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Sound + Performances

Sunday, December 10, 2023, 3-8 pm

Free with RSVP. Register on Eventbrite



Deering Estate

16701 SW 72nd Avenue
Miami, FL 33157


Gustavo Matamoros

Sergey Komarov

Total duration: 3:48:44 



David Dunn, Rafael Vargas Bernard, Rafael Vargas Bernard, Julio Roloff, José Hernández Sánchez, Emilie Berteau, Rene Barge, Richard Garet, Judy Robertson, Russell Frehling, Denis Rovinsky, Nicole Martinez, Shahreyar Ataie, Alexey Grachev & Sergey Komarov, Gustavo Matamoros 


Live Performance Artists

Rafael Vargas Bernard, José Hernández Sánchez, Richard Garet, Nicole Martinez, Alexey Grachev & Sergey Komarov, Gustavo Matamoros

Within the theme of vulnerability that permeates this year's Cyfest-15 at Deering Estate, the artistic landscape of South Florida reveals a multitude of Subtropics artists whose work resonates profoundly. These artists not only captivate us with their compelling creations but also embody vulnerability themselves as members of Miami's community of experimental musicians, sound artists, and intermedia practitioners. As we embark on this extraordinary festival, I extend my heartfelt appreciation to the esteemed curatorial team composed of Anna Frants, Lydia Griaznova, and Sergey Komarov for their enlightened selection process of the final program for the Deering Estate Theater on December 10th. Our collective choices have paved the way for an exceptional event that not only graces Miami but also invigorates and enriches our community with fresh ideas and heightened sensibilities. I consider myself fortunate to be part of this remarkable journey. — Gustavo Matamoros

Vulnerability is the first core feeling that comes to mind when describing sound art. It is easy to disturb the sequence of events with an extraneous sound or to disappear in noise. It is easy to distract the listener from perceiving the invisible; it is easy to dissolve into one's listening, having lost oneself in the author's ideas.​

As a natural counterbalance to this fragility, sound overtakes one way or another — comprehensible and pleasant or unwelcome, like a sound that marks an imminent danger. We can close our eyes or turn away if we don't want to see something, but the universe of sound information is structured differently. In such interpretations, it is the listener who is now vulnerable before the artwork. — Sergey Komarov


David Dunn

Inscape 3

Performance, 2009

Duration: 3’45”


Inscape 3 is an arrangement for solo violin and electronic sounds of Inscape 2 (1995) for solo voice and electronic sounds. In both cases the works are a setting of the same poem (Pied Beauty) by Gerard Manley Hopkins. The electronic sounds for both works are the same. The fully notated violin part mostly doubles the electronic sounds, matching as close as possible the precise just intonation of the electronic tones. The electronic sounds are computer-generated sinewaves whose durations and envelopes were determined by extracting the envelope shapes of phonemes and mapping them onto the appropriate sinewave frequencies. These frequencies, as indicated in the score, were derived from a phonetic analysis of the Hopkins text from which specific structural attributes could be translated into a musical structure. The numeric value of the frequency of occurrence for each phoneme has been mapped into an inverse hierarchy of natural number values, corresponding to harmonics in the harmonic series. Further digital signal processing techniques, as varying rates of delay and echo, were subsequently applied to the edited sequence of sinewaves in order to articulate other embedded structural relationships in the original text.


David Dunn, composer. From 1970 to 1974 he was assistant to the American composer Harry Partch & remained active as a performer in the Harry Partch Ensemble for over a decade. He has worked in a wide variety of audio media inclusive of traditional & experimental music, installations for public exhibitions, video & film soundtracks, radio broadcasts, & bioacoustic research. Presently he is a Professor Emeritus of the University of California Santa Cruz. His compositions and soundscape recordings have appeared in many international forums, concerts, broadcasts, and exhibitions. Besides his multiple books, recordings and soundtracks, he has been anthologized in over 50 books and journals.


Much of his current work is focused upon the development of listening strategies and technologies for environmental sound monitoring in both aesthetic and scientific contexts. Dunn was the recipient of the prestigious Alpert Award for Music in 2005 and the Henry Cowell Award from the American Music Center in 2007. He lives in Santa Fe, New Mexico.


Rafael Vargas Bernard

Hybrid Code Selector .444b 

Performance, 2023

Duration: 10'00" 


Elektron Syntakt, Elektron Digitone, Arturia MiniFreak, and a plant-based oscillator (An Oregano Brujo plant with its capacitance measured by a modified soil moisture sensor interpreted by a Teensy 4.0 microcontroller and firmware coded in C++ 

Hybrid Code Selector .444b parallels my personal cultural and creative hybridity and the need to constantly code-switch in my communication and artistic practices with hybrid audio generation processes; playing techniques at the intersection of composition, improvisation, and chance; and conflicting cultural music idioms. An Oregano Brujo plant, with a sensor and a microcontroller, will act as one of the instruments played in this piece as an organic-digital hybrid electromagnetic-field-capacitance-controlled oscillator. This piece is an extension of my new, more music-than-noise-leaning polyrhythm-based project, Maulfongo. First time to be performed.

— Rafael Vargas Bernard

Rafael Vargas Bernard, born in Mayagüez, Puerto Rico, studied computer engineering at the Georgia Institute of Technology, sculpture at the Escuela de Artes Plasticas de Puerto Rico, and La Práctica at Beta Local. His work explores functional and non-functional systems (including power structures, economic systems, and generative systems) and societies relationship with these. His work has been exhibited at Exit Art (New York), Peripher (Zürich), and Las Naves (Valencia), and is part of the permanent collection of the Museo de Arte Contempor neo de Puerto Rico.

Julio Roloff



Pre-recorded quadraphonic computer music

Duration: 7’00”



Pre-recorded quadraphonic computer music

Duratiom: 7’00”


Fourbells is a pre-recorded quadraphonic computer music based on sampled and processed bells sounds for four channels. 

Wooden is a pre-recorded quadraphonic version of a computer music originally created for eight channels based on sampled and processed marimba sounds.


Julio Roloff is a composer of experimental classical music. Known for his scores for percussion instruments as well as for his electro-acoustic and computer music for solo tape and for acoustic instruments and electronics, his catalog includes chamber and symphonic music and music for stage and films.


A retired music professor and producer born in Havana, Cuba and a naturalized American Citizen, he received his musical education at both the Conservatory Amadeo Roldan and the Ignacio Cervantes Professional School of Music in his native city where he studied double-bass, percussion, and music theory. Later he earned a Bachelor Degree in Music Theory and Composition from the School of Music of the Higher Institute of Art of Universidad de la Habana. Aesthetically, his music is characterized by the influence of the master composers of the Twentieth Century, multicultural elements from Classic Rock and Jazz to Afro-Cuban music, a transparent language and the creative use of new, advanced and experimental techniques in composition.

Roloff is a member of the South Florida Composers Alliance (SFCA) and of the experimental music ensemble "Punto" and has collaborated, among others with Subtropic New Music Festival, Miami International Performance Festival, Florida International University, Miami Dade College, Koubec Center, the University of Miami, Sound Art Workshop (SAW), the Miami Beach Audiotheque and Listening Club, the Foundation for Contemporary Art (FCA), Tiger Tail Productions, Kendall Sound Art Series, Edge Zone Art, Inlets Ensemble and Compositum Musicae Novae.

José Hernández Sánchez

What Was I Thinking?

Performance, 2023

Duration: 10’


Wearing a brain activity sensor on his head, the artist will be manipulating computer-generated sounds with his brainwaves.


José Hernández Sánchez creates what he calls composed situations — music compositions that extend to other media like performance and film.

His pieces have been presented internationally at festivals and venues such as Miami Performance International Festival, Subtropics Festival, NWEAMO Festival (US), Festival Internacional de Música Contemporánea (Colombia), Festival Internacional de Música Contemporánea de Lima (Peru), Primavera en La Habana (Cuba), Microscope Gallery NY, Spazio Unimedia, Venice Italy. Institutions as New York University, and the International Aesthetics and Philosophy of Music Congress (Ecuador) have invited him as speaker on Aesthetics and Contemporary Music. José held a faculty position in Music Composition at Javeriana University in Bogotá, Colombia from 2004 to 2010.


Emilie Berteau


Film, 2014

Duration: 9’33” 


A man slowly and inexorably climbs a staircase, attracted by a deceptive light.

I directed and produced three independent films: one documentary short, one experimental short, and one feature-length documentary called 88, capturing the journey of a pilgrim from Shikoku in Japan. My movies were selected and awarded in several festivals. I am currently developing a film project in Florida.

Rene Barge

Prism Break

Performance, 2012 

Duration: 5’20"


“The sound works, prints, and videos that I produce are glimpses into patterns that I perceive; they bear evidence of multiple filters and distortions via alternately human, natural and artificial agents. They are prisms of interactions with specific environments in that they show multiple aspects of change at once, analogous to a post-studio, post-digital cubism. — Rene Barge


Rene Barge collaborates with sound artists Gustavo Matamoros and David Dunn as FM

He also direct the Creative Design Project for Youth (CDPY). CDPY seeks to enhance the knowledge, proficiency and competitiveness of art and design students by engaging them in real-world experiences that augment their proficiencies and portfolios with exhibited and published original works commissioned by partnering community programs and arts organizations. CDPY was established in the Fall of 2005 with an Access To Artistic Excellence grant from the NEA’s Media Arts Program.” 


Richard Garet

The Other Side 

Live Performance, [Material Sound], 2023

Duration: 30’

Richard Garet’s approach to working with sound focuses on interacting with materials' sonic properties as both source and instrument. Furthermore, Garet crafts his material to depict and arrive at the expression of each sound's accurate significance to subsequently apply idiosyncratic compositional methods for the listening experience. Such materials are amplified EMF emissions, modified audiocassettes, dysfunctional tape players, circuit boards, sonification of light, and computer processing among other explorations, and with no particular hierarchy.


Richard Garet is a contemporary multimedia artist born in Montevideo, Uruguay. He holds an MFA from Bard College, NY. Garet has lived and worked in the United States since 1996. Richard Garet's work is recognized in the context of sound and visual arts and has been exhibited in galleries and institutions globally.

Garet examines the ontological interplay inherent in his materials, encompassing the activation of background noise, the orchestration of imagery and sounds, and the conduction of experiments using outdated and current technological apparatuses. Through this intricate exploration, employing diverse media and materials to convey his artistic message, Garet's work culminates in abstractions, resulting in multidimensional artworks that challenge traditional artistic categorizations

Judy Robertson 


Film, 2017

Duration: 4’22”


Cross-walk is a short animated video which circumscribes and deconstructs the sights, sounds, and imaginative underpinnings of a busy intersection. Through the traditional 20th-century cel-animation technique of frame-by-frame hand-illustration, a pedestrian's dream is brought to life. 


Human locomotion — the means and mode by which a body moves, is moved, through space. Movement is tied to success, health, and freedom. It’s not the cultivating of the perfect home: the dreaming mind and wide-awake eyes track the thing found only out there: obscured trail markers, the lure of a wrong turn, evidence of another’s passage. So all the infinite layers of breath and movement (what was, what is, what will be) twist, weave, and crisscross the tracings of the road, re-framing notions of the commute.

Russell Frehling

Art In Not a Commodity


Duration: 5’35"

Russell Frehling was awarded the Reiner Prize for music composition from Brandeis University where he received his B.A. in 1974. Following a period of independent study with Pauline Oliveros and Morton Feldman he was invited to the Center for Contemporary Music at Mills College earning an M.F.A. in Electronic Music and Recording Media under Robert Ashley and David Behrman. On grants from several ecological organizations, Frehling spent two winters in Iki, Japan developing an underwater sound system designed to alleviate the conflict between dolphins and fishermen competing for the same resources.

Frehling’s own work continues to develop from his concern with the direct and real-time experience of sounds on their own terms, as unique physical entities occupying space as well as time. He has lately concentrated on large scale sound installations for a variety of architectural and natural settings


Denis Rovinsky

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Duration: 5’50”

Denis Rovinsky is an artist whose work exist at the intersection of science and art, by blending light and color theory with sound technology and scientific factors of space and time, dispersion, and acoustics. His work creates a multi-sensory experience.

Nicole Martinez


Performance, 2023

Duration: 16’


Nicole will combine analog, hand made electronics including a modular synthesizer and various circuit bent instruments to perform a meditative improvisation.


Nicole Martinez is an experimental musician, artist, and composer working with obsolete technology, fundamental synthesis, and circuit bending combined with traditional instruments and concepts. Nicole is also a sound and installation artist focused on the impact of technology in the home and society. Nicole graduated from the University of Miami with a Master's degree in Electronic and Computer Music while teaching music theory for her assistantship. Nicole is founder/operator of The Bridge Miami; a non-profit building community through music.

Shahreyar Ataie



Duration: 5’31”

What interests me is the process and poetry with which events come about and disappear and our perception of these events as they pertain to our life cycle.

— Shahreyar Ataie

David Dunn

Thresholds And Fragile States

The recording of a live performance using unique analog electronic circuits, 2011 

Duration: 15’23”


This recording of Thresholds and Fragile States is one of many live realizations made using a one-of-a-kind network of non-linear chaotic oscillators capable of generating an infinite variety of emergent “auditory behaviors.” As an autonomous electronic system, these circuits are more akin to living systems than information processing devices. The circuits produce a dazzling assortment of complex noises where the sounds produced emerge as a type of machine “conversation.” In this sense the circuits resemble the closed nervous systems of living unities that are under constant perturbation from other similar closed nervous systems. The intention is not to simulate the high-level functioning of biological organisms and their cognitive capacities but rather to take this question down to its most primary level of autonomous-closure machines where self-organization is more obviously inseparable from behavior. Ultimately the emergent complexity of these systems results from the dynamical attributes of coupled chaotic attractors interacting in a high dimensional phase space that is similar to the kinds of interactions and feedback that might exist between diverse sound makers within a living ecological network. While the circuits herein described give rise to autonomous sound behaviors based upon mathematical pattern formation, they also explore the underlying mechanisms that may help weave sounds together in the natural world. In many ways this work is an attempt at understanding pattern formation where comparisons and interactions between natural and artificial systems might shed light on how similar dynamical properties might be operating at their generative levels.


Alexey Grachev, Sergey Komarov


A/V performance, 2015–2023

Duration: 30’


Max/MSP, Touch Designer; Yamaha TX7

Real-time graphics by Alexander Bochkov; Math consulting by Sergei Kostyrko

Supported by CYLAND MediaArtLab


Sound artists Alexey Grachev and Sergey Komarov continue their research series ‘Subjectivization of Sound’ with the new experiment 1:1.78055*10226.

The creative duo specializes in various research of sound both as a physical entity and as a sensitive medium in the artists’ toolbox. The ‘Subjectivization of Sound’ project interrogates different problems of interfaces and communication of analog and digital syntheses, computing equipment, and the world around.

The 1:1.78055*10226 is an experiment in chaotic programming of the digital FM synthesizer Yamaha TX7 (1985). This is a desktop version and is one the bestselling synthesizers in history — Yamaha DX7. But it has a lack of interface where sound patches can be edited. Over 150 parameters should be controlled via the old-fashioned MIDI System Exclusive (SysEx) messages, instead of the familiar and convenient CC controllers (continuous controller number). 

The unique historic sound and failings of the interface inspired Alexey and Sergei to experiment with this vintage audio gear piece. This is the second attempt to implement this idea (the first was 1:3.44743*10251 with the Waldorf Microwave synthesizer) of interfacing with outdated hardware, combining system restrictions and ‘overclocking’ to push synthesized sounds to the limit. 

In short, the idea is to fill the synthesizer with random parameters and play around with the data while fine-tuning the adjustments. For these purposes, the Max patch is used to manage SysEx messages running TX7.

According to the multiplication theorem on probability, the probability of the sound event can be presented as 1 to 1:1.78055*10226 — that’s the total number of TX7 parameter combinations that can be set. 


Gustavo Matamoros
About How that Circle Fits Into This Square

Performance, 2023

Duration: 69’


About How that Circle Fits Into This Square is a 69 minute long performance that seeks to establish a comparison between two different and separate acoustical spaces. This comparison is based on a collage of sustained sonorities constructed from frequencies generated by a room acoustically different from the space in which tonight’s performance occurs. These visiting sonorities, which emerge from speakers located at each corner of the theater space surrounding the audience, are caused to move around slowly from speaker to speaker in an attempt to help us discern the points of acoustical alignment between the two rooms. Hovering over the architectural chords are animated sounds that resemble radio static to help stimulate the space as well as to interact with the more static sound field in a way similar to the experience of musical homophony. 


Gustavo Matamoros is North American composer born in Venezuela who creates experimental music and sound art. He is the founder of the Subtropics Festival in Miami and a core member of Frozen Music — a sound art collective with David Dunn and Rene Barge that has included Russell Frehling and David Behrman. He is best known for his work with small sounds, as well as for his sound portraits; the use of “gated” recorded sound as an interactive element in live electroacoustic performance; his “noise melodies”; and for his site-specific and public sound art installations. /

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