Yu-Chung Tseng (DMA, University of North Texas) is a professor of electronic music composition and director of the multi-channel Sound Lab at National Yang Ming Chiao Tung University (NYCU), Taiwan.

Writing for acoustic and electronic media, Tseng has received prestigious awards from the Pierre Schaeffer International Computer Music Competition (1st Prize), Musica Nova (1st Prize), Città di Udine, Taukay Edizioni Musicali, RMN Classical, KLANG (2nd Prize), and the International Computer Music Conference (ICMC Best Music Award: 2011, 2015, 2022). He was also a finalist at Metamorphoses and the Polish International Electroacoustic Music Competition.

His works are widely performed at global festivals, including ICMC (selected 17 times), NYCEMF, Musicacoustica, SICMF, Visiones Sonoras, ACL, and Taiwan C-LAB.Tseng’s music is released on international labels such as CDCM (USA), Discontact iii (Canada), Metamorphoses (Belgium), SEAMUS (USA), Contemporanea (Italy), and ICMC.

The work is a profound symbol of Eastern humanism. Metascape of Bamboo is built upon raw recordings of its chaotic collisions and random chirps. Transcending mere sonic depiction, it transforms the landscape from a passive backdrop into an active “practice of freedom.” By focusing on bamboo’s lesser-known, micro-sonic voices, the piece engages in a profound act of “listening and caring.” This deep perception acts as gentle resistance, reclaiming delicate details and chaotic realities often ignored by rigid systems. The work oscillates between concrete acoustic recordings and highly processed textures, reflecting the Eastern philosophical contrasts of yin and yang, virtuality and reality. Within this duality lies its core perspective: creative disobedience. By rewriting our sonic environment, the composition asserts a proactive concept of landscape—proving that through focused listening and creating, we can experience boundless freedom within a constrained world.

Rosario Di Rosa is a Sicilian musician and composer whose work moves between jazz, contemporary composition and experimental electronics, treating sound as a living material shaped through layers, fragments, and shifting relationships between the acoustic and the electronic. Trained in visual arts and in both jazz and classical piano, he was selected early in his career among the 50 most promising young pianists at the Martial Solal Competition in Paris. A multi–Jazzit Award winner, he later developed a highly personal electronic language that has become central to his artistic practice. His albums Zehra (2020) and Studio disarmonico di un attimo (2021) were included among the year’s best by Percorsi Musicali. He has released works on several Italian and international labels. Some of his electroacoustic or audiovisual compositions have been selected for various international festivals, including Ars Electronica in Austria and Syncresis in Spain.

AI and I is the concluding module of u/nu, an audiovisual work exploring identity through glitch processes, AI-generated voice, and field recordings collected between Sicily and Sardinia. The piece begins with a synthetic, disembodied AI voice that gradually destabilizes, collapsing into a “reverse climax” where human traces and environmental sounds emerge. Children’s voices, outdoor textures, and unprocessed ambience reoccupy the sonic space, turning the landscape into a form of resistance. The work subverts system-encoded identity: the artificial voice erodes, and the real world reclaims agency. Here the landscape becomes a political force, pushing back against abstraction and algorithmic homogenization. AI and I proposes listening as an act of freedom, where the natural environment disrupts the system and asserts its presence.

ZHAO Yixuan (https://www.zhao-yixuan.com/ )is a composer, a lecturer at the Electronic Music Center, Department of Music AI and Music Information Technology, Central Conservatory of Music, China, and a visiting researcher at the Royal Birmingham Conservatoire, UK. She worked as a post-doctoral researcher at the Central Conservatory of Music. She has been dedicated to exploring the practice of digital audio and AI in composition and collaborating with performers to search for more possibilities in technological performance environments. Her composition spans interactive music, electroacoustic music, contemporary music, and new media art. Her works have won numerous awards and performed in many international conferences and concerts, including NIME, ICMC, Ars Electronica, TENOR, Summit on Music Intelligence, Journées d’Informatique Musicale, TiMP, IRCAM Forum, Nottingham New Music Festival, MUSICACOUSTICA-BEIJING, Beijing Youth Arts Festival, WOCMAT Taiwan, among others.

Coming and Vanishing is a work for flute and electronics that explores sound as a transient and unstable phenomenon. The flute interacts closely with the electronic layer through air sounds, breath tones, and extended techniques. Pitch and noise are deliberately blurred, allowing the instrument to function not as a melodic foreground but as a fluctuating presence. The electronic part is primarily built from processed human whispers and breaths, materials detached from linguistic meaning. Through subtle layering and diffusion, the voices lose semantic clarity and become abstract sonic matter. Neither acoustic nor electronic sound assumes a dominant role; instead, they exist in a continuous state of mutual negotiation, shaping and destabilizing one another in real time. Coming and Vanishing presents music as a dynamic process, existing only within the persistent tension between appearance and disappearance, presence and loss, immediacy and dissolution.

Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition, and architecture in Lisbon. He completed a Ph.D. in Music at the University of New York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music, and experimental video. He has received over 70 international prizes and awards for his works, including the prestigious Guggenheim Fellowship in 2023, the Bourges Magisterium Prize, and the Giga-Hertz Special Award, among others. His music is played all over the world. He taught at Aveiro University (Portugal) and Federal University of Minas Gerais (Brazil). His publications include several articles in journals and a book on 20th century music theory. www.jpoliveira.com

This piece is inspired on the first vision of the prophet Ezechiel: Et vidi et ecce ventus turbinis veniebat ab aquilone et nubes magna et ignis involvens et splendor in circuitu eius et de medio eius quasi species electri id est de medio ignis (Ezechiel 1:4). And I looked, and behold, a whirlwind came out of the north, a great cloud, and a fire unfolding itself; and a brightness was about it, and out of the midst thereof as the color of amber, out of the midst of the fire.

Panayiotis Kokoras is an internationally acclaimed composer and computer music innovator, serving as Regents Professor of Composition and Director of the Center for Experimental Music and Intermedia at the University of North Texas. His music is grounded in the concept of Holophonic Musical Texture, in which sound functions as the primary structural and expressive element. Integrating research in timbre, extended techniques, robotics, spatial audio, and music information retrieval, his work explores the virtuosity of sound as form. His compositions have received over one thousand performances worldwide and more than ninety international awards, including honors from the Guggenheim Foundation, Prix Ars Electronica, Giga-Hertz Award, Destellos Prize, and the Takemitsu Composition Award. He currently serves as President of the International Confederation of Electroacoustic Music.

Fantastic Carousel presents an electromechanical sound installation that reimagines the pan flute through Fab Synthesis. Rotating wheels fitted with straws, PVC tubes, and bottles form a hyper-pan flute, generating continuous evolving tones. A motor controls rotational speed while an airbrush system shapes airflow and resonance in real time. Mechanical motion and human intervention merge, producing shifting textures and immersive timbral fields. The work transforms acoustic resonance into kinetic sculpture, extending wind instrument practice through robotics and dynamic modulation. Fantastic Carousel embodies Fab Synthesis as a seamless integration of material vibration, motion, and expressive control.