ARTEFACTS
Concert Research: Measure and Discourse (2019–2021)
UNIKO Annual Report
Fractal-like triangles process
Audiovisual Study
Image-based generative illustrations
Shine on you crazy diamond
Audioreactive
Universities Austria – Projekt Report ›Universities of Tomorrow‹ (2020)
Radio Ö1 Museum Summer (2020)
Hometrainer
KUG Broschure (2019)
Audiovisuals I
Cover Illustrations ›neues museum‹ (2014-2023)
Audio-Reactive Visuals LED Wall Academic Makerspace (2019)
Museums in the Digital Space (2019)
Austrian Musseums Association – Project Report ›Collections Reviewed‹ (2020)
Speech About Music (2019)
Museum 2061 (2017)
IRMA (2019)
On the Situation of Austrian Museums. An Inventory. (2018)
Stage Musik: Death of a Salesman
RESEARCH
Upcoming monograph:
The Apparatus is Present – Zur Verbindung von Experiment und Konzert in der Musikforschung
The Apparatus is Present: Situating Experiment and Concert in Music Research
Zu experimentellen Zwecken eingerichtete Konzertaufführungen stellen eine Kuriosität dar. Indem künstlerische mit wissenschaftlichen Praktiken verbunden werden und Forschende, Kunstschaffende, Publikum sowie Forschungstechnologien neue Relationen eingehen, positionieren sich diese Versuchsanordnungen zwischen etablierten Kategorien des Experiments.
Andreas Pirchner konzeptualisiert Laborkonzerte unter Berücksichtigung der beteiligten Apparaturen als eine Experimentalsituation der Musikforschung und entwickelt daraus Beiträge zu einer Theorie situierten Experimentierens. Der Band erschließt neue Perspektiven für die Forschungspraktiken der experimentellen Musikforschung, künstlerischen Forschung und Digital Humanities.
Concert performances arranged for experimental purposes constitute a distinctive situation for music research. By interweaving artistic and scientific practices, and therefore establishing new relations among researchers, artists, audiences, and research technologies, these experimental settings situate themselves between established categories of experimentation.
Andreas Pirchner conceptualizes laboratory concerts, with particular attention to the involved apparatuses, as an experimental situation within music research. Building on this framework, he develops contributions toward a theory of situated experimentation. The book offers new perspectives for the research practices of experimental music studies, artistic research, and the digital humanities.
Publisher: transcript Verlag Bielefeld Link
Reihe: Musik und Klangkultur (Music and Sound Culture) Link
Publishing date: November 2025
trancript author page: Link
Ludified, Volume 1: Artistic Research in Audiovisual Composition, Performance and Perception.
Marko Ciciliani, Barbara Lüneburg, Andreas Pirchner
Berlin: The Green Box, 2021.
ISBN 978-3-96216-004-3
The Body is the Message.
music | media | publishing, Band 2.
Beate Flath, Andreas Pirchner, Elisabeth Pölzl, Susanne Sackl.
All You Need is Image?!
music | media | publishing, Band 1.
Beate Flath, Andreas Pirchner, Elisabeth Pölzl, Susanne Sackl.
Grazer Universitätsverlag, 2010
music media publishing [Link]
Papers, Essays, Chapters and Proceedings
Pirchner, Andreas (2023): “Entangled Realities. Emerging Performances of Relating Humans, Sonatars, and Spaces”. LEONARDO 56, no. 1, pp. 64–69. View Abstract at MIT Press Download PDF
Pirchner, Andreas (2021): “Investigating Audience Experience”. In: M. Ciciliani, B. Lüneburg, A. Pirchner (Eds.), Ludified, Volume 2: Game Elements in Marko Ciciliani’s Audiovisual Works. Berlin: The Green Box. pp. 41– 67. View Ludified at Green Box
Pirchner, Andreas (2021): “The Real-Time Score of Anna & Marie: Ergodic and Emergent Qualities”. In: M. Ciciliani, B. Lüneburg, A. Pirchner (Eds.), Ludified, Volume 2: Game Elements in Marko Ciciliani’s Audiovisual Works. Berlin: The Green Box, pp. 127–144. View Ludified at Green Box
Pirchner, Andreas (2020): “Ergodic and Emergent Qualities of Real-Time Scores. Anna & Marie and Gamified Audiovisual Compositions”. Proceedings of the International Conference on Technologies for Music Notation and Representation. TENOR’20, Hamburg, Germany, University for Music and Theater, pp. 189–197. Download PDF
Pirchner, Andreas (2019): “On audience perception in gamified audiovisual performances”. In: DiGRA ’19 – Proceedings of the 2019 DiGRA International Conference: Game, Play and the Emerging Ludo-Mix, Kyoto, Japan. Download PDF
Pirchner, Andreas (2019): “IRMA (Interactive Real-time Measurement of Attention). A method for the investigation of audiovisual computer music performances”. Proceedings of the 2019 International Computer Music Conference, NYU, New York, USA. Download PDF
Pirchner, Andreas (2013): “Filmmusik: Spuren des musikalischen Autonomiegedankens”. In: M. Sharif, S. Sackl (eds.), Jenseits von Hören und Sehen. Zur Ästhetik audiovisueller Medien. Beiträge zur Medienästhetik der Musik, Band 13, Osnabrück: epos music, pp. 35–49. Download PDF
Pirchner, Andreas (2013): “Über das Zufällige in der Musik”. In: G. Malli, J. Moser, J. Rolshoven, C. Rückert, A. Schrutka-Rechtenstamm (eds), Kuckuck. Notizen zur Alltagskultur 13,1 (2013), Zufall, pp. 34–38. Download
Pirchner, Andreas (2012). “hack yourself – hack your self. Möglichkeiten von Image und Identität im virtuellen Raum”. In: B. Flath, A. Pirchner, E. Pölzl, S. Sackl, All You Need is Image?! music | media | publishing, Band 1. Graz: Leykam Buchverlag, 2010, pp. 53–61. Download
Recent Talks and Presentations
„Productive Interspaces of Artistic-Scientific Practices in Music Research“
„Produktive Zwischenwelten künstlerisch-wissenschaftlicher Praktiken der Musik-forschung“
Annual meeting of the German Musicological Society
Cologne/Germany, 11.–14. September 2024. [L I N K]
“Situatedness and Experiment in Music Research”
Meeting of the Vienna Network of Music and Cognition Research (ViNoMaRe),
Vienna/Austria, 6. Juni 2024.
“Towards the Unknown in Art: Generative Approaches”,
Print Fest, Academy of Fine Arts,
Vienna/Austria, 8.–11. Mai 2024.
“Sonification”
22. November 2021
ASM – The American School of Marrakesh, Morocco.
22. November 2021
ASM – The American School of Marrakesh, Morocco.
“Challenging Audiences”
PARL-Platform for Art and Research Linz, 5. November 2021
PARL-Platform for Art and Research Linz, 5. November 2021
Anton Bruckner Private University Linz, Austria. [Link]
“Entangled Realities in Ergodic Musical VR-Performances”
Indeterminate Futures / The Future of Indeterminacy, 13–15 November 2020
University of Dundee, Dundee, Scotland.
Programme and Abstracts: [Link]
“Ergodic and Emergent Qualities of Real-Time Scores. Anna & Marie and Gamified Audiovisual Compositions”
6th International Conference on Technologies for Music Notation and Representation (TENOR)
Hamburg University of Music and Drama, Hamburg, Germany.
Proceedings [Link]
“On audience perception in gamified audiovisual performances”
Conference of the Digital Games Research Association, DIGRA 2019. Game, Play and the Emerging Ludo-Mix.
August 6-10, 2019.
Ritsumeikan University Kinugasa Campus, Kyoto, Japan.
Programme and Abstracts: [Link]
“IRMA (Interactive Real-time Measurement of Attention). A method for the investigation of audiovisual computer music performances.”
International Computer Music Conference, ICMC 2019
17.06.2019
New York University, New York, USA.
„Measuring apparatuses as material-discursive practices“
“Messapparate als materielle Diskurspraktiken”
Signale Soirée
25.03.2019
Institute of Electronic Music and Acoustics, Graz, Austria.
Programme and Abstracts: [Link]
“Materialistic aesthetics in musical VR-performances.”
Symposium Music and Materialisms
23rd February 2019
Kingston University, London, UK.
Programme and Abstracts: [Link]
Peer Reviewer / Editor
Peer Reviewer: Journal of Sound and Music in Games, 2021
Editor: Ludified, Volume 1: Artistic Research in Audiovisual Composition, Performance and Perception. With Marko Ciciliani and Barbara Lüneburg. 2021.
Editor: Ludified, Volume 2: Game Elements in Marko Ciciliani’s Audiovisual Works. With Marko Ciciliani and Barbara Lüneburg. 2021.
Peer Reviewer: CHI PLAY. November 2 – 5, 2020 Ottawa, Canada (Virtual).
Editor: The Body is the Message. music | media | publishing, Band 2.
With Beate Flath, Andreas Pirchner, Elisabeth Pölzl, Susanne Sackl. 2012
Editor: All You Need is Image?! music | media | publishing, Band 1.
With Beate Flath, Andreas Pirchner, Elisabeth Pölzl, Susanne Sackl. 2010.
Organizing Symposia
“Gamified Composition and Performance – a Symposium in Artistic Research” (2019). Mumuth, University of Music and Performing Arts Graz. March 29-31, 2019.
“Exploring Formats, Enriching Practice. A Research Event” (2018)
Mumuth, University of Music and Performing Arts Graz. October 12-13, 2018. Symposium website: [Link]
TEACHING
University of Music and Performing Arts Graz, Institute of Electronic Music and Acoustics
Summer 2025: Audiovisual Interaction, MA Computer Music.
Fall 2024: Audiovisual Design, MA Computer Music.
Summer 2023: Audiovisual Interaction, MA Computer Music.
Fall 2022: Audiovisual Design, MA Computer Music.
University of Art and Design Linz, Institute for Art and Education
Summer 2021: Creative Programming pt. 2, BA Media Design.
Fall 2020: Creative Programming pt. 1, BA Media Design.
Summer 2020: Creative Programming pt. 2, BA Media Design.
Fall 2019: Creative Programming pt. 1, BA Media Design.
Summer 2019: Creative Programming pt. 2, BA Media Design.
Fall 2018: Creative Programming pt. 1, BA Media Design.
Summer 2018: Creative Programming pt. 2, BA Media Design.
Fall 2017: Creative Programming pt. 1, BA Media Design.
Summer 2017: Creative Programming pt. 2, BA Media Design.
Fall 2016: Creative Programming pt. 1, BA Media Design.
HTBLVA Graz-Ortweinschule, Higher Department of Art and Design
2021: Time based Media (Media Technology and Applied Informatics). Graphics and Communication Design.
2021: Design, Graphics and Communication Design.
2020: Time based Media (Media Technology and Applied Informatics), Graphics and Communication Design.
…
Teaching and Course Material
Add Your Heading Text Here
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.
Creative Programming
WS 2020/21
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.
This is the heading
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.Lorem ipsum dolor sit amet consectetur adipiscing elit dolor
ABOUT
Andreas Pirchner (Stuttgart) engages in forms of contemporary audiovisual art, often at the intersections of art and science. He is particularly interested in theoretical and practical approaches to generative and algorithmic music and art.
In his scientific research, Andreas investigates empirical methods and the aesthetics of audiovisual art. He has published on the aesthetics of non-human performance partners and the use of machine learning in contemporary music, the history of film music, Xenakis’ stochastic methods, and methods to investigate audience perception in concert settings. He has presented his research at international conferences across Europe, North America, and Asia.
He worked as a researcher in the FWF-funded artistic research project Gamified Audiovisual Performance and Performance Practice (GAPPP).
In his visual work, he explores generative, algorithmic, and data-driven approaches to art and design. Since 2022, he has been responsible for the visual communication of the Austrian Museums Association.
Pirchner holds a Ph.D. in Sound and Music Computing from the Institute of Electronic Music and Acoustics (IEM) in Graz. In 2024, he received Austria’s Award of Excellence, granted to the 40 best dissertations of the year. He has taught Creative Programming at the University of Art and Design Linz and Audiovisual Design as well as Audiovisual Interaction at the University of Music and Performing Arts Graz. Since 2011, he has taught Media Technology and Design at the Höhere Technische Lehranstalt Ortweinschule in Graz. Andreas writes his own bios in the third person. He lives and works in Vienna, though he may also be seen in Lisbon.
The Green Box [LINK]
transcript [LINK]
ORCID [Link]
Research Gate [Link]
music austria [Link]
GitHub [Link]
design austria [Link],
behance [Link]
GAPPP [LINK]