“…less than ever does a simple reproduction of reality express something about reality.” In 1931, five years before The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin published “Little History of Photography,” an essay which is striking in its subtle grasp of the implications of recent technologies for the visual arts, along with an admirable technological optimism. Benjamin examines what a photograph does that a functionally similar painting cannot do. His essay helped me to revisit what is by now a long-established genre – the instrument and live computer piece. In “Little History of Photography,” the microphone is considered as a kind of camera that captures and transforms “reality,” creating a situation in which the performer addresses herself to the microphone, aware that transitory moments can become fixed documents at any time.

This piece is related to another work by the artist (Noise with Noise) and is a reinterpretation of that piece. In this work, the earlier composition is heavily processed using noise reduction tools to the point where, although the original noise is largely gone, the processing steps have introduced their own forms of noise that modulate and interact with the original elements.

The seventh in the series of Soundings in Pure Duration provides a wealth of timbres and trajectories in octophonic space designed to place the alto saxophone soloist in the middle of varying degrees of transformative motion, musical and physical. No, the saxophonist doesn’t fly around the hall, but the three-dimensional temporally structured spatialization of the constantly evolving sounds creates the impression of everything, including the soloist, moving in contrappuntal complexities.

Spider’s Web is my latest composition to date. Voices are used with major alterations to the sound source. Virtual acoustics where different sounds live in the same space but with different acoustical rooms, this can’t happen in real life where only one acoustic is present at each time. Spider’s Web is a journey where we see more than one thing at a time

I made this music inspired by IDM (Intelligent Dance Music), so I called my piece “IDB”, which stands for “Intelligent Dance Bass”. In this piece I use a lots of sound samples in New York.

Poltergeist is a piece for violin and fixed media, based on a “non linear approach” to “non linear techniques.” It is organized into three movements. In each of them, the composer uses sound materials obtained from non linear algorithms (the first movement is inspired by the Renè Thom “catastrophis theory”, the second movement takes inspiration from the attractors theory, while in the last is used an algorithm that simulates the double pendulum motion), in a personal way (combining sounds according a “conscious atomistic” style, an expressive way to build harmonies, counterpoints and melodies, on which the composer is basing his recent studies).

Reverie is the composition series for making extended sonic harmonic electric guitar. It recorded and edited by composer own with a electric guitar and a laptop. Extended sonic harmonic has been realized with Max/MSP programing. It almost makes sounds to isolate any harmonics while playing guitar.

River is a piece for calling the peace for both environment and human societies. The sound of Oboe represents as river, which reflects the human history in reality; the sound generated by electronic/computer therefore is the irrigation from river, it resonates from the earth to the whole universe – to bless the world return to its original serene.

Material Soundscapes Collide is a duo improvisation between composer-guitarist Arthur Kampela and interactive audiovisual technologist-improvisor Joshua Mailman. The duo and solo sections of the improvisation present call-and-response interactions, as well as oppositions and trajectories of percussive-noise from the extended playing of a classical guitar (Kampela) and from digitally synthesized unpitched percussion-noise sounds from the FluxNOISations sensor-based full-body interactive system (Mailman). Additionally the FluxNOISations system displays spontaneously generated visual imagery that responds to both its own sounds as well as those of the guitar.

Kampela’s extended guitar playing involves an entirely new playing technique, combining in a compelling and seamless manner, traditional playing techniques and noise oriented, percussive effects. “Kampela’s effects were fascinatingly inventive. The best was his use of a spoon to give the guitar a wavery, underwater sound.” – NY Times, 1993

Visual music programmed in JavaScript, HTML, and Csound. A hopalong fractal is used both to generate video and to generate a musical score. The piece is interactive and must be performed. The performer controls the evolution of the fractals and interactively selects chord transformations that are applied to the music.

“Nothing has happened. Nothing bad has happened, and it spreads like a noxious plume… There is nothing to do now that it’s been done. We’re stalked as if by a distant wraith, and there is nothing to do now that it has been done.”

“The Halls Within the Mirror,” a short solo semi-operatic work for soprano and electronics, deals with internal struggle, childhood memories, and a tragic incident. It was commissioned by the Shanghai Conservatory’s International Electronic Music Week and premiered in October, 2015, performed by Rebekah Norris.

i. Present: Awakening
ii. Driving: First Memory
iii. Childhood: First Memory
iv. Driving: Second Memory
v. Childhood: Second Memory
vi. Present: Despair
vii. Driving: Third Memory
viii. Present: Waiting