2016 (April): The Golden Pixel Cooperative, Vienna, Austria: The rest is sound, workshop for video artists.

• 2014 (October): TADAEX Festival, Teheran, Iran, Pure Data for electroacoustic composers and musicians

• 2014 (May): Escuela Universitaria de Música, Montevideo, Uruguay, Pure Data for electroacoustic composers and musicians

• 2014 (May): Facultad de Ingeniería, Universidad de la República, Montevideo, Uruguay, Scientific computing with Python

• 2012 (December): Austrian Research Institute for Artificial Intelligence (OFAI), Vienna/Austria, Scientific Computing with Python

• 2011 (August): Pure Data Conference / Bauhaus Summer School, Weimar/D, „Universal Polyphonic Player“

• 2011 (June): Internationales Zentrum für zeitgenössische Musik (IZZM), Villach/A, „Thinking in sound“ (together with Maja Osojnik)

• 2009 (March): University of Music and Performing Arts, Vienna/A, “Sensorics” (together with Erich Berger)

• 2009 (March): MedienKunstLabor | Kunsthaus Graz / University of Applied Arts Vienna, Graz/A, “Sensorics” (together with Erich Berger)

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• 2007 (June): University of Music and Performing Arts, Vienna/A, “Sound projection” (together with Igor Lintz-Maués)

• 2001/2002: University of Music and Performing Arts, Vienna/A, “Audio programming in C/C++”

Doctoral supervision

• Ivar Roban Krizic, 2020–

Supervised theses (selection)

• Fabian Lanzmaier, 2020: Orellana, Ecuador • Paul Ebhart, 2020: BEUMA • Moritz Nahold, 2019: Room of Entities • Julian Angerer, 2019: Unterwassertage • Isabella Forciniti, 2019: Recentering Places. The Heard and the Seen. • Evgeny Ignashev, 2018: Spectral Spatialization • Doris Pollhammer, 2018: Wahrnehmung der Abwesenheit. Abwesenheit der Wahrnehmung

• Harald Stojan, 2017: Gesture of Sound • Paule Perrier, 2017: Voice – primal instrument • Luiza Schulz, 2017: miss understand me • Bernd Landgraf, 2014: A web-based Sound- and Music-Browser • Karen Ullrich, 2014: Feed-forward neural networks for boundary detection in music structure analysis

• Marie Fegerl, 2014: Eine Ampelsinfonie – Listening score as an art book • Josef Pfeiffer, 2012: Der Moment von Bewegung im Raum – Audio installation • Astrid Seme, 2011: Urbirds singing the sonata – Audio installation • Isabella Kohlhuber, 2011: ferne-rohr – Mixed-media installation • Verena Dürr-Cala, 2011: spare me from irony – Music and performance • Simone Klien, 2011: _my hood – Audiovisual installation • Renate Mihatsch, 2010: Taking FROM Leaving IN Moving ON – Interactive book presentation

• Ulla Rauter, 2009: Voice-void-noise – Sculpture and audiovisual installation • Kristina Feuchter, 2009: Breathing Portraits – Audiovisual installation • Martin Rille, 2009: Coded sensation – Performance • Karla Spiluttini, 2009: contemplation instability – Interactive video installation

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• Catherine Ludwig, 2006: aus/sicht – Audiovisual installation • Ernst Logar, 2004: Den Blick hinrichten – Audiovisual installation

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