(* 1964) studied classical composition and jazz guitar in Austria. As guest researcher and later research director at CREATE, UC Santa Barbara, he worked with Curtis Roads on experimental synthesis instruments, and wrote the tutorial for SuperCollider2. He taught at the IEM Graz, and at the Academy for Media and Arts (KHM) Cologne. There, long term collaborations began with Florian Hecker, earweego, the band powerbooks_unplugged, and realtime research. In 2004/2005, Alberto de Campo held the Edgard Varèse guest professorship for Electronic Music at TU Berlin.
From 2005-2007, he was lead researcher in the SonEnvir project at IEM Graz, where an interdisciplinary team of scientists studied the applicability of soniﬁcation in diverse ﬁelds. With the team, de Campo wrote numerous publications, and organised a concert of soniﬁcations of social data for the ICAD 2006 conference in London. In 2007 he became professor for Music Informatics at the Institute For Music And Media (IMM), Robert Schumann Music University Düsseldorf, and since 2009, he is Professor for Generative Art/Computational Art at the Institute for Time- based Media, Arts University Berlin (UdK).
Reversing Pendulum Music (2010)
Pendulum Music is the only process piece by Steve Reich: hanging microphones swing above loudspeakers; the resulting feedback changes with the time delays and distances. Reversing Pendulum Music turns the idea around: it uses static microphones, and simulates moving sound sources in the WFS system; overall system properties and simulation glitches will influence the sounding result, and the system allows for interventions, such as disturbing the movements by changing (simulated) gravity.
Meaning without words
(Renate Wieser in collaboration with Julian Rohrhuber and Alberto de Campo)
Instead of listening to the phonetic structure of words, we listen to the layered silent grammatical structures of sentences. For this, we sonify linguistic data, which associates multiple structural interpretations with specific sentences from a comparative linguistic corpus of Old, Middle, and Early New High German, as well as recent newspaper material. We are grateful to Anke Lüdeling, Professor at Humboldt University for the kind collaboration. This project will be exhibited as an installation within an exhibition on conversational art and early computer art (featuring the work of the pioneers Kurd Alsleben and Antje Eske) at the ZKM in Karlsruhe from October 2010. The talk gives a brief insight into the work in progress.