When robots save us time. A problem with a future.

The digitalisation of work and the use of robots require fundamental questions to be asked about the role of humans in this process. Machines and robots that act and decide more and more independently are moving into our living environments. Robots are facing increasingly demanding tasks, currently they are only used in factories that are already largely automated, to maximise profit more efficiently than break-demanding, error-prone, and union-organised humans. This is because beyond the world of work, they are now set to learn how to act more independently and learn from their own errors, something so many people still cannot manage. There is also the question of morals, ethics, and culture; values reflected in what they say and do – values that many people are losing. 
Which programming god will manage it? And on what fateful day?

Are humanoids now becoming the more humane humans? Would they be able to better protect the planet and our animals, to safeguard their own morality?

Or will they cause ethical problems, for instance by leading to new dependencies instead of freedoms and turning people into objects monitored by technical systems or powerful monopolies? With loss of privacy and autonomy as a possible consequence.
People are worried that computers are becoming too clever and could take over our planet. The actual problem, however, is that they are too dumb and have already taken over the world.

In the future, we will have to do things that people can do easily, but machines cannot.

Musically, electronics are in competition with ensembles. Still rather subdued in the beginning, machines are becoming more and more dominant. Both worlds are trying to learn from each other, for mutual benefit. Is increasing the rhythm still decisive in the pursuit of maximum efficiency? The question of perfection is being asked more and more. Uncertainty and fear of the future are fragmentarily penetrating the human ensemble. Will robots replace them as well? After all, they have since evolved in harmony and imitation. Maybe switching them off will provide a solution – both of them to start again, both in their own way.

ROBOTICtack - WANG

Upcoming

10.10.2025, 17h, Berlin, Berlinerphilharmonie, Kammermusiksaal - Breakdown Resonanzraum No. 2 (2025) - Kammerakademie Potsdam 


24.10.2025, 20h, Paris, Cité de la musique, Salle des concerts - SOUTH MEMPHIS, BITCH (*UA 2025) - ensemble intercontemperain, Festival d'Automne


29.10.2025, 20h, Berlin, Kesselhaus in der Kulturbrauerei - Confections of the Mind, Version 2 (*UA 2025), thermo_doxa (2024), Orchestra (2025) - ensemble mosaik


18.11.2025, 19:30, Wiener Konzerthaus, Berio-Saal - Isolation Forest (2023) - Ensemble Phace


20.11.2025, 20h, Wien, Musikverein, Gläsener Saal - thermo_doxa (2024) - Black Page Orchestra


24.2.2026, 20h, Rudolf-Oetker-Halle, Grosser Saal - Sketch for Kritter (AT) (2025) - Trixster Orchestra


21.3.2026, 19:30, Wiener Konzerthaus, Berio-Saal - thermo_doxa (2024) - Ensemble Phace


29.5.2026, 20h, Theater am Alten Markt, Kritter (AT) (2025) - Bielefeld Theater






Photos: 
Profile: by Camilo Pachón, Stiftung Künstlerdorf 2024
Simulation - Part One: © IEMA/Wonge Bergmann

Stefan Pontz is a music teacher working at a music school around Passau. Musical interests from classical to jazz, from rock to electronics...

Electronic musician, improviser, sound designer, composer based in Berlin. Please see http://korhanerel.com for more info

Dr. Shuhan Hu, Chinese composer and music theory researcher.

She began learning music at the age of 4 from her father, composer and professor in composition. She has been working at the College of Music, Nanjing University of the Arts since 2008, teaching composition and orchestration. She received her PhD in composition in 2019 from the Shanghai Conservatory of Music. Now she is chercheuse en acceuil at CNSMDP, under the direction of Prof. Frédéric Durieux, and also a private student of Tristan Murail.

During her master's studies at Shanghai Conservatory, she became interested in spectral music and began to study it systematically. Her master's dissertation is entitled "Research on spectral composition based on OpenMusic". In 2015, Tristan Murail started to give regular composition masterclasses to the students of Shanghai Conservatory, and so she attended his composition classes every year thereafter, profoundly influenced by him. Today, she remains a private student of Professor Murail, having regular private classes with him at his home in Provence. During her doctoral studies, she focused on music centered on timbre and sound with her doctoral dissertation entitled "Morphology of Gestures and Textures in Contemporary Music Centered on Timbre and Sound and their Structural Functions". Besides, she has also published two articles on spectral music in the Journal of Shanghai Conservatory of Music, "Art of Music," a very prestigious academic journal in China: Deciphering the Code of Spectral Music: The Concept of Sound in Spectral Composition (Art of Music, Sept. 2010, pp.125-130); On Techniques and Means of Orchestration in Spectral Composition (Art of Music, Sept. 2015, pp.123-131). 

Recently, she also participated in masterclasses with Liza Lim, Yann Robin, Francesco Filidei, Mauro Lanza, Johannes Schöllhorn and many other well-known composers, and has also received their recognition.

Her major works include Xiao, for alto flute (which won the Ex aeqvo prize in the A category of the 2008 Youth International Music Competition); Streaming, for three Chinese plucked instruments (which won third prize in the 2008 "Music of China" International Composition Competition); Le Trou de neige, for ensemble (premiered by the Israel Contemporary Players, conducted by Zsolt Nagy in 2016); The Sea as My Blood, for trumpet, doubled-bell trombone and percussion (will be premiered by Elision Ensemble at the end of 2024); Lamps, and Slices of the Night, for large orchestra (premiered by the Shanghai Philharmonic Orchestra, conducted by Zhang Liang in 2016); Portrait: Flowing Water, for large orchestra (premiered by the Shanghai Philharmonic Orchestra, conducted by Zhang Liang in 2018); Happy, Lively, Vengeful Teeth, for piano trio (premiered by Ensemble Fractales, conducted by Jean-Bernard Matter, at Schloss Reichenau, Austria, in 2019) ; While the Fishes Playing the Sonata, the Deeper the Water Is, the Longer the Song Is, for quartet of doubled-bell brasses (premiered by Ensemble Musikfabrik in Dec. 2020); Les Fleurs de pêcher s'épanouissent à travers les fissures des os, for solo cello (commissioned by Radio France, premiered by Marie Ythier at Festival Présences 2022), etc.

https://www.youtube.com/user/DRORELIMELECH120V

https://www.facebook.com/dror.elimelech.338/


ACOUSTIC AND   ELECTRO-ACOUSTIC  COMPOSER .
STUDIED  COMPOSITION WITH  SERGIU  NATRA .
ELECTRONIC AND  ELECTROACOUSTIC  MUSIC  WITH YIZHAK  SADAI .
PIANO  --  WITH  PNINA  SALZMAN  , BART  BERMAN  , AVI  SCHONFELD .
CONTEMPORARY CLASSIC  COMPOSER , ACOUSTIC ,
ELECTRONIC AND  ELECTROACOUSTIC   MUSIC , 
EXPERIMENTAL  MUSIC . SOUND  ARTIST .
IMPROVISATION AND INTUITIVE MUSIC .
PIANIST .
ACCORDION AND  RECORDER  PLAYER .
FOUNDED  AND  CURATED    2  SERIES  OF  CONTEMPORARY  CLASSIC  MUSIC   IN TEL AVIV  ,  ISRAEL  -- 
 " NIGHT  HAPPENING -  FORUM FOR EXPERIMENTAL MUSIC "    1986  -  2007
" OTHER  ISRAELI  MUSIC "      1985   -  1987
MANY COLLABORATIONS  WITH  POETS , ACTORS , DANCERS ,  PAINTERS ,
 VIDEO ARTISTS , PERFORMANCE  ARTISTS .
MORE THAN  120  PREMIERS  OF  NEW  CONTEMPORARY  CLASSIC MUSIC - 
ACOUSTIC , ELECTROACOUSTIC , MULTI-MEDIA  --  WERE  PRESENTED
IN  HIS  SERIES DURING  23  YEARS OF ACTIVITY .
HIS  MUSIC WAS  PERFORMED  IN  EUROPE , CANADA , USA .
WON  VARIOUS GRANTS AND PRIZES .

ROBOTICtack - WANG

Ying Wang Composer