Phil Edelstein, April 2026 – work in progress

In keeping with the evolution of Composers Inside Electronics (CIE), I propose here to initiate a series of opportunities for workshops, performances, research, residencies and installations under cover of Sound Motion: Rotating and Focused Loudspeakers.

In the spirit of the collaborative and creative community that has been the underpinning of CIE since inception, included here:

Goals and Motivation
Background
Overview of workshops, installations, performances, research
Ideas on individuals who may be interested and helpful in various ways
Related works
Concepts and terms of reference

Table of Contents

Introduction

The work grows out of the Composers Inside Electronics work in sound sculpture, live electronica, focused sound, performance and installation.

Notable past projects include Rainforest IV, V and the NEA funded Focused Loudspeaker research. Elements interwoven with Teasing Chaos (MDM 2022), Uncertain Territories (Berlin, 2023), Sensing the Future at the Getty Research Institute … , and A View From Inside: David Tudor at 100 produced by Bowerbird (Philadelphia), the Pantomation visual tracking system (DeWitt, Edelstein) from the 1970’s.

Possibly add other points of reference: E.A.T. 9 Evenings and Pavilion, Xenakis, Stockhausen, pipe organs, SPAT, GRM Acousmonium, the Sphere, https://web.media.mit.edu/~tod/media/pdfs/Philips-Pavilion_Technical-Review_1958.pdf

https://daily.redbullmusicacademy.com/2018/09/a-visual-history-of-spatial-sound

Goals and Motivation

Proposition here is that Driscoll, Edelstein and others (E.g. Fishkin, Lopez) seek opportunities for ongoing and new work given our current circumstances.

We are interested in works that utilize sound in motion as a structural spatialization element for composition, improvisation and orchestration.

We explore here new works and adaptation of extent works that to date have relied on more traditional spatialization techniques.

We see the opportunity for further development, construction and use of rotating loudspeaker instruments as applied to individual and group works.

As discussed in separate discussions with Driscoll, Edelstein and Lopez, we view the possibility of inviting others to use instruments we’ve developed including others in our work and seeing these techniques and devices available to others. We hope this will encourage new instruments developed by others.

We have a portfolio of instruments coming out of works such as Gestures & Murmurations, Stall, Speaking in Tongues, Impulsions, Pepscillator that invite such participation and evolution.

We have an initial set of techniques and design templates that support design, construction, and usage of these instruments by others as a continued avenue for collaboration.

Catalyst include John Driscoll’s refinements adapting DMX lighting instrument retrofitting and re-purposing for rotating loudspeakers. This has surfaced in the collaboration with Cecilia Lopez on Gestures and Murmurations ; Edelstein has been applying some of the design and construction techniques and has been developing software in Max and Ableton Live to support orchestration of diverse moving and sonic elements.

As of Feb 2026, with upcoming performances of David Tudor’s Pepscillator, we are moving forward with using these instruments as the “rotating” elements from Tudor’s original description of the work as originally done at Pavilion 1970 Osaka.

We have long been looking for a framework to continue bringing to fruition the formative work of the NEA CIE 1977(date to be confirmed?) Focused Loudspeaker project at Media Studies Buffalo.

These techniques also can be extended for application to acoustic kinetic sculptures for a new generation of works.

Using Materials from the Archives

We have been involved in various archival initiatives of late with a recurring theme of using archives as living repositories to support current and future work in contrast to academic research facilities. Primary points of reference include the Tudor instrument collection at Wesleyan and archives at the Getty Research Institute (contact Nancy Perfoff) including: Tudor. E.A.T. the Kitchen and others.

Descriptions

Residency Description

We seek residency opportunities to further research and develop sound in motion. This will be a combination of formal applications with venues and institutional support to be identified and a more informal set of meetups and interchanges as a familiar means of collaboration.

Key to residencies is finding appropriate space and accommodations and secondarily expenses and related logistics.

Workshop Description

We seek to conduct a series of workshops based around design, building and utilization instruments capable of composing for sound in motion.

These workshops will bring together students, professional and other interdisciplinary interested people.

Areas of focus:

Concept
- Sound in space
- Supporting materials:
  - Stephen Koch book (reference to be supplied)
Design
- Hardware
  - Motors ; Steppers, Servo, BLDC, Linear,
  - Drivers and transducers
  - Horns and waveguides
  - Degrees of Freedom
- Software
Construction
- We’ll look in detail on devices based on repurposed DMX lighting instruments and custom build frames.
Installations
Performances

Workshops have been a core part of CIE since inception in 1973 (list to be supplied in addendum in future revision),

Performances Description

We seek venues for performance utilizing instruments where motion is a key element.

Parameters:

Repertoire:
- David Tudor’s Pepscillator with Rotating Loudspeakers
- Adaptation extent works
  - Driscoll : Speaking in Tongues
  - Edelstein “Impulsions”
  - Jones: Star Networks
  - Submissions from DeMarinis, Potokar, Lopez
- Discuss with Michael Pulsers, Untitled, Hedgehog with Rotating speakers
Performers : 2-6
Duration: concerts of 1-2 hours, extended performance events
Set up time: typically, setup is required a day before the performance
Venue supplied materials
- Sound system: nominally 4 channels of independent loudspeakers (professional grade from manufacturing such as JBL, QRS, D&B or Meyer Sound.
- Stage lighting dependent on capabilities of venue
Costs: Fees, travel and expenses, expendable materials

Research and Development

Artistic

techniques for composition and orchestration
- Extended vocabulary for sound in space and motion
- Notation, documentation, scores
Modes and framework for collaboration

Technical, Science, Engineering

Hardware design and development
- Mechanical
- Acoustics
- Circuitry
software design and development
Techniques: tracking, phased arrays, matrix operations

Installations Description

… to be supplied

Driscoll / Edelstein new work

Gestures and Murmaurations – Driscoll / Edelstein

Adaptation of Cluster Fields? Driscoll Edelstein

Who, Where, When

When

Timeline for consideration as follows:

Feb-June 2026: solidify concept plan. Engage with persons of interest
June-Sept: reach out to venues, funders, seek residencies, opportunities for workshops, performances, installations
Oct -> ongoing development of workshops, installations, performances

Near term Considerations

March 6,7 Bowerbird concerts – opportunity to introduction idea to Ron, Michael, Dan and possibly others
April – John/Phil proposed meetup in Concord
June – proposed Pepscillator along with Forest Speech and other works at Mills (w/ James Fei, Charles Armikhanian, John Bishoff, Phil Edelstein, John Driscoll, Paul DeMarinis, Michael Johnsen)
Initial inquiries:
- Rainforest V v3 AdK discussion: JD, PE, Matthias Oesterwold, Melih Fereli
- Roulette – email to Matt

Cities and Locals

NYC and greater NY area, Boston and greater Massachusetts, Berlin, Philadelphia,Miami, San Francisco and Bay Area, other west coast, mid-west (chicago)

Click for Venues of Interest (this may make sense as a table with columns for : Residency, Workshop, Installation, Performance)

AdK – contact to be suggested from Mathias Oesterwold and or others.
Boston Science Museum
Columbia – contact Seth Cluett
Decordoba
DIA Beacon
EMPAC – contact tbd
Exploratorium
Eclipse Mill (contact Ralph Brill)
Fridman Gallery – perhaps in conjunction with Daniell Neumann, Dan Fishkin/Ramapo
Georgia Tech – Gutman
Harvestworks – Governors Island not ideal but a possibility
ICA Boston
KM28 Belin (from Max Eilbacher)
Longhouse
Museum of Musical Instruments Berlin https://www.museumsportal-berlin.de/en/museums/musikinstrumenten-museum/
Issue Project
MASS MOCA – contact tbd
MIT – contact Ian Condry (no real connection but place to start from thin email thread)
Moderna Museet (via Mats Lindström)
MOMA NY
New Museum NY https://www.newmuseum.org
NY Hall of Science
NYU – contacts: Cecilia Lopez, Michael Schmacher, Diapason
Park Avenue Armory
Pioneer Works (contact from Dan Fishkin tbd) – https://pioneerworks.org Roulette
Sub-Tropics (Gustavo Matamoros)
The Shed
TU Berlin – contact tbd
Wesleyan – contact Ron Kuivila
Ramapo College – contact Dan Fishkin
Roulette – Matt ?
WaveFarm – residency opportunity
ZKM – contact tbd

Residencies and Funding opportunities (unsubstantiated)

Doris Duke https://www.dorisduke.org/grants/projects/2025-doris-duke-artist-awards
NYFA
Mass Council for the Arts
Wavefarm
Harvestworks
LACMA Lab
Cornell backslash
Watermill Center
…

Unlikely but for completeness

ARS Electronica – not sure what’s happening there

Other Avenues

Recording and Publishing

We should consider whether we might have recordings of interest coming out of this initiative. We should consider the possibility of new releases with Philip Blackburn / Neuma Records or alternatives.

Online Repository and Channels

We will seek an online repository for materials related to this initiative.

Possible combinations of:

Dropbox
Google Drive
Web site (e.g. under composers-inside-electronics.net )

Others here might see value in social media: E.g. Facebook, Telegram, Signal, Instagram, Slack, Discord, … snap-crackle-pop-dejour . Most likely these will be used as convenient for various sub-projects with some minimal cross reference and index.

Addendum

Construction Techniques and Materials

Vocabulary of devices
- Continuous rotation and position control
- Open and closed loop (position, velocity, acceleration/deacceleration)
Retrofit and repurpose DMX lighting instruments
Audio drivers:
- Horns and waveguides
- Compression Drivers
- Wide-band speakers
Use of MAX, Ableton
- Basic “out of the box”
- M4L custom objects
- Multi-channel (“mc”) extensions
- DMX control integration
Use of DMX, OSC and protocols for network control
- Use of ENTECT DMXIS USB to DMX and Ableton Plugin
- Python and MAX patches for using other USB to DMX adapters (MacOS, Arduino, Raspberry Pi)
- Work in progress on
  - RS485 with ESP32 nano
  - Arduino Art-Net sketches
DIY frames using aluminum t-slot rails
Customization:
- Increased torque
- Reducing mechanical noise:
  - Use of TCM2209 stepper drivers
  - Replacing stock noisy fans with quieter alternatives
  - Vibration reduction
Contrast with other approaches to spatial audio
- Ambisonics
- Binaural
- Stereo
- Paramateric
- Parabolic
- Wave Field Synthesis
- Transduced objects
- Kinetic vs. static loudspeakers

Concepts

The technical aspects of the workshops involve at least a basic understanding of mathematical, electrical, mechanical and software concepts. Participants need not have a deep understanding of these topics

Electrical

Voltage, current, resistance, signal processing (filters), analog digital

Musical Concepts

Pitch, rhythm, polyphony, composition, improvisation, orchestration, timbre,notation, graphical scores, tuning systems, composition of sound in space.

Mathematic Concepts

Arithmetic, algebra, calculus geometry, trigonometry, calculus (position, velocity, acceleration), matrix operations, rotation, inversion. Convolutions, Fourier analysis. Fractals – strange attractors.

Software concepts

Functional programming (javascript, C, python), patch languages E.g. Max), loops, recursion, instantiation, model

Mechanical Concepts

Torque, angular momentum, inertia, center of gravity, degrees of freedom, mass, acceleration, velocity, rotation

Science and Engineering

Resolution, Magnetism, Acoustics (resonance, reflection),properties of waves ,frequency, wavelength, reflection, refraction, feedback, systems and complexity theory, open and closed loop control. Linear and non-linear systems. Real vs. Virtual image in both optics and acoustics.

“Staging”

… bringing sound to the listener (typical seated listeners)

… listener free to explore sound in space – installations

Possibly includes considerations of:

White (gallery) vs black (theatre) and multi-color repurposed spaces
Lighting: static vs. dynamic

Software

MAX
Ableton
- M4L
- Traditional Ableton automation
- ENTTEC DMXIS plugin and alternatives
Other tbd:
- SuperCollider,
- Python,
- Processing …
Arduino sketches including:
- DMX shield
- Stepper software
  - Basic ‘no library” stepper drivers
  - Basic Stepper library
  - AccelStepper
Transport
- Wireless: RF dongles, Wifi
- Ethernet
- USB
DSP Techniques
Protocols
- DMX 512, Art Net
- OSC

Human interfaces devices- (HID) Gesture capture and morph

Use of traditional midi control surfaces
Resolution: 7 bit Midi, OSC floating point
Game pads
Haptic
- IMU’s Inertial Motion Units (Accelerometers, Gyroscope, Compass)
  - Iphone, iPad, Smart Phones (android)
  - Arduino IOT Nano ESP32 Sense with onboard IMU
  - “Standalone: IMU;s: WS????

DSP Tools and Techniques

Convolution Reverbs
Pitchsift
Phase shift
Delay
Panning
Filters: high pass, bandpass, low pass, resonant, all pase
Feedback
- Acoustinc
- Electronic and Software
  - single sample E.g. via gen~ or Faust)

Orchestration

Approaches to abstractions to support composition for medium and large arrays of sonic kinetic objects

Comparison to Other Approaches to Spatial Audio

Wave Field Synthesis
Applications based on HRTF (Head Response Transfer Function)
Parametric Loudspeakers
Parabolic and Ellipsoidal Reflectors
Surround Sound systems
- Dolby ATMOS

Summary Description of Works

The following works are pieces that use spatial audio presented here as points of reference.

… let’s think of other works to reference here

Title	Summary
Cluster Fields	An installation work of John Driscoll and Phil Edelstein using groupings of transduced and more traditional. Latest implementation at Zuccaire Gallery (2024) used 4 clusters, (3 fishing poles, 2 extended drain pipes, 2 *2 mica sheets, 4 PVC pipes with transduced globes and audio driver with horns) totaling 16 audio audio activated by an Ableton and custom M4L devices.
Forest Speech	A work (1977-78) by David Tudor using transduced objects, spatial sound, and vocal-like source material. We seek to consider realizations of the work that use special kinetic techniques in the staging of the work. There was a notable major realization of the work in 2021 at MOMA NY using the installed objects from Rainforest V variation 1 by 3 ensembles over three weekends of performance. Additional performances of Forest Speech are in progress for Philadelphia and SF Bay area.
Gestures and Murmuration	An installation work of Cecilia Lopez and John Driscoll using DMX rotating horns, rotating parametric loudspeaker, and rotating oil drum.
Impulsions	A performance work for small ensembles by Phl Edelstein that uses a library of impulses as source material activated by Clifford attractor for sound spatialization. Proposing here extends the work for rotating loudspeakers to enhance spatial expression.
Island Eye Island Ear	Tudor design from 1970’s realized in 2024 with You Nakai and others using a parametric loudspeaker for beam formation.
Nurbs (working title)	Sketches for a work in progress by Edelstein using MAX and Jitter in need of an output spatialization to use rotating loudspeakers. The basic engine is applicable to both performance and installation. This incorporates mapping of synthesized object positions quantized to various selectable microtonal tuning systems.
Pepscillator	A work by David Tudor originally defined for the sound modifier console at the Pepsi Pavilion for the Osaka World’s fair in 1970 as part of Experiments in Art and Technology (E.A.T.) project. As commissioned by CIE (Driscoll, Edelstein) with backing from Performing Arts Services, Michael Johnsen recreated the original circuitry based on the Tudor/Muma design. This has been used for a series of Pepscillator performances (nominally 2022 to present). As of Feb 2026, Edelstein, Driscoll, Fishkin are moving forward with performances that will use DMX rotating loudspeakers for the rotating elements identified in Tudor’s original notation. Edelstein has developed a software orchestration layer in M4L for use for performance and installation. This uses a simple geometric proximity based flocking algorithm for speaker rotation and audio modulation.
Proxima	A new work by Phil Edelstein. In which the proximity and orientation of the visitors and or performers is used to modulate sound and or visual fields. For performers and or visitors. A realization of a system where an observer either automated or real person quantifies first order variables that is used to modulate sound and or visual elements
The Hall is All	An acoustic feedback installation work by John Driscoll (198?) using rotating speakers. While the original instruments have been lost, a new realization of the work is possible using the new techniques for DMX and related means.
Rainforest	A work by David Tudor (1969) commissioned by performing with the eponymous Cunningham Rainforest choreography. This used small transduced objects and contact microphones
Rainforest IV	An performed installation that came out of the New Music New Hampshire workshop in 1973 and the genesis for Composers Inside Electronics. There have been dozens of realizations and hundreds of performances by CIE and others.Rainforest IV continues to be actively realized and often used in college curriculums. As originally conceived by Tudor, the work uses contact mic’s and traditional loudspeakers to add an additional spatial element. Let’s consider the use of rotating loudspeakers as means of extending the spatialization
Rainforest V	Principally Driscoll and Edelstein developed an edition of 4 of 20 objects each of a permanent installation version emphasize the visual and sonic opportunities, Rainfest V variations 1-4 are in the collection and shown at MdM Salzburg, MAC Lyon, Arter Istanbul and MOMA NY nominally 2015-2022. RF V departs from RF IV in that there is no use of traditional loudspeakers and contact mics.
Shrieks and Nuptials	A work by Phil Edelstein from 1976 using a human interface device to interact with a chaotic oscillator for two performers.
Slight Perturbations	An installation work by John Driscoll using visitor activated ultrasonic instruments. Some of the slight perturbation instruments are in possession of Edelstein and with consultation with Driscoll, could be adapted for use with rotating loudspeakers for orchestration. Of particular interest is adapting Edelstein’s techniques of switching between automation and interaction baked on human input.
Speaking in Tongues	A work by John Driscoll using ultrasonic feedback loop frequently performed by CIE.
Stall (1987?)	Choreography by Madie Whithers and musical accompaniment composed by John Driscoll using a large rotating loudspeaker as visual and compositional element. A simple single board computer with software developed and performed for this by Edelstein. Performances in Washington DC and Berlin (AdK)

Terms of Reference

Term	Reference
Ableton Live	Commonly used music production software
AdK	Akadamie der Kunste Berlin
Arduino	Small single board computers with a fast array of electronic components for connecting to most anything electrical
BLDC	Brushless DC Motor
Cartesian Coordinates	XY (Z)
CIE	Composers Inside Electronics
Control Surface	Typically a Midi device for performance and studio use usually with knobs and sliders.
Contact Microphone	An acoustic vibration pickup.
Convolution Reverb	A DSP technique that applies the resonant characteristic of an object or space on an audio signal.
DOF	Degrees of Freedom
DSP	Digital Signal Processing
Doppler shift	Frequency shift associated with source approaching or receding from listener or observer
DMX Lighting instrument	Typically as applicable here a DMX controlled lighting instrument with pan and tilt capabilities
DMX 512	A hardware standard typically used for controlling theatre lights over XLR cables of RF modules.
DMX Art Net	Modernization of DMX512 to use ethernet, wifi and common computer interface techniques instead of XLR caves and RF modules
EMPAC	The Experimental Media Performing Art Center at RPI
gen~	A programmable DSP set of objects within MAX.
Haptic interfaces	“technology that can create an experience of touch by applying forces, vibrations, or motions to the user”
HID	Human Interface Device
HRTF	Head Related Transfer Function – https://en.wikipedia.org/wiki/Head-related_transfer_function
IOT	Internet of Things – a general term for connecting sensors and controllers using WiFi, Bluetooth and internet protocols (E.g. IP, TCP, UDP)
IMU	Inertial Motion Unit – typically an accelerometer, gyroscope and compass built into a small electronic circuit.These are common on smartphones. Referenced here for use as a haptic input device
Parametric Loudspeaker	“Parametric speakers, or directional speakers, are specialized audio devices that use ultrasonic waves to project highly focused beams of sound to a specific, targeted area, similar to a laser. “
tracking	https://en.wikipedia.org/wiki/3D_tracking “In 3D human-computer interaction, 3D tracking, also called pose tracking or positional tracking, is a process that tracks the position and/or orientation of head-mounted displays, controllers, or other input devices within Euclidean space. Pose tracking is often referred to as 6DOF tracking, for the six degrees of freedom in which the objects are often tracked.^[1]”
T-slot rails	A common available standard form factor for extruded aluminum
Jitter	A highly sophisticated library within MAX for graphics and array processing using the GPU on a computer.
MAX	Commercial software from Cycling 74
Midi	Musical Instrument Digital Interface – A widely used hardware and software standard
Mira	An iPad application from Cycling 74 that allows control of Max Patches.
OSC	A computer communications protocol used for computer and electronic music.
Phased Array
Polar Coordinates	Angle and distance
SuperCollider	a free, open-source, and cross-platform programming environment designed for real-time audio synthesis, signal processing, and algorithmic composition.
Sound Sculpture	Use of sound as a sculptural plastic media or medium
Spatial Sound	Techniques for distributing sound in space
Stepper Motor	Type of motor used for robotics, CNC control and DMX pan-tilt devices.
STEM	Science, Technology, Engineering, Math
STEAM	Science, Technology, Engineering, Arts, Math
USB	Universal Serial Bus – common means of connecting external devices to a computer.
XBOX Controller	A family of game pads from Microsoft
Wave Field Synthesis	https://en.wikipedia.org/wiki/Wave_field_synthesis “a spatial audio rendering technique, characterized by creation of virtual acoustic environments”
WiFi	Common protocol for local wireless internet

Activity and Change Log

When	What
~Feb 13-16	Original version drafted by PE
Feb 17, 2026	Original version sent to JD, DF, CL for comments.
Feb 18, 2026	From discussion with DF confirming his interest, added Research threads. Added “Promixa” reference and some other small changes; this Activity and Change log.

Pending and To Do

What	Date
Pending initial feedback from JD and CL	Feb 17, 2026
Discuss with JD relevance to proposed April get together and proposed Oakland performance.	Week of March 10 post Philadelphia
Iterate and refine	tbd
Followup on introductory email to Matt at Issue Project
Determine next round of contacts as opportunities arise	tbd
Identify opportunities by category:ResidenciesInstallationsPerformancesResearchWorkshops	Starting March 2026