Federico Visi

Tag: hyperorgan

  • TCP/Indeterminate Place quartet performs Reconciliation at Studio Acusticum

    TCP/Indeterminate Place quartet performs Reconciliation at Studio Acusticum

    On Monday 9 June 2025 the TCP/Indeterminate Place quartet performed Reconciliation, a piece we composed in 2024 for a special double duo telematic performance in which two of us performed at the Kapelle der Versöhnung in Berlin and the other two at the Orgelpark in Amsterdam. This time we were all at the Studio Acusticum main concert hall, playing our instruments and interacting with the massive Acusticum/University pipe organ in several ways. I experimented with the pressure aftertouch of the Sophtar as a way of adding and subtracting stops to the registration of the IV manual of the organ. Here is short snippet I recorded with my phone during sound check.

    TCP/Indeterminate Place is:
    Mattias Petersson: parsimonia, live coding, hyperorgan
    Stefan Östersjö: midi electric guitar, hyperorgan
    Robert Ek: augmented clarinet, hyperorgan
    Federico Visi: sophtar, hyperorgan

    Our performance was a prelude Mattias Petersson’s successful PhD defence titled “The Act of Patching” that took place the following day.

  • Hyperorgan interactions, suspended choirs, and the The Tale of the Great Computing Machine

    Hyperorgan interactions, suspended choirs, and the The Tale of the Great Computing Machine

    R1 Reactor Hall
    Skandia Cinema Organ
    YUMI robot playing the Vocal Chorder
    Testing the Suspended Choir

    Back in Berlin after a few days of work down in the R1 Reaktorhallen, KTH KTH Royal Institute of Technology for a unique opera piece: The Tale of the Great Computing Machine. A project led by Åsa Unander-Scharin and Carl Unander-Scharin. I took care of designing the gestural interactions with the Skandia pipe organ inside R1, the interactions with a set of speakers mounted on motorised winches (which we call “the Suspended Choir), as well the interactions between the organ and robots that will perform alongside humans. It’s all going to be live, and there are several other talented collaborators that are taking care of live visuals, lights, sound, and more. We had to network quite a few computers in order to make everything work in such a big and unique space.

    The opera is based on the novel “The Tale of the Big Computer” written by Olof Johannesson in the 1960s. The book describes the rise of an intelligent network of computers and its relationship with humans. Olof Johannesson is actually a pseudonym of Hannes Alfvén, a physicist who would win the Nobel Prize for his work on magnetohydrodynamics just a few years after the book was published.

    Premiere on the first of December, and apparently many shows are already sold out!