"El ruido encarna los sueños que la música tiene de nosotros... " --FELDMAN

Giorgio Colombo Taccani was born in Milan in 1961. He pursued a classical education, graduating from the University of Milan with a thesis in Music History devoted to Bruno Maderna's Hyperion.
At the same time he also studied music, earning a degree in Piano and in Composition at the "G. Verdi" Conservatory in Milan, studying with Pippo Molino and Azio Corghi. He subsequently earned a diploma from the two-year advanced program in Composition taught by Franco Donatoni at the Santa Cecilia Academy of Rome, where he won a S.I.A.E. fellowship; he also took advanced courses with Azio Corghi and György Ligeti and in 1995 was chosen to attend a Summer workshop organized by IRCAM and dedicated to electronic music.
Colombo Taccani's music has won awards and honorable mentions in competitions of both national and international scope, has been regularly presented in concert seasons and music Festivals, has been broadcast by National Radios, and is published by Edizioni Suvini Zerboni, Milan.
Since 1991 to 2001 he has been working with electronic music at AGON acustica informatica musica. 
He assisted Azio Corghi during the advanced course of Composition at the "A. Toscanini" Academy in Parma. Since 1992 to 1999 he taught Composition at the "Civica Scuola di Musica" in Milan. 
Since 2005 he collaborates with the Conducting course (that focuses primarily on contemporary repertoire) taught by Giorgio Bernasconi and Arturo Tamayo at the Conservatorio della Svizzera Italiana, Lugano.
He teaches Composition at the G. Verdi Conservatory in Turin. 

Fernanda Navarro is a composer, who works with acoustic and electroacoustic music, performance art and installation. For more info, please visit: www.fernandanavarro.net

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This account contains examples from a programming language for audio.
This language is still very experimental and is not available. 

WHAT

This programming language is called:

"A tool for the expression of sound as pure form."

It is an interpreter for a language for creating and transforming sound. The
language is mostly functional, stack based and uses postfix notation similar to
FORTH. It represents audio and control events using lazy, possibly infinite
sequences. It intends to do for lazy sequences what APL does for arrays: provide
very high level functions with pervasive automatic mapping, scanning, and
reduction operators. This makes for a language where short programs can achieve
results out of proportion to their size. Because nearly all of the programmer
accessible data types are immutable, the language can easily run multiple
threads without deadlock or corruption.

WHY

Other languages that inspired this one:
    APL, Joy[1], Haskell, Piccola[2], Nyquist[3], SuperCollider[4].

APL and FORTH (from which Joy derives) are both widely derided for being
write-only languages. Nevertheless, there has yet to be a language of such
concise expressive power as APL or its descendants. APL is powerful not because
of its bizarre symbols or syntax, but due to the way it automatically maps
operations over arrays and allows iterations at depth within arrays. This means
one almost never needs to write a loop or think about operations one-at-a-time.
Instead one can think about operations on whole structures.

Here is a great quote from Alan Perlis[5] on APL, which that also reflects my
interest in this way of programming :
"What attracted me, then, to APL was a feeling that perhaps through APL one
might begin to acquire some of the dimensions in programming that we revere in
natural language — some of the pleasures of composition; of saying things
elegantly; of being brief, poetic, artistic, that makes our natural languages
so precious to us."

The Joy language introduced concatenative functional programming. This generally
means a stack based virtual machine, and a program consisting of words which are
functions taking an input stack and returning an output stack. The natural
syntax that results is postfix. Over a very long time I have come to feel that
syntax gets in between me and the power in a language. Postfix is the least
syntax possible.

There are several reasons I like the concatenative style of programming:
    Function composition is concatenation. 
    Pipelining values through functions to get new values is the most natural
        idiom.
    Functions are applied from left to right instead of inside out. 
    Support for multiple return values comes for free. 
    No need for operator precedence. 
    Fewer delimiters are required: 
        Parentheses are not needed to control operator precedence.
        Semicolons are not needed to separate statements.
        Commas are not needed to separate arguments.


When I am programming interactively, I most often find myself in the situation
where I have a value and I want to transform it to something else. The thing to
do is apply a function with some parameters. With concatenative programming this
is very natural. You string along several words and get a new value.


REFERENCES    

1. http://www.kevinalbrecht.com/code/joy-mirror/joy.html

2. http://scg.unibe.ch/research/piccola

3. http://www.cs.cmu.edu/~music/nyquist/

4. http://supercollider.sourceforge.net

5. http://www.jsoftware.com/papers/perlis78.htm


Cadós ou Qadós, é trapaceiro nato em São Paulo, inventor de histórias, jogos, instalações, brincadeiras, objetos e instrumentos que procuram explorar a partir do sonoro, todas as outras linguagens com que se cruzam. Tem sido convidado a apresentar trabalhos e tem apresentado trabalhos onde não tem sido convidado como em teatros; centros culturais; bares; casas noturnas; casas de amigos; casas abandonadas; na rua; em terrenos baldios e espaços públicos em geral. 


Composer (/curator/writer/researcher/video artist) Mu-Xuan Lin (林慕萱) (Taiwan/USA) defines her life as a quest for an artistic autonomy poetically engendered by both its will and its vulnerability to one’s corporeal experience and to the world one lives in. Having had extensive training in the visual arts and creative writing and frequent exposure to theatre, dance, and literature from an early age, and profound influences from the cinema, Mu-Xuan is interested in the intrinsic kineses latent within any expressive matter which can be extracted, dissected, critiqued, and recreated in new artistic deliverances.

Described by the Los Angeles Times as “fascinating” and by the SRF2 kultur as “sonically sensuous,” her music has been heard worldwide, and on a SOOND (EU) and an ein_klang (Austria) records. She is a guest-composer/faculty at the Novalis music+art Festival (Croatia) and the New Music on the Bluff festival (USA), the winner of the Protonwerk No.3 award (Switzerland) and Ensemble Adapter’s commission project “Adoptions 2017” (Germany), an artist-in-residence at the Cité Internationale des Arts in Paris (France), an awardee of New Music USA, Max Kade, Mellon, Center for German and European Studies (DAAD program), FACE Croatia, Gardner Read, ASCAP grants, and multiple NCAF (國藝會, Taiwan) grants. Formerly, she has participated as a selected active fellow at various festivals and conferences such as the Summer Academy at Schloss Solitude (Germany), Darmstadt Summer Course (Germany), EXPERIMENTALSTUDIO’s Matrix15 (Germany), June in Buffalo (USA), Acanthes de Metz (France), Sävellyspaja (Finland), Ticino Musica (Switzerland), Delian Academy (Greece), and Virginia Center for the Creative Arts, an Associate Artist at the Atlantic Center for the Arts working with Master Artist Georg Friedrich Haas, a representative for KoFoMi (KomponistInnenforum Mittersill) and the residency in Salzburg (Austria). Her works have been featured at Festival AFEKT 2022 (Estonia), the Donaueschinger Musiktage – Next Generation konzert 2016 (Germany), Innovation Series 2017 (新點子樂展) – 30thAnniversary Edition of Taipei National Theater & Concert Hall (Taiwan), deciBels Festival 2020 (Latvia), the Piano Spheres Concert Series (Los Angeles), Mise-En Festival 2019 (New York), Hear Now Festival (Los Angeles), New Gallery Concert Series (Boston), Splice Festival (Missouri), and the 180º Festival (Bulgaria), and honorable mention/finalist of various competitions including the 2016 neuverBand’s and 2022 loadbang’s international commission competitions (honorable mention) and the 2015 Darmstadt Music Theatre Competition (semi-finalist).

She is working with ensemble 3peoplemusic (三個人, Taipei), loadbang (NYC), duo NéMeu (Paris) and sheng artist Li-Chin Li (Taiwan) among others, and has worked with TAK Ensemble (USA), Neue Vocalsolisten Stuttgart (Germany), Ensemble Adapter (Germany), Ensemble SurPlus (Germany), Ensemble Proton Bern (Switzerland), Secession Orchestra (France), Avanti! Chamber Orchestra (Finland), Norrbotten NEO (Sweden), members of the Lapland Chamber Orchestra (Lapin Kamariorkesteri, Finland), Talujon Percussion Group, Radnofsky Quartet, Lydian Quartet, Dinosaur Annex, Transient Canvas, Urbanity Dance Project, percussionist Aiyun Huang, soprano Tony Arnold, pianist Vicki Ray, and flutist Shao-Wei Chou among many others.

Recently, in addition to composition and an increased engagement in video art, Mu-Xuan is venturing into the work of performing arts curation and dramaturge. In 2023, she co-founded Studio Nekton (宇宙微波) with flutist/performer Shao-Wei Chou for further developing collaborative projects involving programing, curation, and creations.  She was the concept-curator, dramaturg, visual and stage designer of Taiwanese zheng artist Jing-Mu Kuo’s 2023 abstract-theatrical recital “Waterfalls” involving five new compositions (Taiwan), and served as the artistic director/conception, visual and stage designer, media artist, and co-producer for Studio Nekton’s 2024-25 multimodal program “Speak, Transparence” (France and Taiwan) featuring Shao-Wei Chou, storytelling artist Soma Yang, and herself (as composer-dancer).

Mu-Xuan received her Bachelor of Music in Composition from the New England Conservatory, MFA and Ph.D. in Music Composition and Theory from Brandeis University, and the Certificate of Advanced Studies Curating (CAS) at the Zürcher Hochschule der Künste.  Her primary instructors in composition include David Rakowski, Melinda Wagner, Yu-Hui Chang (張玉慧), Eric Chasalow, Michael Gandolfi, Larry Bell, and Ya-Ming Hsu (許雅民). She has also received instruction from Mark Andre, Oscar Bianchi, Chaya Czernowin, Francesco Filidei, Joshua Fineberg, Beat Furrer, Bernhard Gander, Georg Friedrich Haas, Stephen Hartke, Philippe Hurel, Louis Karchin, Fabien Lévy, Claus-Steffen Mahnkopf, Samir Odeh-Tamimi, Hilda Paredes, Hèctor Parra, Rebecca Saunders, Dominique Schafer, Johannes Schöllhorn, Oscar Strasnoy, Hans Thomalla, and Jukka Tiensuu. At the ZhdK (Zürich) for the curating program, she was under the tutelage of Dorothee Richter.

As a researcher, Mu-Xuan’s Ph.D. dissertation “On the Epistemological and the Methodological Approaches in the Analysis of Contemporary Music and a Synthesized Analysis of Fausto Romitelli’s La Sabbia del Tempo (1991) illuminates her interest in the epistemological aspects of artistic and musical creativity. Her 2023 article “The Erotic and the Melancholy of a Sincere Postmodern Identity – the cinematic spaces and a vulnerable time” will be published by Cambridge Scholars in the volume "Crossing into Distance: Contemporary Composers on the Present and Future of Art Music" in 2024/25. As the primary investigator, her interview (co-authored with Maria Sorensen) with German sociologist Klaus Theweleit about his psychoanalytic works on right-wing fascism, will be published in 2025-26.

As a music educator, Mu-Xuan is an Assistant Professor of Composition at the University of California, Berkeley.  She has previously taught at Brandeis University and California State University Long Beach, and had served as an Instructional Professor and a lecturer at Chapman University.

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