Zoe Lin林宜徵
Zoe (Yi-Cheng) Lin · a.k.a. Sebastian NagretsheiZoe (Yi-Cheng) Lin · 又名 Sebastian Nagretshei
Synesthetic Sound Painter & Composer視聽聯覺聲音畫家與作曲家
Her works, called "Synesthetic Compositions," employ precise spatial and technological approaches to sound placement, creating immersive, multi-sensory musical experiences that expand the boundaries of human perception.
她的作品被稱為「視聽聯覺創作」（Synesthetic Compositions），運用精準的空間與科技手法安排聲音的位置，創造出沉浸式、多重感官交織的音樂體驗，拓展人類感知的邊界。
Zoe Lin's work explores immersive sound, spatial perception, technology, and ecological imagination. Her practice moves between acoustic instruments, electronics, spatial audio, and audiovisual media, with particular attention to how sound can shape the perception of space, presence, memory, and dream.
林宜徵的創作探索沉浸式聲音、空間感知、科技與生態想像。她的創作實踐游走於原聲樂器、電子音樂、空間音訊與視聽媒體之間，特別關注聲音如何形塑空間、存在、記憶與夢境的感知經驗。
About關於
Zoe (Yi-Cheng) Lin is a composer and software engineer specializing in digital music and related composition. She holds a doctoral degree in composition from the University of Wisconsin–Madison and is currently a full-time composer and adjunct assistant professor at National Taiwan Normal University.
林宜徵是一位作曲家與軟體工程師，專精於數位音樂與相關作曲領域。她於美國威斯康辛大學麥迪遜分校取得作曲博士學位，現為專職作曲家，並擔任國立臺灣師範大學兼任助理教授。
Her creative practice focuses on visual-auditory synesthetic electronic music, 3D immersive electronic music composition and mixing, and the practical use of Ambisonic multichannel sound projection. Her work explores sound as an active medium of spatial perception, using technology to expand musical possibilities and to investigate relationships between sound, image, space, memory, nature, and imagination.
她的創作實踐聚焦於視聽聯覺電聲音樂、3D 沉浸式電聲創作與混音，以及 Ambisonic 多聲道投放技術的實務應用。她的作品探索聲音作為空間感知媒介的可能性，運用科技拓展音樂的邊界，並探討聲音、影像、空間、記憶、自然與想像之間的關係。
Her electronic music has been exhibited in 22 countries across Europe, Asia, North and South America, and Australia, with works selected or presented at 53 international music festivals and events. Recent selections and presentations include Ears Have Eyes (Calgary, Canada), ICMC (2026–2024, 2022), La Semaine du Son, Paysages Composés Festival 2025 (Grenoble, France), SICMF 2025 (Seoul, Korea), NYCEMF 2025–2023, JINLAC 2025, SEAMUS 2025 (West Lafayette, Indiana, USA), REF Resilience Festival 2024 (Foggia, Italy), Ars Electronica 2024 (Linz, Austria), IRCAM Forum 2024 (Paris, France), ACMC 2024 (Sydney and Melbourne, Australia), MediSouP 2024 (Cyprus), SiMN 2023 (Brazil), MUSLAB 2023 (Ecuador), MiRNArte 2023 (Venice, Italy), SICMF 2023 (Seoul, South Korea), NIME 2023 Mixed Realities Workshop (Mexico), Spatial Audio Conference 2023 (United Kingdom), NoiseFloor 2023 (United Kingdom), Earth Day Art Model 2023 (Indiana University, USA), MOXsonic Festival 2023, Atemporánea Festival 2022 (Argentina), and IRCAM Forum 2022 (New York), among others.
她的電聲作品已於歐洲、亞洲、南北美洲與澳洲共 22 個國家展演，入選或發表於 53 個國際音樂節與活動。近年入選與展演紀錄包括 Ears Have Eyes（加拿大卡加利）、ICMC（2026–2024、2022）、La Semaine du Son、Paysages Composés Festival 2025（法國格勒諾勃）、SICMF 2025（韓國首爾）、NYCEMF 2025–2023、JINLAC 2025、SEAMUS 2025（美國印第安納州西拉法葉）、REF Resilience Festival 2024（義大利福賈）、Ars Electronica 2024（奧地利林茲）、IRCAM Forum 2024（法國巴黎）、ACMC 2024（澳洲雪梨與墨爾本）、MediSouP 2024（賽普勒斯）、SiMN 2023（巴西）、MUSLAB 2023（厄瓜多）、MiRNArte 2023（義大利威尼斯）、SICMF 2023（韓國首爾）、NIME 2023 Mixed Realities Workshop（墨西哥）、Spatial Audio Conference 2023（英國）、NoiseFloor 2023（英國）、Earth Day Art Model 2023（美國印第安納大學）、MOXsonic Festival 2023、Atemporánea Festival 2022（阿根廷），以及 IRCAM Forum 2022（紐約）等。
Her music has been featured on releases from EMPIRICA RECORD (Italy), SiMN 2023, and the MUSLAB 2023 phonographic production PLANETA COMPLEJO project through Cero Records. Her work was also selected for the Anthropocene Project 2024, curated by Wilfried Agricola de Cologne and produced by The New Museum of Networked Art. In 2024, she was selected for EMPIRICA RECORD, an initiative by EMPIRICA in partnership with MID SIDE APS dedicated to experimental classical, contemporary, and electronic music.
她的作品曾收錄於義大利 EMPIRICA RECORD、SiMN 2023，以及厄瓜多 MUSLAB 2023 唱片製作計畫「PLANETA COMPLEJO」（由 Cero Records 發行）等專輯。作品亦入選由 Wilfried Agricola de Cologne 策展、新聯網藝術博物館製作的2024 人類世計畫（Anthropocene Project）。2024 年並入選 EMPIRICA RECORD——由 EMPIRICA 與 MID SIDE APS 合作推動，致力於實驗古典、當代與電子音樂的計畫。
Education學歷
- D.M.A. in Composition — University of Wisconsin–Madison
- 作曲博士（D.M.A.） — 美國威斯康辛大學麥迪遜分校
- M.M. in Composition — University of Wisconsin–Madison
- 作曲碩士（M.M.） — 美國威斯康辛大學麥迪遜分校
- Composition Studies — with Laura Schwendinger and Stephen Dembski, as well as Ladislav Kubík at the CASMI Music Camp
- 作曲師承 — Laura Schwendinger、Stephen Dembski；並於 CASMI 音樂營師事 Ladislav Kubík
Selected Works精選作品
Taroko: A Lullaby of Coastal
A work inspired by Taroko and its coastal landscape, approaching place through the intimate perspective of a lullaby. The music reflects on landscape, memory, and listening, exploring how a sense of place can be transformed into musical sound and imagination.
太魯閣：海風的搖籃曲
一首以太魯閣及其海岸地景為靈感的作品，透過搖籃曲般親密的視角切入地方感。音樂映照著地景、記憶與聆聽的關係，探索地方感如何轉化為音樂聲響與想像。
Dream Voyager: A Pilgrim of the Infinite
For solo flute and electronics. The work portrays a journey of consciousness through a lucid dream, moving between states of sleep, heightened awareness, and an imagined departure from the body. Sound and space become a canvas through which the listener travels, while the accompanying visual version extends the work into an audiovisual meditation on the blurred boundaries between reality, illusion, AI-generated imagery, and dreams.
夢行者：無垠的朝聖
為長笛獨奏與電聲創作。作品描繪意識在清醒夢中的旅程，游走於睡眠、高度清醒與想像中脫離身體的狀態之間。聲音與空間成為聽者穿越的畫布，搭配的視覺版本則將作品延伸為一場探討真實、幻覺、AI 生成影像與夢境之間模糊邊界的視聽冥想。
Bodies of Work作品類型
- Spatial & Immersive Works — A continuing body of work exploring Ambisonics, three-dimensional sound, spatial perception, and the use of space as a compositional parameter. These works investigate how listeners experience movement, distance, orientation, immersion, and presence through sound.
- 空間與沉浸式作品 — 持續進行中的創作系列，探索 Ambisonic、三維聲音、空間感知，以及將空間作為作曲參數的運用。這些作品探討聽者如何透過聲音體驗移動、距離、方位、沉浸感與臨場感。
- Audiovisual & Technology-based Works — Projects incorporating electronics, video, AI-generated imagery, and other technologies as compositional materials. Technology functions as part of the musical language, opening new possibilities for interaction between sound, image, and perception.
- 視聽與科技作品 — 結合電子音樂、影像、AI 生成影像及其他科技作為創作素材的計畫。科技在此成為音樂語言的一部分，為聲音、影像與感知之間的互動開啟新的可能性。
Artistic Practice創作實踐
- Immersive Sound — Working with spatial audio and Ambisonics to compose musical experiences in which sound occupies and transforms three-dimensional space.
- 沉浸式聲音 — 運用空間音訊與 Ambisonic 技術，創作出聲音佔據並形塑三維空間的音樂體驗。
- Spatial Perception — Exploring how movement, distance, direction, resonance, and perspective influence musical perception and listening.
- 空間感知 — 探索移動、距離、方向、共鳴與視角如何影響音樂的感知與聆聽。
- Technology — Using electronic and emerging technologies as creative tools within composition, rather than as independent technological demonstrations.
- 科技 — 將電子與新興科技作為創作工具運用於作曲之中，而非作為獨立的科技展示。
- Ecological Imagination — Considering sound as a way of imagining relationships between human perception, natural environments, materiality, and more-than-human worlds.
- 生態想像 — 將聲音視為想像人類感知、自然環境、物質性與非人世界之間關係的一種方式。
Research & Teaching研究與教學
Alongside composition, Zoe (Yi-Cheng) Lin teaches and researches music, technology, and contemporary approaches to listening. Her interests include spatial audio, electronic music, immersive media, computer-assisted composition, and the relationship between artistic practice and technological development.
除了作曲之外，林宜徵也從事音樂、科技與當代聆聽方式相關的教學與研究。她的興趣涵蓋空間音訊、電子音樂、沉浸式媒體、電腦輔助作曲，以及藝術實踐與科技發展之間的關係。
Academic Service & Engagements學術服務與參與
Co-Author, "EME33: A Dataset of Classical Piano Performances Guided by Expressive Markings with Application in Music Rendering"
Research collaboration with the Acoustics and Hearing Group, Department of Electrical Engineering, National Tsing Hua University, led by Professor Yi-Wen Liu. Co-authored with pianist Kit Armstrong, also a member of the lab.
共同作者，論文〈EME33: A Dataset of Classical Piano Performances Guided by Expressive Markings with Application in Music Rendering〉
與國立清華大學電機系劉奕汶教授主持之聲學與聽覺研究室合作研究，並與同為實驗室成員的鋼琴家周善祥共同撰寫。
Author, "AIM人工智慧音樂別冊（創作×音樂×人工智慧）" (AIM: AI Music Supplement — Creation × Music × Artificial Intelligence)
A specialized textbook supplement on artificial intelligence music for high school students, covering creation, music, and AI.
Author, "生成式音樂AI的魅力" (The Charms of Generative Music AI)
Published in the 147th issue of Cultural Heritage Magazine. The National Center for Traditional Arts is a tertiary affiliate of the Ministry of Culture, Taiwan; Cultural Heritage is its quarterly promoting cultural and artistic information.
Alternate, Fulbright Scholar Program
Named an alternate candidate in the national selection process.
備取學人，傅爾布萊特學者計畫
獲提名為國家級遴選之備取候選人。
Member, Journal Review Committee
Reviewed and provided suggestions for music technology–related articles.
審稿委員，期刊審查委員會
審查並提供音樂科技相關文章之修改建議。
Participant, NSTC 2022 TechGiCS Women in STEM Second-Term Workshop
Nominated through the recommendation of Professor Yujie Lee, Deputy Executive Secretary of the National Science and Technology Council. Aligned with the "2022 Women in STEM" initiative, the workshop advances the technological competencies of women entering STEM careers and amplifies women's participation in Taiwan's STEM sector.
參與者，國科會 2022 女婕思 TechGiCS 女性科技人才第二期工作坊
經國科會副執行秘書李友專教授推薦提名參與。配合「2022 女婕思」計畫，旨在提升科技領域女性專業能力，並擴大女性於台灣科技產業之參與。
Research Participant, Acoustics and Hearing Group
Participates in research activities led by Professor Yi-Wen Liu, alongside collaborators including pianist Kit Armstrong, resulting in the co-authored EME33 dataset paper (IEEE BigData 2024).
研究參與者，聲學與聽覺研究室
參與電機系劉奕汶教授主持之研究活動，並與鋼琴家周善祥等合作者共同完成 EME33 論文（IEEE BigData 2024）。
Member, Advisory Expert Committee
Provides suggestions on music education for Taiwan's music experimental education system.
諮詢委員，藝術教育推動資源中心工作計畫
為台灣音樂實驗教育體系之音樂教育政策提供諮詢建議。
Instructor / Textbook Content Provider, /PLUS – Programming Learning for University Students
A national initiative designing programming education for university students. Designed and authored the music-related programming courses of the textbook, including sole authorship (2020) of Chapter 11, "玩聲音，數位音訊的無限可能：MIDI 訊號處理" (Playing with Sound: Endless Possibilities of Digital Audio — MIDI Signal Processing), in Python 程式設計與資料分析應用 (Python Programming and Data Analysis Applications).
講師／教材撰寫人，/PLUS 大學程式設計學習計畫
政府推動之大學程式設計教育普及計畫，設計並撰寫教材中音樂相關程式設計課程內容，並獨力撰寫（2020）《Python 程式設計與資料分析應用》第 11 章〈玩聲音，數位音訊的無限可能：MIDI 訊號處理〉。
Author, "藝術始終不只來自人性——南卡洛與自動鋼琴" (Art Has Never Come Solely from Humanity — Conlon Nancarrow and the Player Piano)
On composer Conlon Nancarrow and his works for player piano.
Invited Talks & Lectures受邀演講
Guest Lecturer, "學程式玩音樂！" (Programming Music!)
A lecture exploring music-making with AI and programming, understanding generative AI mechanics, and the collaboration between human creativity and AI generation.
Guest Lecturer, "當音樂遇見科技：一段持續中的對話" (When Music Meets Technology: An Ongoing Dialogue)
114-2 Music Arts Special Topics Lecture Series, Room 308.
Guest Lecturer, "Coffee Corner 特別活動｜用 AI 做音樂！" (Making Music with AI)
A hands-on session exploring how technology and creativity blend to compose original music with AI. No musical background required.
Guest Lecturer, "霧裡看花->知己知彼：音樂生成式 AI 原理初探" (Seeing Flowers Through Fog → Know Thyself, Know Thy Foe: A First Look at the Principles of Generative Music AI)
Invited talk on the principles of generative music AI, given to the composition department (mandatory attendance for TNUA composition majors) in Room M301, Music Building 1.
Speaker, "繆斯女神的新挑戰：AI音樂創作專題演講" (Muse's New Challenge: AI Music Creation Seminar Series)
Part of the TSMC Art Season (台積心築藝術季), a full-day seminar with eight speakers exploring AI's collaboration with music composition, hosted by the Center for the Arts, National Tsing Hua University.
Presenter, 2020 Taiwan Automation Intelligence and Robot Show
Presented "Viewing the Relation of Music and Human in AI Industry."
主講人，2020 台灣自動化智慧與機器人展
發表演講「從 AI 產業角度看音樂與人的關係」。
Lecturer, In-Depth Techniques of VR Music Game Project Production
Shared insights into the development of a personal VR music game project.
講師，「VR 音樂遊戲專案製作深度技術分享」
分享個人 VR 音樂遊戲專案開發經驗。
Panelist, 2019 AI Music Forum
Invited as one of three panel speakers to share trends in AI music development.
座談人，2019 AI 音樂論壇
受邀為三位座談講者之一，分享 AI 音樂發展趨勢。
Instructor, Higher Education VR Practical and Applied Course for Musicians
A 4-week practical application course on VR.
講師，「音樂人的VR：高教深耕 VR 實務應用課程」
為期四週之 VR 實務應用課程。
Other Experience其他經歷
- Former Chief Music Officer, AI music company
- 曾任 AI 音樂公司音樂研發長
- Peer reviewer for ICMC, SEAMUS, NIME, and other academic conferences
- ICMC、SEAMUS、NIME 等國際學術研討會論文評審
AI DevelopmentAI 開發
- Four four-part harmony generators
- 四套四部和聲產生器
- Two 16th-century-style counterpoint generators (Palestrina style)
- 兩套十六世紀對位法（帕勒斯提納風格）產生器
- "Little Pi" — a contemporary classical music generation system
- 「小皮」——當代古典音樂生成系統
Cross-Disciplinary Highlights跨領域精選
- XR film Diving into Siraya
- XR 電影《潛入西拉雅》
- VR app Journey into the World of Dimensions
- VR App《次元穿梭》
- Light-sound installation Luminous Path
- 光聲裝置《光譜印象》
CV履歷
For a complete list of education, performances, commissions, festivals, presentations, and other professional activities, please contact Zoe for the current CV.
如需完整的學經歷、演出、委託創作、音樂節與其他專業活動列表，請聯繫 Zoe 索取最新履歷。