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Miha Ciglar, No Input Mixing

NOTE TO LISTENERS: Due to the detailed and granular nature of these recordings, headphones are recommended. Computer multimedia speakers are going to fail you in this instance.

In excerpts from a concert recorded live on December 6, 2010, Miha Ciglar performs an improvised set based on a "no input mixing board" feedback concept. This idea is part of a research project being developed at the IRZU center in Slovenia (see below for more), where he and others are working on a method for creating a tactile feedback signal using acoustic pressure waves, i.e. utilizing airborne ultrasound to generate a force field in mid-air that can be sensed in a tactile way. The interface allows a musician to feel the actual sound (its temporal and harmonic texture) and also to mold and shape it with the hands.

Miha Ciglar is an audio engineer and sound artist, working at the intersection of art and technology. Since 2001 he has performed his own compositions for various acoustic instruments, electro-acoustical performances, interactive dance performances, computer music and audiovisual installations at many international arts festivals. In 2008 he founded IRZU – the Institute for Sonic Arts Research in Ljubljana, Slovenia. The institute is operating as a non governmental organization. It is based on an interdisciplinary concept and is carrying out artistic productions in the field of electronic music, audio technology research as well as educational activities. In 2009 and 2010 he organized and curated the sonic arts festival EarZoom, one of IRZU's first major projects.

This program is produced in partnership with Experimental Intermedia Foundation, curated by Phill Niblock.


Experimental Composers


The object of this series is to invite emerging and established innovators to share their work. These programs are usually a combination of an interview with a far-reaching perspective on the artist's career, some recordings illustrating this history, and something new. Open territory. The unfortunate and unintended messages that come attached to a title like Experimental Composers are many. Still it is one of the few labels to come out of the world of music that has not been co-opted by promoters, corporations, journalists, or lawyers. This one just seems to have anti-market goo on it. Hooray. It's also just bad English (as if to imply that these poor souls are themselves, in their flesh and blood, some kind of experiment and, perhaps, even expendable). And then there is the spectre of defying the wisdom of the great Edgar Varèse who said something like, "I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment."

Experimental Intermedia Concerts


A radio series of programs recorded at Experimental Intermedia Foundation (EI), the legendary, influential downtown New York loft venue, incubator, showcase, and community center for composers and experimenters in the arts, known for being first and best at presenting (and recording!) new music and new media since the 70s. The concert series is programmed and produced by composer Phill Niblock who has been directing presentations at Experimental Intermedia since 1973 (well over 1,000 performances) and he is the curator of EI's XI Records label. In 1993, he opened a satellite space with window gallery in Ghent, Belgium. For more on the concert series, recordings, archives, and other intermedia adventures of Phill Niblock around the globe visit the Experimental Intermedia Foundation site. This radio project is a partnership between Experimental Intermedia Foundation and The Clocktower Gallery and its radio station at The series is produced and managed with the generous efforts of Byron Westbrook.