Iter/Eter interactive installation presenting the achievements of Polish electroacoustic music  (over 500 pieces). The Eter space is an interactive visual installation surrounding the Iter centre. The Iter is an ISA Harp, allowing an interaction with a selected work from the Eter space. The installation is an interactive network of linked electroacoustic compositions, videos, and technology-based musical performances.

ISA Harp has 16 invisible horizontal and 16 vertical strings. Their intersections create a matrix of 256 points – invisible keys, basis of the interaction represented on the screen by combo boxes. Selection of the material refers to: – choice of the compositions and projects available on the map of Polish electroacoustic music with its historical and current dimension (Experimental Studio of the Polish Radio in Warsaw, the academic studios at Bydgoszcz, Gdańsk, Katowice, Cracow, Łódź, Poznań, Warsaw and Wrocław, as well as individual projects. – presentation of selected cathegories of electroacoustic music: electroacoustic compositions, works for instruments/ voices and electronics, live electronics, video projects, electroacoustic music performances, interactive installations, Internet projects. – creation of mixes of selected works,their fragments, as well as visualisations according to instructions communicated by the various electroacoustic music artists with regard to their repertoire and copyrights. – music performance on the ISA Harp

The potential database of Polish electroacoustic works includes over 300 positions available through the website of the Polish Society for Electroacoustic Music – www.pseme.com.

17.05.2011 | 7:30 a.m. – 21:30 p.m., 17-21.05.2011
The Wrocław University of Technology, C-13 Building, Wybrzeże Wyspiańskiego Street 23/25 (“Serowiec”)

Just like acousticians, acousmaticians derive from Pythagoras. They were the philosopher’s disciples who could only listen to him, and only off-stage – they were separated from the teacher by a thick curtain. It is said that this made them move their attention from the medium to the heart of the matter. By analogy, to listen in an acousmatic way, you should forget about the measures and indulge in the ‘heart of music.’ The role of the heavy curtain is most commonly a speaker which allows the sounds to stay more or less incognito. When there are sixty or more speakers, you can be pretty sure it is the Acousmonium – created by François Bayle in 1972 speaker orchestra. The instruments making up the orchestra vary in size and reach, and are placed at different points in the concert hall.

17.05.2011 | 7:00 p.m.
The Wrocław Opera, 35 Świdnicka Street

Bernard Parmegiani composed Capture éphémère (‘Elusive prey’) in the period of his life which he called ‘the period of sewing – a time when scissors helped to measure sounds and silences,’ when he continuously ‘changed the buttons to get rid of the unwanted frequencies or the opposite – to add a few missing ones when he was bored stiff with sounds in their natural state.’ Like some other early Parmegiani compositions from the 1960s, (Violostries, L’Instant mobile), Capture éphémère is like a snowball rolling and growing despite the fact that it has melted – from the few basic sounds flows, according to the composer, ‘an ever advancing liquid mass.’ Larousse considers its dynamism so compelling and charming that it may ‘perhaps be a masterpiece; Capture éphémère is undoubtedly a great achievement of electro-acoustic music.’

The Human-Concrete-Music is the project of Diego Losa & Rewind This is where two different but very close worlds meet. The idea of a closed groove, used as a music generator by Pierre Schaeffer in the late 1940s, and playing with records launched by the hip-hop movement in the 1980s revolutionized music. With that in mind, Diego Losa and Rewind went even further, replacing these “instruments” with the human voice, and the GRM Tools and Live computer programs. The former is a composer of concrete music, the latter – a human beatboxer; they jointly took the same experimental direction.

17.05.2011 | 7:00 p.m.
The Wrocław Opera, 35 Świdnicka Street

Keith Rowe (born March 16, 1940 in Plymouth, England) is an English free improvisation tabletop guitarist and painter. Rowe is a founding member of both the hugely influential AMM in the mid-1960s (though in 2004 he quit that group for the second time) and M.I.M.E.O. Having trained as a visual artist, Rowe’s paintings have been featured on most of his own albums. After years of obscurity, Rowe has achieved a level of relative notoriety, and since the late 1990s has kept up a busy recording and touring schedule. He is seen as a godfather of EAI (electroacoustic improvisation), with many of his recent recordings having been released by Erstwhile Records.



Jakub Suchar drums, percussion, moog synthesis, elctronics (Delmark,Vytvornia Om) Gerard Lebik tenor sax,contra alto clarinet, generators,DIY, electonics (Vytvornia Om, Sycamore Rec, NotTwo Rec) SLUG DUO can be described as a combination of free improvisation, electroacoustic and experimental music. In May 2010 released two duet albums: OrganicStone (Vytvornia Om) , Fully Improvised sets from Falanster 2009 (Vytvornia Om). In summer 2010 SLUG DUO has started collaboration with Rob Mazurek from Chicago jazz scene (Delmark,Thrill Jockey Records, Mego ). Next spring cooperation with Kazuhisa Uchihashi (Improvised Music from Japan) is coming .


17.05.2011 | 11:00 p.m.
PUZZLE Club, 2 Przejście Garncarskie
men@nfm.wroclaw.pl      +48 71 343 85 28
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