Centre Iannis Xenakis

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Architectural and music computational models have profoundly affected the ways we describe, interpret and evaluate existing architectural and musical works as well as the ways we design new works in both domains. Two aspects of these computational…

A sonic inquiry into the multi-faceted, poly-temporal relationship between improvisation and composition. Solo Bass Clarinet perfrmances and discussions: Out of the Flames (Lori Freedman, 2016) and The Library on Fire (Paul Steenhuisen, 2015).

Presentation of the complete film "the Sound of these Waves" by David Lieberman, first presented in Rouen during the Continuum conference there in November 2015.

This paper looks at how sound, light and shadow performances could be achieved by the method of granulation and layering as demonstrated by the work of Iannis Xenakis and Laszlo Moholy Nagy. The similarities as well as the differences in the two…

In 1991, a stochastic music piece called Gendy3 was produced entirely by a computer program written by the composer Iannis Xenakis at CEMAMu. In his words, Xenakis asked "What is a composer? A thinker and plastic artist who expresses himself through…

In this paper I will present an analysis of Fausto Romitelli’s piece Yellow, Green and Blue aiming for the realization of the driving forces that forge the structural shape of the piece. I will primarily focus on selected concepts and ideas that…

The presentation brings together reflections on the continuum of Performance, Practice and the Academy that aims to address the wider interdisciplinary intentions of Iannis Xenakis. We reflect on the musical and spatial design synergies generated…

There is a superficial, and yet fundamental paradox at the core of Xenakis' work: whilst being the creator of atomised sound (granular synthesis) he was also preoccupied with sound's continuity; or later on his career, while he openly promoted the…

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