Ömer Kurtuluş

Composer, music technologist and sound artist. Sonic archaeology: composing by excavating and re-authenticating an over-saturated archive.

Open callWhat the C*rp*sA machine-learning electroacoustic composition project built from recordings sent by other people. Instruments, objects, voice, augmented and self-built instruments — no studio needed. Everyone who contributes is credited.

Recent

Last 3 months

June 2027

01 Residency .abeceda Institute praelocutio.exordium.prolusio I. What the C*rp*s has been selected for this international process-based residency, developed through online seminars and project testing before an on-site residency and public presentation at the Seventh Bled Contemporary Music Week.

September 2026

02 Catalogue Alicja Molitorys 21st-Century Flute Repertoire Catalogue Kakma-I for solo flute is included in Alicja Molitorys's catalogue of twenty-first-century flute repertoire, which documents extended techniques, approximate level of difficulty, and where each score and recording can be found. It is published on her blog to circulate the repertoire among Polish flutists.

03 Conference Ulysses Platform Whose Music? An online conference session convened by John Harris, with presentations and discussion of participants' own projects and an extended session on the question the title puts.

August 2026

04 AI What the C*rp*s Lenition An alternation between two exciters that never quite settle into one another — falling water, punctual and ametric, and bowed metal, continuous and without attack — with Somax2 changing what it listens for as they trade places.

05 AI What the C*rp*s Continuant A sustained negotiation between a prepared-guitar corpus and an asymmetrical, darbuka-derived exciter, navigated in real time by Somax2.

06 AI What the C*rp*s False Return A heterogeneous vocal corpus treated as an unstable memory whose responses repeatedly disappear and return in altered form, driven by a dry saxophone solo as live exciter.

07 Electroacoustic A Mechanics of Almost IV Aerolith An air-column instrument beside a resonating metal surface: bass-clarinet breath and multiphonics exchanged with a bowed cymbal's slowly transforming partials.

08 Electroacoustic A Mechanics of Almost II Afterglare The zurna's penetrating upper spectrum treated as a physical condition: sustained tones extended, upper partials exposed and separated until the instrument's apparent singularity fragments.

09 Electroacoustic A Mechanics of Almost I Anaculaton Timpani reduced to impact → membrane → resonance → decay, then interfered with: attacks activate virtual resonating bodies beyond the instrument's scale, alongside wind, tunnels, machinery and distant environmental resonance.

10 Electroacoustic A Mechanics of Almost V Craquelure Two forms of stored energy — harp-string tension and ceramic brittleness — brought to a region where their behaviours become interchangeable.

11 Electroacoustic A Mechanics of Almost VI Endobody The body as an arrangement of internal spaces: vocal cavities and a bass drum's enclosed volume, working from their structural similarity.

12 Electroacoustic A Mechanics of Almost III Intergrain A continuous scraping gesture examined at a much smaller scale — a pick's ridge-by-ridge contact across a string, set against the güiro's related structure at another physical scale.

13 Electroacoustic A Mechanics of Almost VII Remanence What remains after a sound's apparent cause disappears: prepared-piano strings, muted attacks and soundboard resonance, with springs holding excitation that re-emerges later.

14 Electroacoustic an arche One cello, three performers, none of them sovereign over it. Bow pressure and contact — not pitch — are the ground, analysed live by FluCoMa and diffused into a quadraphonic ring in which no fixed origin can be located.

15 Electronic P(re)cise Raw data streams, pure sine waves and algorithmic micro-rhythms at the threshold between sterile digital perfection and the fragility of zero-error states.

16 Electroacoustic Arundo_Trachea The oboe stripped of all melodic function and reduced to its physical reality: a vibrating double reed and a hollow wooden tube, heard from inside the bore.

17 Electroacoustic Strata I STRATA A single cut through the ground of Istanbul: every historical layer sounds from the first second, separated only by height. Tuned to a pitch set measured from the call to prayer in Hagia Sophia — which is never heard.

18 AI Strata II STRATA II Twelve channels of Istanbul field recordings eroded in real time by three neural models, none of which has ever heard the city. What survives each pass is not the city but what a machine could still carry of it.

Featured works

19 AI A Room For The Belated Sentences Written for TAK Ensemble at the KEAR Electroacoustic Residency: an ensemble playing alongside a corpus of its own pre-recorded material, navigated live by SoMax 2 and FluCoMa.

20 Acoustic Animal For orchestra, performed by the Toledo Symphony Orchestra at Kobacker Hall.

21 AI eye | outside | eye A corpus built from Joëlle Léandre's double-bass and voice recordings made for Somax2 at IRCAM, navigated live by SoMax 2 against the performer in the room.

Fields of work

Acoustic — archive

Open archive →

Notated concert music for soloists, ensembles and orchestra.

01 Acoustic Akdeniz

02 Acoustic Uzun Hava

03 Acoustic Birr

04 Acoustic Ed È Subito Sera

05 Acoustic A Lume Spento

06 Acoustic Terra Incognito

07 Acoustic From The Strained Glasses And Streets

08 Acoustic False Solo

09 Acoustic Humoresque Ridiculo

10 Acoustic Six Stylistic Pastiches

11 Acoustic İhtilaf