One of the pioneers within the genre of electronics Joel Chadabe says so well:
.. I have always imagined myself as the pilot of a space ship flying through that musical universe, going wherever I want to go, encountering sounds in whatever order I choose, Realizing a limitless variety of musical forms …
The prefix hyper-is used in mathematics to describe the operations that have more than four dimensions, or something that is above, beyond or expanded.

Does the use of electronics provide improvisation a new dimension?

In my desire to expand sound wise and musically the exploration and work with electronics has been a natural choice. The electronics gives the performer the opportunity to expand their soundpalette and to navigate as in an open form composition. This freedom and improvisation, in my opinion the key to that musician from different genres can communicate together within the same sound universe. It is this sense of freedom and participation in my musical work that has created this fascination for working with electronics. A concurrent observation, I have also found in the research of one of the participants in the seminar hyper flutist Cleo Palacio-Quintin.
A musician’s role changes in the work with electronics. The performer must make compositional decisions as he / she “orchestrates” his own improvisations.
Having participated in many scientific conferences where technology and music are viewed from a technological perspective, I have felt the need for a forum in which live electronics and improvisation is seen in the practitioner’s perspective. A meeting place where praxis and musical meetings are emphasized, and where there also will be time for discussion.
The performers at the seminar comes from the classical, jazz, electronica and noise scene, but have in common that they are using electronics as their partner and as a tool of improvisation. No matter what kind of program or setup to use, I see live electronics and interaction with the computer and other electronics as an extension of my own instrument. One gets the opportunity to interact in relation to different types of sounds and textures. Because the processes and transformations on the computer may have a degree of “unpredictability” about it, it will give the performer a material to react to. In other words, the electronics is affected of the musician’s response to the electronic, which again affects the performer.
To control the processes on the computer different controllers are used. Some participants using sensors on the instrument, or they have designed a unique set of control counters as sensor gloves, pedals, or using the audio input.

Some questions:

How is the different performers personal practise of improvising with extended instruments and software?
Can you experience a difference between different software and controllers used in improvisation?
Can set up of electronics be perceived as a new or expanded instrument?
These and other questions will attempt to be answered during the seminar.

Thanks to the NOTAM and BEK and NMH for financial support.