جست‌وجوی استاد و پژوهشگر

Anna Marie Munsterمشاهده پروفایل

استاد

• software studies
• technologies and embodiment
• multichannel and interactive installation work
• +۱۹ مورد دیگر

Professor Anna Marie Munster is a distinguished academic and artist at UNSW Art and Design (College of Fine Arts), where she has held a full-time tenured position since 2001. Her work bridges theoretical scholarship with creative practice, establishing her as a leading figure in digital media art and critical theory. University: University of New South Wales School: College of Fine Arts (UNSW Art and Design) Position: Professor Qualifications: PhD from UNSW (2002), BA (Class 1 Hons with University Medal) from University of Sydney (1984) Professor Munster's research explores the intersections of art, technology, and philosophy, with particular focus on statistical visuality, radical empiricism, the politics and aesthetics of machine learning, and more-than-human perception. Her work integrates process philosophy with contemporary media practices, examining how time, movement, and sonicity shape our experience of digital environments. She approaches these topics through both theoretical scholarship and creative practice, often collaborating with artist Michele Barker on multi-channel audiovisual installations. Her publications reveal a consistent trajectory exploring the relationship between embodiment and digital media, with recent work focusing on AI and machine learning in cultural contexts. Munster's creative output demonstrates sophisticated integration of technical innovation with philosophical inquiry, particularly in how her installations challenge conventional perceptions of time and space. ARC, UNSW Student Council Award for Excellence in Postgraduate Supervision (2017) Dean's Award for Excellence in Postgraduate Supervision (2015) Highly commended for Materializing New Media at Prix Ars Electronica (2008) Winner of National Digital Art Awards 'The Harries' (2006) University Press of New England Publishing Award (2005) Professor Munster has completed over 20 PhD and Masters supervisions at UNSW and been involved in another 10 secondary supervisions. She currently supervises five PhD candidates working on diverse topics including coding materialities, critical bio-textiles, schizophrenia and XR technologies, sound and resonance, and affective drawing. Her ARC-funded research projects demonstrate sustained commitment to interdisciplinary work, particularly at the intersection of art, science, and technology. Her creative practice with Michele Barker has resulted in numerous commissioned installations exploring perception, embodiment, and the relationship between humans and technology.

Annie Mahtaniمشاهده پروفایل

استاد

• Electroacoustic Music
• Acousmatic Composition
• Multichannel Audio
• +۶ مورد دیگر

Professor Annie Mahtani is a Professor of Electroacoustic Composition and Practice at the University of Birmingham's Department of Music. She holds a BMus (Hons), MA, MPhil, and PhD from the University of Birmingham and Birmingham City University. Her work focuses on electroacoustic music, acousmatic composition, multichannel audio, spatialisation, and field recordings, with significant contributions to site-specific installations and cross-disciplinary collaborations. She co-directs the SOUNDkitchen collective and serves on key boards such as the British ElectroAcoustic Network (BEAN) and the British Section of ISCM. Her research explores the sonic identity of environmental sounds, large-scale multichannel composition, and ambisonic audio techniques. As a performer with BEAST (Birmingham Electroacoustic Sound Theatre), she develops live acousmatic performances and soundwalks. Recent projects include Becoming Tree (an immersive audio retelling of a literary work) and Minimum Monument , performed at Birmingham Hippodrome. She actively collaborates with dance and theatre companies like Rosie Kay Dance Company. Professor Mahtani teaches undergraduate and postgraduate modules in electroacoustic composition and is involved in admissions and curriculum leadership. Her works have been performed globally in festivals like Klang! Électroacoustique and Sound + Environment, showcasing her innovative contributions to contemporary music and sound art.

Henrik von Colerمشاهده پروفایل

استادیار

• Music Technology
• Spatial Audio Systems
• Live Electronics
• +۳ مورد دیگر

Henrik von Coler is an Assistant Professor at Georgia Institute of Technology's School of Music within the College of Design. His work bridges engineering, electronic music, and empirical research, focusing on spatial audio systems, live electronics, and human-computer interaction in musical contexts. He joined Georgia Tech in 2023 after serving as director of the TU Studio for Electronic Music at Technische Universität Berlin from 2015 to 2023, where he founded the Electronic Orchestra Charlottenburg (EOC) to explore live electronic ensembles in multichannel environments. His research emphasizes the integration of sound, space, and HCI to enhance compositional and performative expressiveness. Notable projects include immersive audio installations, virtual instrument design, and AI-assisted composition. Coler has performed globally on immersive audio systems and curated international concerts. His technical contributions span spatial sound synthesis algorithms, networked music systems, and real-time signal processing tools. Key areas of exploration include volumetric music performances in metaverse environments, hybrid spatial interaction via ARCube, and statistical models for spectral synthesis. He has developed open-source systems like Orchestra (for metaverse performances) and SPRAWL (for ensemble interaction). Coler’s work often combines empirical research with artistic practice, aiming to redefine the boundaries of live electronic music through technological innovation. His academic output spans over 30 peer-reviewed articles since 2011, with recent focus on metaverse applications, AI-human collaboration, and immersive audio design. While no formal awards are listed, his leadership roles and project outcomes highlight significant contributions to music technology and spatial audio engineering.

Peter Batchelorمشاهده پروفایل

مدرس ارشد

• Electroacoustic Composition
• Acousmatic Music
• Sound Spatialisation
• +۱۲ مورد دیگر

Dr Peter Batchelor is a Senior Lecturer in Music and Music Technology at De Montfort University, affiliated with the Leicester Media School and the Music, Technology and Innovation – Institute of Sonic Creativity (MTI²). He serves as Programme Leader for the BA Music Technology programme and is actively involved in research, teaching, and creative practice. Education: BMus, University of Wales, Bangor (1996) MPhil, University of Wales, Bangor (1997) PhD, University of Birmingham (2004) FHEA (2024) His research and creative work focuses on electroacoustic composition, multichannel sound installations, public art, and aural landscape construction. He explores sound spatialisation, immersion, theories of space and place, and audience engagement through large-scale sonic artworks. His practice integrates technical innovation with artistic inquiry, often using custom Max/MSP tools for spatial audio and generative systems. The 15 most recent publications reflect a consistent trajectory in immersive sound art, emphasizing environmental sonification, spatial perception, and public engagement. Key themes include multichannel deployment (up to 288 channels), interactive and solar-powered installations, and blending natural and synthetic soundscapes. Projects like Dendrophone and Contraption highlight his focus on accessibility, sustainability, and audience interaction in sonic environments. Scientific Awards and Recognitions: Finalist, Sounds Electric ’07 Competition Mention, Concours de Musique Electroacoustique de Bourges (2007, 1998, 1997) 2nd Prize, CIMESP'99, São Paulo Honourable Mention, CIMESP'97, São Paulo Prize, 'Residences' category, Bourges 1997 Peter Batchelor supervises several PhD students including Stefano Catena, Cristiana Palandri, and Michael Uwins. He has secured external funding as Co-Investigator on projects such as Interfaces (EU Culture Project, 2016–2019) and Sensing the Forest (AHRC Early Career Research Grant, 2023–2025). He has delivered keynote and invited talks internationally and serves as a reviewer for Organised Sound and for REF panels. His creative installations have been exhibited globally, from Helsinki to São Paulo, and he develops open-source Max/MSP tools like N-CHAN and CLATTER to support multichannel sound design. He leads the Dendrophone project, a solar-powered, DIY sound installation in Alice Holt Forest that sonifies environmental data (humidity, sunlight, CO2), offering both on-site and live-streamed access. This project exemplifies his commitment to public engagement, ecological awareness, and accessible sonic art.

Fernando Lopez-Lezcanoمشاهده پروفایل

مدرس

• Computer Music
• Spatial Audio
• 3D Sound Diffusion
• +۶ مورد دیگر

Fernando Lopez-Lezcano is a Lecturer at Stanford University's Center for Computer Research in Music and Acoustics (CCRMA) where he has been working since 1993. His work combines music composition, electronic engineering, and programming with a focus on spatial audio and sound diffusion technologies. He was the Edgar Varese Guest Professor at TU Berlin during the Summer of 2008 and is the 2014 winner of Stanford's Marsh O'Neill Award for Exceptional and Enduring Support of Stanford University's Research Enterprise. Lopez-Lezcano's research interests center on computer music, spatial audio technologies, and sound diffusion systems. He has pioneered work in High Order Ambisonics (HOA), developing novel decoders and reverberation architectures for immersive sound environments. His work on the SpHEAR Project has created innovative 3D-printed soundfield microphone arrays, while his development of the GRAIL (Giant Radial Array for Immersive Listening) has revolutionized concert speaker arrays for HDLAs (High Density Loudspeaker Arrays). He has also created numerous open-source tools and software environments for spatial sound composition and diffusion. His recent creative output demonstrates a consistent exploration of 3D sound spatialization, modular synthesis, and interdisciplinary collaborations. Across his compositions, he frequently integrates custom-built hardware like his modular synthesizers (including the famous 'El Dinosaurio' built in 1980-81) with sophisticated software environments written in SuperCollider. His work often bridges acoustic and electronic sound sources, creating rich spatial experiences that explore the relationship between technology and artistic expression. Among his notable achievements is the 2014 Marsh O'Neill Award, recognizing his exceptional support of Stanford's research enterprise. This prestigious award was inspired by Marsh O'Neill, Associate Director of the W.W. Hansen Laboratories, and honors outstanding staff members who support faculty research activities. Lopez-Lezcano has mentored numerous students in the development of musical instruments and performance systems, most notably the 'Ensemble AnaLocos' (Analógicos Locos or 'Crazy Analogs') which created the 'Noise Toaster' synthesizers. He has also developed important infrastructure for CCRMA including 'Planet CCRMA,' a collection of open-source audio software for Linux. His teaching includes the 'Sound in Space' course (Music 222), which covers historical background, techniques, and theory on the use of space in music composition and diffusion. He directs the CCRMA Stage concerts and has been instrumental in developing CCRMA's spatial audio infrastructure, including the GRAIL system used in Bing Concert Hall. His work with the SpHEAR Project has advanced 3D sound recording techniques, while his collaborations with performers like Michiko Theurer (violin) and Chris Chafe (celletto) have produced innovative interdisciplinary performances.

Tivon Riceمشاهده پروفایل

استادیار

• Digital Art
• Experimental Media
• Computer Vision
• +۵ مورد دیگر

Tivon Rice is an Assistant Professor in DXARTS (Digital Arts and Experimental Media) at the University of Washington. His work critically examines digital culture's impact on representation, communication, and environmental systems. Rice holds a PhD from UW (2016) and an MFA in Sculpture (2006), with a BFA in Sculpture & Electronic Media (2000). He is a Fulbright Scholar (Korea, 2012) and collaborated with Google's Artists + Machine Intelligence program. Education: PhD, DXARTS, University of Washington, 2016 MFA, Sculpture, University of Washington, 2006 BFA, Sculpture & Electronic Media, University of Colorado, 2000 Research focuses on digital culture's poetics, emerging technologies, and environmental narratives. Projects use AI, 3D scanning, and experimental film to explore how new technologies shape visual communication and social systems. Recent exhibitions include venues in New York, Seoul, Berlin, and São Paulo. Awards: Fulbright Scholar Award (2012) Google Artists + Machine Intelligence Collaboration Grants and advising details are pending explicit mentions in texts. Affiliated with UW eScience Institute, exploring computational methods in artistic research.

Neil Leonardمشاهده پروفایل

استاد

• Sound Art
• Experimental Music
• Multimedia Performance
• +۷ مورد دیگر

Neil Leonard is a Professor at Berklee College of Music and the founding Artistic Director of the Berklee Interdisciplinary Arts Institute. He is affiliated with the Department of Electronic Production and Design (EPD) within the College of Arts and Sciences. His artistic and academic work bridges music, technology, and interdisciplinary collaboration. Ph.D. or equivalent terminal degree in composition or sound art (inferred from academic rank and output) Extensive international residency and fellowship experience Leonard's research and artistic practice centers on sound art, electroacoustic composition, and multimedia performance . He explores immersive multichannel audio, live electronics, and collaborations with visual artists, dancers, and filmmakers. His work investigates the resonance of cultural memory, urban soundscapes, and historical acoustics. He integrates technology and philosophy, often drawing from astronomy, Plato, and intercultural exchange. His recent works, including Matanzas Sound Map (Tate Modern, 2025), Sonance for the Precession , and For Kounellis , reflect a trend toward site-specific, durational sound installations that merge scientific concepts with poetic expression. These pieces utilize field recordings, algorithmic processing, and spatial audio to create immersive environments. His scientific and artistic honors include: Fulbright Specialist Award (2016) Distinguished Faculty Award, Berklee (2011) International CubaDisco Award (2015) Rauschenberg Residency (2016) Sacatar Institute Fellow (2023) MIT Art, Culture, and Technology affiliate U.S. State Department Fulbright Specialist Roster (2013–present) Leonard is deeply committed to mentoring students, particularly in refining portfolios and developing lifelong learning strategies. He emphasizes time management as a compositional skill and encourages adaptability in the evolving music industry. He has led major collaborative projects such as The Berklee Sessions with Robin Rimbaud (Scanner) and has performed with renowned artists including Vijay Iyer, Rudresh Mahanthappa, and Los Muñequitos de Matanzas. He co-founded and leads the Berklee Interdisciplinary Arts Institute , fostering cross-departmental collaborations and innovative performance practices. His work continues to be exhibited globally, from Documenta and Venice Biennale to Mass MoCA and the Peabody Essex Museum.

• Film Studies
• Experimental Cinema
• Queer Cinema
• +۴ مورد دیگر

Cathy Lee Crane is a Professor at the Roy H. Park School of Communications within Ithaca College , specializing in directing actors for film. Since 1994, her work has redefined speculative history through lyrical, archival-based filmmaking. She received the prestigious Guggenheim Fellowship (2013) and has been honored with multiple awards, including Best Feature Documentary at the Syracuse International Film Festival (2020). Key Projects: Crossing Columbus (2020), terrestrial sea (2022), and the (X)-trACTION collective Residencies: Harun Farocki Institute (2022), Rockefeller Foundation Bellagio Center Her cross-platform border work challenges traditional storytelling, while her 16mm short films distributed by Canyon Cinema and Light Cone continue to shape experimental cinema. As SFIndie Fest 2018’s The Manhattan Front was declared a 'masterpiece' by Noel Burch, Crane remains a pivotal figure in queer and experimental film discourse. Scientific Awards: Guggenheim Fellowship (2013) New York Foundation for the Arts Fellowship Best Feature Documentary (Syracuse International Film Festival, 2020) Jury Citation (Festival de Cinema da Fronteira, 2022)

Ryo Ikeshiroمشاهده پروفایل

استادیار

• Sound Art
• Sonification
• Computational Creativity
• +۳ مورد دیگر

Ryo Ikeshiro is an Assistant Professor at the School of Creative Media, City University of Hong Kong, and co-director of the spatial audio art/research unit SoundLab. His work bridges sound art, computational creativity, and cultural studies through immersive installations, algorithmic audio-visual systems, and sonification techniques. PhD in Creative Practice (Goldsmiths, University of London) MPhil in Music (University of Cambridge) BMus (King's College London) Ikeshiro's research interrogates the materiality of sound through: Multichannel Ambisonics and directional audio Neural network-driven temporal dislocation Sonification of climate data and historical soundscapes Machine learning for artistic interpretation Interplay of identity and technology East Asian ideophonic traditions His 2010-2024 publications and installations reveal cross-disciplinary engagement with: Fractal mathematics in audiovisual art Algorithmic composition systems Interactive installation technologies Sonic cartography Historical memory in sound Collaborative research frameworks SoundLab, which he co-directs, develops spatial audio research at the intersection of: Technical innovation Cultural representation Experimental pedagogy Public engagement International artistic exchange Practice-based research

Lisa Birkeمشاهده پروفایل

استاد

• Performance Art
• Video Art
• Augmented Reality
• +۹ مورد دیگر

Lisa Birke is an interdisciplinary artist and faculty member at the University of Saskatchewan’s College of Arts and Science , where she founded the Digital and Integrated Practice (DIP) area in the Department of Art & Art History in 2019. Her work intersects performance, video art, augmented reality, and installation to critique cultural norms and explore subjective realities through Canadian landscape narratives. Education: BFA (1999) in Visual Art (Painting) from Emily Carr Institute of Art and Design MFA (2013) in Fine Arts (Studio Art) with distinction from the University of Waterloo Birke’s research investigates the collision of art history, pop culture, and everyday life in multi-channel digital works. She blurs the line between theatrics and documentation, focusing on themes like postfeminist critique, relational aesthetics, and technological mediation. Recent projects include TrippingTime (2024) and Natures of Reality (2021), both utilizing augmented reality for public engagement. Key scientific trends: Immerse audiences in layered realities, challenge normative representations, and employ collaborative digital tools (360 video, AR) to address themes of community, tolerance, and the deconstruction of perfection. Scientific awards: Provost’s New Teacher Award (2022) USSU Teaching Excellence Award (2022) Canada Council for the Arts Grow Grant (2023-2024) Arizona International Film Festival Jury Award (2024) Teaching & advising: Birke advocates for competence, autonomy, and relatedness in pedagogy, emphasizing foundational skills alongside experimental risk-taking. She served as graduate chair (2019-2022) and mentors students in digital media, installation, and performance art. Labs & teams: Principal Investigator for the Shared Spaces augmented reality outreach project (University of Saskatchewan), collaborating with international institutions and grade 8 students in Germany.

Andrew McPhersonمشاهده پروفایل

استاد

• Music Computing
• New Interfaces for Musical Expression
• Digital Signal Processing
• +۳ مورد دیگر

Andrew McPherson is a Professor of Musical Interaction at Queen Mary University of London, affiliated with the School of Electronic Engineering and Computer Science and the Centre for Multimodal AI. He leads the Augmented Instruments Laboratory, a research team focused on music technology and interdisciplinary collaboration. His work bridges electrical engineering, composition, and human-computer interaction, emphasizing the creation of new tools for musicians through hardware/software interfaces and expressive performance modeling. McPherson's research interests include augmented instruments, digital signal processing, and the design of intuitive musical interfaces. He has pioneered projects like the Bela embedded platform and the Magnetic Resonator Piano, emphasizing practical applications in traditional and experimental music venues. Collaborations with artists and industry inform his approach, ensuring research outputs are artistically relevant and accessible. Education & Expertise: Trained in electrical engineering and composition, McPherson combines technical proficiency with artistic sensibility. His lab’s projects, such as the TouchKeys and hackable instruments, highlight his focus on democratizing music technology. Grants & Awards: He holds a Royal Academy of Engineering Senior Research Fellowship (2021–2026) and an ERC Consolidator Grant (2023–2027). He co-leads the UKRI Centre for Doctoral Training in Artificial Intelligence and Music, fostering future researchers in AI-driven music innovation. Labs/Teams: The Augmented Instruments Lab collaborates across disciplines, with dual affiliation at Queen Mary and Imperial College London’s Dyson School of Design Engineering. The lab’s work spans from foundational research to industry partnerships, including spinout company Augmented Instruments Ltd, which supports maker communities and industry consultancy.

• Music Technology
• Digital Signal Processing
• Feedback Systems
• +۹ مورد دیگر

Øyvind Brandtsegg is a Professor in the Department of Music at the Norwegian University of Science and Technology (NTNU), Faculty of Humanities. His work integrates music technology, sound art, and performance through innovative digital systems and artistic research. Research Interests: His primary research areas include digital signal processing , feedback systems , granular synthesis , convolution , artificial intelligence in music , and improvisation . He explores how technology enables new forms of musical expression, especially in live performance and sound installations. His projects often simulate natural processes or use AI to generate dynamic sonic environments. Recent Publications & Artistic Output Trends: Over the past few years, his work has focused on crossadaptive audio processing, real-time interaction systems, and immersive installations. Themes include environmental sound, mechanical music, and the limits of human-machine collaboration. His output spans scientific articles, software, compositions, performances, and exhibitions, reflecting a strong integration of research and artistic practice. Scientific Awards: No specific awards listed in the provided text. Advising and Grants: Brandtsegg supervises multiple doctoral and artistic research students, often in collaborative, interdisciplinary projects. He has led research initiatives such as the Crossadaptive Processing project and organized the Live Interfaces conference. He has received project funding for artistic research and technology development, though specific grants are not detailed. Labs and Teams: He is affiliated with the Trondheim EMP (Electroacoustic Music Performance) group and contributes to the GDSP (Global Digital Sound Processing) platform. His work is often collaborative, involving researchers and artists across institutions in Norway and internationally.

August Blackمشاهده پروفایل

استادیار

• Philosophy of Technology
• Software Studies
• Techno-Politics
• +۶ مورد دیگر

August Black is an Assistant Professor in the Department of Critical Media Practices at the University of Colorado Boulder. As a hybrid practitioner of art, design, and engineering, he creates experimental spatial and acoustic systems by building custom technological artifacts. His work critically engages techno-social systems through live networked audio, user-generated content, and immersive installations. BFA, Syracuse University MS & PhD, UC Santa Barbara (NSF IGERT Fellow) His research explores the intersection of philosophy of technology, software studies, and AI ethics. Current projects investigate global networking for hyper-local communication, while past work includes networked radio systems and generative audio-visual platforms. He has taught at UC Santa Barbara, University of San Francisco, and CU Boulder. Recent projects include Pulse Memorial (2024), a mobile multichannel memorial system, and Audio Compost (2022), a virtual frippertronic loop project. His work often incorporates WebRTC, FM radio integration, and participatory frameworks across digital and physical environments. NSF IGERT Fellow Black has advised PhD candidate Nima Bahrehmand and collaborated with institutions like ORF Kunstradio, Ars Electronica Futurelab, and Cycling '74. His practice includes software development (janode library for Janus WebRTC), hardware engineering, and exhibitions at festivals including Ars Electronica and SIGGRAPH.

• Electroacoustic music
• Contemporary music
• Music and technology
• +۵ مورد دیگر

Simon Emmerson is a Professor in Music, Technology & Innovation at De Montfort University 's Leicester Media School. A composer and scholar with over 50 years of experience in electroacoustic music, he has worked extensively in live electronics, music analysis, and gender studies in sonic arts. His contributions include founding EMAS and serving on advisory boards for Sonic Arts Network, Sound and Music, and journals like Organised Sound and Journal of Sonic Studies. Education : BA in Natural Sciences and Education (Cambridge, 1972), PhD in Electronic Music (City University, 1982) External Roles : DAAD Edgard Varese Visiting Professor (Berlin, 2009-10), Silver Jubilee Visiting Professor (Perth, 2016) His research focuses on electroacoustic music composition, live performance with electronics, and the relationship between technology and human perception. Recent projects examine crossadaptive processing, spatial sound design, and the evolution of electronic music terminology. Key publications include The Language of Electroacoustic Music (1986), Living Electronic Music (2007), and The Routledge Research Companion to Electronic Music (2018). Awards span the Bourges Electroacoustic Prize (1985) and Arts Council Bursary (1987). He has served on editorial boards for Organised Sound , Radical Musicology , and Journal of Sonic Studies .

Mark Applebaumمشاهده پروفایل

استاد

• Electroacoustic Music Composition
• Sound Sculpture Design
• Music Notation and Aesthetics
• +۵ مورد دیگر

Mark Applebaum, the Leland and Edith Smith Professor at Stanford University, is a composer, performer, and educator renowned for his work in electroacoustic music, sound sculpture design, and experimental notation. He has received prestigious awards including the 2025 American Academy of Arts and Letters Award in Music and Stanford’s Gores Award for Teaching Excellence. Applebaum directs the Stanford Improvisation Collective and has held administrative roles including Associate Professor and Faculty Scholar. Ph.D. in Music Composition (1996), University of California, San Diego M.A. in Music Composition (1992), University of California, San Diego B.A. in Music (1989), Carleton College His research spans electroacoustic composition, sound sculpture design, and interdisciplinary collaborations with neural artists and architects. He explores the metaphysics of musical notation and pedagogical frameworks for contemporary composition. Applebaum’s publication history from 2000–2012 reveals a focus on sound-art intersections, improvisation, and innovative educational practices. Key venues for his work include the Kennedy Center, Darmstadt New Music Courses, and ICMC. Recipient of the 2025 American Academy of Arts and Letters Award in Music 2005 EMS Prize (Electronic Music Stockholm) for 8-channel tape work 2003 Stanford Walter J. Gores Award for Teaching Excellence 2004 SEAMUS Award for Best Use of Technology 1997 Stephen Albert Award from American Music Center As an advisor (2000–Present), he mentors undergraduate and graduate composers. His leadership roles include chairing Stanford’s Committee on Undergraduate Admissions and Financial Aid and serving on faculty senates. He has produced recordings with institutions like Sonic Circuits and Music from Stanford series. Applebaum directs the Stanford Improvisation Collective, a laboratory for experimental performance practices, and has designed kinetic sound sculptures exhibited at venues including the Essl Museum and NIME at IRCAM.