Ludo2021 Programme

The preliminary programme below is subject to change. Information on registration and how to join online can be found here. Attendance is free of charge.

Please note: All times in the schedule are in UTC!

Day 1: 23rd April

12:00–13:30Session 1 – Links to the Past: Histories and Remediation
1. Martine Mussies – Neo-Medieval Covers of Game Musics
2. Mark R. Johnson – Music and Copyright in YouTube and Twitch Gaming Videos
3. James Cook – Kingdom Come: Deliverance and the Aesthetics of Authenticity
14:00–15:00Keynote Session – Hillegonda Rietveld
Professor of Sonic Culture at London South Bank University
“Digital Muse: Game Culture Enters the Dancefloor”
15:30–17:00Session 2 – Resources, Environments and Production
1. Kate Galloway – Sounds of Extraction, Pixelated Natural Resources, and Animating Multi-Species Ecologies
2. Hyeonjin Park and Jordan Hugh Sam – Can the Pikmin Speak?
3. Ariel Grez Valdenegro (LUDUM group) – Music and sound from Chilean producers: poetics, production conditions, and reception.
    18:00–19:30Evening Session – Tuning into Chiptune
    1. Brent Ferguson – Turning Theory into Practice: Composing the Score for Mystiqa: The Trials of Time
    2. Dominique Pelletier – Situating chiptune as historical music
    3. Kurt James Werner – Noise- and Resonance-Based Advances in 1-Bit Sound Synthesis
      – End of Day 1 –

      Day 2: 24th April

      12:00–13:30Session 3 – Dancing and Moshing: Performing in and with Games
      1. Lidia López Gómez – Flamenco y Olé! Musical representation of the national identity in Spanish-located video games
      2. Mohammad Reza Azadehfar and Afsaneh Yadaei – Music Composition through Choreography Computer Gaming: Case of Azerbaijani Traditional Dance
      3. Karina Moritzen – Opening up Virtual Mosh Pits: Music Scenes and In-game Concerts in Fortnite and Minecraft
      14:00–15:00Keynote Session – Markus Zierhofer
      Composer of The Wagadu Chronicles and founder of AudioCreatures
      „Afrofantasy Game Music: Discoveries, possibilities and difficulties while defining the sonic world of the African MMO The Wagadu Chronicles“
      15:30–17:00Session 4 – Starts, Stops and the In-Between
      1. Sara Bowden – Thank you for Dying: Sound Affects and Musical Disorientations in Strobophagia
      2. Björn Redecker – Music as a Boundary Object
      3. James Newman – Fearful Harmonies
        18:00–19:30Evening Session  Learning from Practice
        1. Dragica Kahlina – Tutorial/Practice Session: Procedural Music with Unity and CSound
        2. Christof Ressi – Lecture Performance
          – End of Day 2 –

          Day 3: April 25th

          12:00–13:30Session 5 – Japan, Music and Culture
          1. Lasse Lehtonen – Kōichi Sugiyama, Japanese music history, and the origins of game music concerts
          2. Mattia Merlini – Eclectic Tennō: Japanese Video Game Soundtracks as Agents of Postmodernity
          3. Barbora Smirinova – Creative Convergence in the Touhou Project fandom: Assessing factors and networks fostering productive fan music creation within the Touhou Project series
          14:00–15:00Keynote Session – Poornima Seetharaman
          Carnatic music enthusiast, Director of Design at Zynga and Ambassador of Women in Games (WIGJ) 
          “‘Sangamam’ – A union of Carnatic music, South Indian culture, Video games and Emotions”
          15:30–17:30Session 6Depicting Worlds and Cultures
          1. Stefan Greenfield-Casas – Worldbuilding Through Preexisting Music and Remediation in the Kingdom Hearts Series
          2. Thomas Yee – Racialized Fantasy: Authenticity, Appropriation and Stereotype in Super Mario Odyssey
          3. Ross Mitchell – “Fifty Shades of White”?: The Witcher III’s Pa(ga)n-Slavism
          4. Millicent Gunn – The Soundscape of Alola: Exploring the use of Hawaiian and Polynesian musical tropes and diegetic signifiers in the world of Pokémon Sun and Moon
            18:30–19:30Evening Session  tba
              – End of conference –
              %d bloggers like this: