nootherthanthevoid

/* A live coding audiovisual piece incorporating the use of sensors. The main limitation of live coding as a performance practice is the lack of responsiveness compared to other forms of musical expressions. During a performance of live coding, whether the musician is writing code from scratch or modifying pre-written code, it can take a rather long time for a new block of code to be executed, with a possibly significant gap between an idea arising, and it being manifested in sound. During the performance of nootherthanthevoid, with the aid of Electromyographic (EMG) sensors as well as pressure sensors attached to the laptop, the live coder is able to make immediate responses to the sound and control the sonic parameters while the visuals are being generated. The data from the devices is directed to some control buses in SuperCollider which can be used on- the-fly and flexibly mapped to any sound and visual parameters in performance.*/

Please Save Me

/* A combination of installation and performance. This work involves an immobile performer as an installation that interacts with the sound in the venue. The performer is asked to sit still while wearing two transcutaneous electrical nerve stimulation (TENS) machines which is connected to a computer wirelessly. The machines send electrical impulses to the performer’s body to trigger movements with various rhythms and speeds according to the sonic environment.*/

Variations

/* A live electroacoustic piece involves sonification of real-time electroencephalographic (EEG) data and computer-controlled stage performance. During the performance, the performer is asked to do a series of actions including meditation, reading, calculating and memorizing numbers, while wearing an EEG headset which read his/her brainwave activity. While the first four actions are ordered randomly, starting from the fifth, the order of the actions is determined by the computer according to the performer’s level of concentration and frustration. The EEG data are sonified with various techniques such as audification and parameter mapping. The headset used for this piece provides 14 channels of EEG data stream which corresponds to 14 areas of brainwave activity over the skull. The resulting sonification of each channel is mapped to speakers that correspond to the position of the head. */

(un)touched

/* A ten-minute live electroacoustic piece for gesture controller, Leap Motion7 and the audio programming language, SuperCollider. In this piece, I experimented with two different kinds of aleatoric elements, one involving the performance part – which is partly improvisational – and one involving the sonic part which is stochastically generated. BEASTdome Pantry Sessions, 2016 CrossCurrents festival. */

One Thought

/* An audiovisual piece for brainwave sensor, SuperCollider and Max/MSP jitter. Sound were generated by capturing fragments of raw brainwave, and were processed with SuperCollider.*/

Miscellaneous Videos

// WITH BEER ENSEMBLE

Dark Matter

/* Dark Matter is a research project carried out by the Birmingham Ensemble for Electroacoustic Research (BEER) in collaboration with art@CMS at CERN (The European Organization for Nuclear Research). The main goal of this project was to create electronic music and visuals in improvised live-coding performances by transforming particle physics data generated from the experiments in the Large Hadron Collider situated at CERN. In order to achieve this, we designed a performance interface for accessing the data as well as some SuperCollider patterns. The project has been presented in numerous places around the globe including the UK, Greece, Canada etc. on different occasions such as conferences and music festivals.*/

 

//Bio

/* Tsun is a computer musician, laptop music improvisor and composer of electronic music. He studied with Scott Wilson at the University of Birmingham and holds a PhD in Musical Composition. His outputs mainly explore around the topics of live coding, data signification, sensor-based performance, multi-channel composition, and audio-visuals.  His recent research investigates computer music performance with the use of data from the human body. The result of his works comprises a variety of genres including acousmatic composition, live electronics performances, as well as installations. His works have been presented and performed in various events around the globe, including New Interfaces for Musical Expression (NIME), International Computer Music Conference (ICMC), International Conference on Live Coding (ICLC), BEAST FEaST, and various Algorave events. Tsun is also a member of Birmingham Ensemble of Electroacoustic Research (BEER ensemble), a laptop ensemble focuses on networked live coding music. Major projects with the group includes Dark Matter,  an ongoing project that creates live music with the use of sonified data from the Large Hadron Collider located in CERN. */

academicBackground = PhD in Musical Composition (University of Birmingham) (2019);

keywords = [live_coding, SuperCollider, data_sonification, sensor_based_performance, multi-channel_composition, audio-visuals];

\\CV

 
128008896_10224520401020351_8379405539758748755_n.jpeg