I’m a composer living in North Vancouver’s LoLo District. My day gig is a professor of music and technology at Simon Fraser University‘s School for the Contemporary Arts, where I teach some courses. I was also the interim Director of the school for a year, and COVID-19 hit in the middle of that gig!
I spend a lot of time trying to make my computer help me compose by making it more intelligent. Specifically I’m involved in the notion of metacreation, which is imbuing computers with creative behaviour. Cycling74’s Gregory Taylor interviewed me. I also make robots – designed and built by Ajay Kapur – play my music. NSERC and Canada Council felt my work was worthy of a major New Media Grant. More info on it here. I’ve received some media attention about my work. I was interviewed for the Humanities Edge Podcast about it too.
I’ve was funded to work on musebots, which are virtual musical agents that collectively make music together. They have been presented as installations at ICCC, ISEA, Generative Art, NIME, SMC, xCoAx, and TIES, and, we put on a show in which humans played with the musebots. After a musebot code-jam in Byron Bay, Australia, I created an Imaginary Miles ensemble modeled after Miles Davis‘ Filles De Kilimanjaro and In A Silent Way ensemble circa 1969. Ollie Bown asked me to point my musebots towards making trap music (I asked “what’s trap music?”), and eight weeks later, they had an album on Spotify.
Together with Philippe Pasquier and Ollie Bown, I’m was one of the organizers for MuMe, or Musical Metacreation. MuMe put on workshops, tutorials, concerts, and we edited a Special Issue on Musical Metacreation for ACM Computers in Entertainment. MuMe even has a Twitter feed!
I used to write a lot of music for Serge Bennathan‘s Dancemakers. An older CD of mine, music for Les Arbres d’Or, is available online. I’ve also got a piece on this CD and this one. But who really buys CDs anymore? Almost all of my music is available here.
My one-time alternate persona still has music available online. It received airplay in, of all places, Macedonia, Croatia, Australia, and Michigan: one 5/17 royalty check of $1.08 came from radio airplay in Vietnam!
Some of this music is/was available via kolorform records (out of print), as well as on the German netaudio label 2063, the Chicago netlabel stasisfield, two Vancouver net-labels (kikapu and nishi). Writer Marc Weidenbaum of Disquiet went so far as to include Nine Days as one of the albums that changed his life. Huh. Now raemus is on Spotify.
I’m a member of the Canadian League of Composers (CLC), the Canadian Electroacoustic Community (CEC), the International Computer Music Association (ICMA), SOCAN, and an associate composer of the Canadian Music Centre.
I used to play squash way too much (formerly a low “A” level player, once ranked in the top 100 of all squash players in BC), but a serious disc injury stopped my competitive play. Now I play keeper for a +50 Men’s football (soccer) team, and I’m a huge fan of Arsenal FC.
Here’s my Wikipedia (!) entry. I had nothing to do with it.
If you can believe it, this site was actually awarded a “Cool Site of the Day!” by Eye Magazine in 1995! Anyone else remember when the web was small enough that one could award something like that? If nothing else, it shows how long this site has been taking up bandwidth. Not only that, but this site seems to have outlived the Magazine…
Here’s my (probably out of date) C.V.
Bio: Arne Eigenfeldt is a composer of live electroacoustic music, and a researcher into intelligent generative music systems. His music has been performed around the world, and his collaborations range from Persian Tar masters to free improvisors to contemporary dance companies to musical robots. He has presented his research at major conferences and festivals, and published over 50 peer-reviewed papers on his research and collaborations. He is a professor of music and technology at Simon Fraser University.