Hysteria (2025) is a 7-minute-47-second multichannel electronic music composition and performance exploring spatial sound as an expressive and interactive dimension of music. Developed through melodic techno, electronic production and spatial experimentation, the work investigates how sound can move, shift and develop across a three-dimensional sonic field, and how these movements can be shaped through live performance.

At the centre of Hysteria is an interactive spatial audio system that connects physical movement with the positioning and movement of sounds. Rather than fixing every spatial trajectory in advance, the work combines composed musical materials, recorded spatial automation and live camera-mediated interaction, allowing selected aspects of the spatial composition to change during performance.

The live performance uses camera analysis to translate physical movement into spatial control data. Horizontal, vertical and depth-related information (X, Y and Z) is mapped to selected spatial parameters, including azimuth, elevation and distance, through a Max for Live system integrated with Envelop for Live.

These mappings allow bodily movement to influence where and how musical materials are positioned within the spatial soundfield, connecting the performer’s physical actions with the evolving spatial relationships of the composition.

The spatial system also incorporates earlier recorded interaction from a second performer, who used an OSC-based gestural interface to control selected spatial parameters. These actions were recorded as automation and form part of the prepared material. During the later camera-controlled realisation, this recorded automation operates alongside live movement, bringing together spatial decisions made at different stages of the work.

How the interactive system works

Live camera inputPerformer movement

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Max for LiveCamera analysis · X/Y/Z extraction · parameter mapping

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Prepared automationIncluding the second performer’s recorded OSC gestures

Envelop for Live (E4L)Azimuth · elevation · radius / distance

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Ambisonic soundfieldThird-order encoding · 16-channel AmbiX

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8-channel reproduction

Spatial energy visualisation

YouTube

This video presents Hysteria as an audiovisual work, bringing its electronic composition together with visual material as another form of artistic presentation.

Hysteria was developed in Ableton Live using Max for Live and Envelop for Live (E4L). Individual musical materials are spatialised through E4L panning devices and combined into a third-order Ambisonic soundfield.

The work exists as a 16-channel AmbiX master, representing the encoded Ambisonic field, alongside an eight-channel version designed for horizontal loudspeaker-ring playback. Spatial movement and virtual elevation are controlled within the Ambisonic environment, while the final listening experience depends on the playback configuration.

This approach extends electronic music production beyond conventional stereo placement, allowing spatial position, movement and relationships between sounds to contribute to musical development.

An online stereo or headphone render documents the work, but cannot fully reproduce the experience of a multichannel loudspeaker presentation.

Hysteria forms part of Chen Wang’s practice-based doctoral research at the University of the Arts London, investigating openness in technologically-mediated music composition and performance.

The work explores how compositional structures can establish musical relationships while leaving selected spatial decisions available for performers to influence. By combining predetermined material, recorded performer interaction and live camera control, Hysteria examines how the timing and distribution of creative decisions can shape different realisations of a musical work.

Selected presentation

Visiones Sonoras 2025, Mexican Centre for Music and Sonic Arts (CMMAS), Mexico, as part of an audiovisual performance programme featuring Unbound, Hysteria and Cyber Maze.

Technologies

Ableton Live · Max for Live · Envelop for Live (E4L) · Open Sound Control (OSC) · Camera-mediated control · Third-order Ambisonics · Multichannel audio

Research & Teaching ↗