Works 11-20

Panayiotis Kokoras (Greece) – , Paths of Fear, 2011, 10 minutes

Nigel Tan (Singapore) – The Train of Thought, 2013, 3:56

ERIZONTE (Spain)- “The Sleep of Reason Produces Monsters”, 2015, 06:33

Lucas Norer (Austria) – The Lisbon Rote Project, 2013, 15:39

Christine Renaudat (France) – Bloody Spring, 2013, 9’52

Edmar Soria (Mexico) – Morphic Babylonia, 2015, 7’ 05”

Wonderfeel (Australia) & Antonio Testa (Italy) – Goldness, 2015, 8:58

Mr.Arnont (Thailand) – Nongyao –SkyDrink, 2014, 20

Ayse Kucuk (Turkey) – Cannibalism, 2013, 7:12

François Dumeaux (France) – Ikarusu, 2011, 10′

Panayiotis Kokoras (Greece) – , Paths of Fear, 2011, 10:00

Paths of Fear for electroacoustic sounds was composed during summer 2011. The piece creates a surreal soundscape which toward the end slowly is developing into a heavy industrial delirium, which collapses under own forces. The reality is amplified and the concrète sound is transformed into an abstract sound object. Complex rhythms introduce archaic soundscapes with powerful gestures. Ecological patterns determine the compositional structure and become resources for further development.

Panayiotis Kokoras (Greece, 1974)

studied composition with Yannis Ioannides, Henri Kergomard, and classical guitar with Evangelos Asimakopoulos in Athens, Greece. In 1999 he moved to England for postgraduate study at the University of York where he completed his MA and PhD in composition with Tony Myatt. His works have been commissioned by institutes and festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 500 concerts around the world. His compositions have received 60 distinctions and prizes in international competitions, and have been selected by juries in more than 200 international calls for scores. He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was board member and president. As an educator, he has taught at the Technological and Educational Institute of Crete, and, the Aristotle University of Thessaloniki (Greece). Since fall 2012 he has been appointed Assistant Professor at the University of North Texas. Kokoras’s sound compositions use timbre as the main element of form. His concept of “holophony” describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing, his music calls upon a “virtuosity of sound,” emphasizing the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece. His compositional output is also informed by musical research in Music Information Retrieval compositional strategies, Extended techniques, Tactile sound, Augmented reality, Robotics, Spatial Sound, Synesthesia. More information at http://www.panayiotiskokoras.com

Nigel Tan (Singapore) – The Train of Thought, 2013, 3:56

The Train of Thought is a personal reflection on trauma through the recollection of the past. Made up solely of found sound and field recordings recorded in Japan and Singapore, this piece juxtaposes a dialogue with my grandmother in Chinese dialect on the horrifying events during the Japanese occupation of Singapore in World War II. Paired with the subtle sound of a moving train, I seek to connect these events linearly in real time.

I wanted to create a collage that well represented the way we think, abstract and discombobulated, creating a tense and uncomfortable space allowing you to fully understand the devastation of war. Even though you might not understand the monologue, there is still a sense of displacement and uneasiness that lingers eerily within my grandmothers’ words.

Memories stand the test of time, unwavered and deeply etched within our subconscious. The Train of Thought represents torment and pain not just of the past but also serves as a constant reminder of the suffering and anguish bestowed upon the innocent. Trauma is universal and one that cannot be reversed.

Nigel Tan

is a composer, sound and video artist who works conceptually with various mediums bearing the weight of unorthodox structure with the blend of electroacoustic aberrant sound. He explores the basis of music through different styles and history bearing in mind the importance of the process within layers of texture. Influenced by experimentalist of film and music from both the eastern and western culture, the pieces churned out are intertwined randomly to reflect change which in turn motivates a purpose. He engages in various forms of mixed media, primarily in the film and visual aspect marrying sight with sound through the blend of the abstract and narrative.

Nigel graduated with a diploma in Film, Sound and Video from Singapore’s Ngee Ann Polytechnic in 2009 and Bachelor of Fine Arts in Contemporary Music majoring in Interactive Composition from University Of Melbourne’s Victorian College of the Arts in 2014. He is currently doing his Master of Fine Art at RMIT University, Melbourne. His work includes audiovisual installations and site-specific compositions that have been exhibited at the Ian Potter Museum of Art, Instinc Gallery Singapore, The Arts Centre Melbourne, Brunswick Street Gallery, Melbourne Zoo, Andy R Salon and The George Paton Gallery. In addition to this, he actively writes music for film/television, mixed media and performance art.

ERIZONTE (Spain)- “The Sleep of Reason Produces Monsters”, 2015, 06:33

The”Los Caprichos” suite is a music, video and dance performance created by the company ERIZONTE. The piece was created by Erizonte and Scud Hero, and is inspired by the series of 80 prints

“The Caprichos ” by the renown Spanish painter and print maker Francisco de Goya, always modern in his art and incredibly current in themes chosen.

It is shaped in seven movements. Symphonic timbres are used, as are electro acoustic instruments and other sound elements created especially for this work .

The titles of the movements take the name of each of the themes Goya dealt with in this series of engravings: abuse of power; vices of the clergy; love and prostitution; the lack of education in the village and superstitions, bestiary, witches and fantastic creatures.

Being an ERIZONTE project, we can say that the experimental work is in this case the search to overcome the limitations of physical properties of the classical instruments or own technical implementations thanks the possibilities given to us by the new tools in electronic music.

This is to further the limits of some instruments, while respecting the original personality. For example, the notes a violin can give as if it had six strings, or a classical guitar may sound a tremolo unreachable by a human. The result is a relatively formal work, in keeping with the time of Goya, and where experimental is more than ever at the service of the public, interwoven between

elements of the composition.

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