ANIL ÇAMCI
I am an Assistant Professor of Performing Arts Technology at the University of Michigan. My work investigates new tools and theories for multimodal worldmaking using a variety of media ranging from electronic music to virtual reality. Previously, I was a postdoctoral research associate at the University of Illinois at Chicago's Electronic Visualization Laboratory, where I led research projects on human-computer interaction and immersive audio in virtual reality contexts. Prior to this appointment, I worked as a faculty member of the Istanbul Technical University, Center for Advanced Studies in Music, where I founded the Sonic Arts program. I completed my PhD at Leiden University in affiliation with the Institute of Sonology in The Hague, and the Industrial Design Department at Delft University of Technology. I hold an MSc degree in Multimedia Engineering from the Media Arts and Technology Department at the University of California, Santa Barbara. My work has been presented throughout the world in leading journals and conferences. I have been granted several awards, including the Audio Engineering Society Fellowship, and the ACM CHI Artist Grant.
2018
Vylderness is an upcoming virtual reality performance.
2017
Synthcity is a generative audiovisual installation. By computationally blending everyday figures and textures, it synthesizes extremely unrealistic versions of a city using its real landscapes, objects, sounds and people. Synthcity was premiered at ISEA 2017 in Manzales, Colombia.
2017
Inviso is a browser-based application for creating virtual sonic environments. It can be accessed at http://inviso.cc. A UIST paper about Inviso can be found here.
2016
Temas is a stochastic audiovisual performance. The software underlying Temas integrates the artist into a generative system as a module of analysis. Temas stochastically traverses the fine line between the organic and the synthesized, forming contacts with representationality. Each of the work's five sections utilizes a different layer of audiovisual worldmaking that situate the audience and the performer at various points inside the implied universe of the narrative. As the perspective shifts, abstract forms take on representational duties, and alter the nature of immersion.
Imagining Through Sound: An Experimental Analysis of Narrativity in Electronic Music [Organised Sound 21(3)]

Electronic music engages with the listening habits we take for granted in our everyday lives, and reveals how intricate they can be. Inspired by such intricacies, I have conducted a series of listening experiments with 80 participants over the course of three years to explore the cognition of electronic music. In this text, I first present the method and the results of this experiment, including a categorical analysis of mental associations evoked by different works of electronic music. Next, I offer a discussion of narrativity in electronic music supported by these results and diverse perspectives on narrativity from a number of disciplines. I then construct a definition of gestures as narrative units in electronic music in relation to events in the environment. In doing so, I bring together various theories on electronic music with not only the findings of the current study but also existing research on auditory cognition.

2016
Distractions: a kinetic sculpture that utilizes inaudible frequencies to visualize invisible electromagnetic signals that surround us in daily life. It highlights some of our routine sources of distraction in their raw forms using a single physical artifact that brings together together data sonification and visualization.
2015
Node Kara is a mixed-reality installation, which brings together body-based human-computer interaction, live video processing, and stochastic audio synthesis. By adopting the process of blurring both as a theme, and a technique, Node Kara obfuscates the causal link between an interactive artwork and its audience. The deblurring of the audiovisual scene through the visitor's embodied presence becomes an attracting force that invites the viewer to unravel the underlying world of Node Kara.
2013
"Diegesis is utilized as a paradigm to explain the tension/interaction between near and far while questioning the extents to which the listener is inside or outside the musical material." (Çamcı 2013). With an homage to Roads' homage to Subotnick, and a citation of Beethoven.
2011
A Christmas song for a world that no longer exists, as crooned by the Anti-Santa strolling a wasteland formerly known as Earth: A repurposing of Tin Men and The Telephone's celebrated Christmas album.
2013
I.N.T.O.: Series of still images and videos. This work was repurposed as a visual language for the Istanbul band Fakap.
2012
Birdfish is the second piece of a tetralogy on evolutionary phenomena. In two movements, it explores organic forms that transcend the surface of the ocean.
2010
The opening speech to the piece is from a broadcasting of the 2006 solar eclipse, which was viewed in its totality at various locations in Turkey. As an out-of-place experiencing of this bewildering event, not through the eyes of the man but the machine, the piece depicts "a phenomenon impossible to photograph".
2007
An unresolved mistery in two movements that mimick one another. In 2008, Do you remember Rob Nolasco? was used for the short film A Case of Stairs, in collaboration with Aydintug and Wikstol.
2008
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