CONTENTS...In 2009 Aquarelle, for choir, won the 1st prize (in the category of composers under 30)...

_CONTENTS_

4_ The organizing committee

5_ Technical supervisors

6_ Selection panel

12_ MA/IN venues

14_ festival overview / awards

19_ partners / sponsors

20_ MA/IN~spaziomusica commission 2018

21_ program notes

30_ sound art

32_ acousmatic music mixtape

/// INTRODUCTION |||

The LOXOSconcept organization, with the support of Casa Cava Auditorium, “Spaziomusica” oganization of Cagliari, “Keyhole” organization, “Cycling’74” (Max/MSP) and the patronage of “Matera Basilicata 2019 Foundation” promotes the third edition of MA/IN [MAtera INtermedia festival].

The MA/IN festival is aimed at the production and promotion of sonic and digital arts at an international level. Its focus is to become an annual meeting point between artists and composers, within a unique and lovely background of the city of Matera.

Every year A/V performances, live electronics, electroacoustic music events, sound installations, workshops and masterclasses will be organized in several evocative venues like the ancient hypogea of Casa Cava.

Within the MA/IN, an annual call for artists will be announced. It involves an international jury panel consisting of famous international composers and artists in the field of electronic arts.

The festival is composed by four different categories :[A] Acousmatic ~[B] Mixed Media ~[C] AudioVisual ~ [D] LivePerformance/SoundArt ~

With the support of SPAZIOMUSICA organization of Cagliari (Sardinia, Italy) the MA/IN has issued a special call. The aim was the creation of new works for Flute and Electronics commissioned for ENRICO DI FELICE.

matera intermedia festival

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technical supervisors

Giulio Colangelo TECHNICAL DIRECTORDonato Corbo TECHNICAL SUPERVISORDelio Colangelo PROGRAM MANAGERolindo linguerri SOUND ENGINEER

Gerardo De Pasquale VIDEO DIRECTON AND EDITINGDonato Corbo VIDEO PRODUCTION / PHOTOGRAPHY Valerio Polici VIDEO PRODUCTION / PHOTOGRAPHY WAVESERVICE AUDIOLOXOSconcept AUDIO RECORDING

COLLATERAL EVENTS

IN VITRØ artificial sonification

MUTE silent film mutations

The organizing committee

LOXOSconcept organizationGiulio Colangelo ARTISTIC DIRECTOR Donato Corbo TECHNICAL DIRECTOR / COMMUNICATIONDelio Colangelo PROJECT MANAGERValerio De Bonis TECHNICAL ASSISTANCE

partners

Keyhole ORGANIZATIONspaziomusica ORGANIZATIONBLUECATBLUES ASSOCIATIONEDISON STUDIO ASSOCIATIONSOUNDS OF SILENCES | ROMAEUROPAFESTIVAL | CINETECA DI BOLOGNA

economic support

LUCANA FILM COMMISSION

art patronage

Matera-Basilicata 2019 Foundation

SPONSORS

CYCLING 74 [ max / msp ]fra i sassi residenceosteria malatestaresidence san pietro barisano


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# The selection panel »»

Alexander Khubeev was born in 1986 in city Perm (Russia). He graduated from Moscow Tchaikovsky Conservatory in 2011 (class of composition of Yuri Kasparov, class of electronic composition of Igor Kefalidis), he finished his post-graduate course in Moscow Tchaikovsky Conservatory in 2014. Since 2014 he is a coordinator of Young Composers Academy in Tchaikovsky city. Alexander Khubeev won awards in Argentina, Italy, Russia, Ukraine, USA. In 2014 he received a scholarship of Darmstadt Summer Courses, in 2015 he became Gaudeamus prize winner

in Netherlands. His music is played in concerts held in more than 20 countries around Europe, Asia, South and North America on such festivals as “Venice Biennale”, “Darmstadt Ferienkurse”, “Gaudeamus Musicweek”, “MATA”, “Gergiev Festival”, “Quantensprunge”, “Ultima”, “Transit Festival”, “Mixtur”, “SPOR”, “Pharos International Contemporary Music Festival”, “Moscow Forum”, “Diaghilev Festival”, ”Moscow Autumn” and many others.Khubeev worked with such conductors as Reinbert de Leeuw, Lucas Vis, Bas Wiegers, Thomas Moore, his compositions were played by such ensembles as Asko|Schoenberg, Nadar, Slagwerk den Haag, Blackpage Orchestra, L’Arsenale, Insomnio, Uusinta, dissonArt, Vortex, Aleph, ExNovo, Vertixe Sonora, IEMA, Gageego, Lemniscate, Moscow Contemporary Music Ensemble, The Studio for New Music Ensemble, Percussion ensemble of Mark Pekarsky, GAM-ensemble, eNsemble, string quartet “Cantando”. His music is broadcasted on radio France Musique, Deutschlandradiokultur, Concertzender (Netherlands), RTP (Portugal), ARTxFM (USA), Radio of Russia, Radio “Orpheus” (Russia) and others.Composer in residence of GAM-ensemble in 2011. Member of Russian Composer’s Union. Since 2017 his compositions are published by Donemus.

Stefan prins After graduating as an engineer, Stefan Prins (Kortrijk, Belgium, 20/5/1979) started to study fulltime piano and composition at the Royal Flemish Conservatory in Antwerp, Belgium, where he obtained his Masters degree in Composition magna cum laude. Concurrently, he studied “Technology in Music“ at the Royal Conservatory of Brussels,“Sonology“ at the Royal Conservatory of The Hague and “Philosophy of Culture” and “Philosophy of Technology” at the University of Antwerp. In 2017 he obtained a PhD in composition at Harvard University under the guidance of Chaya

Czernowin and Hans Tutschku. As a composer he received several important awards in

Belgium and abroad, such as the “Berliner Kunstpreis für Musik” (2016), “ISCM Young Composer Award” (2014), “Kranichsteiner Musikpreis für Komposition” (Darmstadt, 2010), a “Staubach Honorarium” (Darmstadt, 2009) and the “International Impuls Composition Award” (Graz, 2009). In 2012 the Union of Belgian Music Journalists elected him “Young Belgian Musician of the Year”. In 2014 he became laureate of the Royal Flemish Academy of Belgium for the Sciences and Arts in the Class of the Arts. Stefan Prins is closely involved with the Nadar Ensemble, as a composer and co-director, and was one of the founders of the long-standing trio for improvised music “collectief reFLEXible” and the band “Ministry of Bad Decisions”, together with percussionist Brian Archinal and e-guitarist Yaron Deutsch. His music has been played by a.o. Klangforum Wien, Nadar Ensemble, Ictus Ensemble, Nikel Ensemble, Ensemble Mosaik, Trio Accanto, Ensemble Dal Niente, Ensemble Recherche, Athelas Sinfonietta, Ensemble Proton Bern, Zwerm Electric Guitar Quartet, Champ d’Action on festivals such as the Donaueschinger Musiktage, the Darmstadt Ferienkurse, Wittener Tage für Neue Musik, Eclat, Warsaw Autumn, Gaudeamus Festival, Musica Strasbourg, Ars Musica, Tzlil Meudcan, Impuls Festival, Huddersfield Contemporary Music Festival & Ultima Festival. His preferred color is blood-red.

Candas sisman (1985, İzmir-Turkey) studied fine arts in high school and graduated from the Animation department of Eskişehir Anadolu University. He spent one year at university in the Netherlands, studying multimedia design. In 2011 he co-founded Nohlab, a studio producing interdisciplinary experiences around art, design & technology. He is also a member of NOS Visuals, which is a collaborative platform that creates real-time, sound-reactive audiovisual performances. For the last five years, he gives

lectures on the interaction between sound and visuals in university. Candaş Şişman has received several awards since 2007, among which is an Honorary Mention from Prix ARS Electronica Computer Animation/Film/VFX and Jury Selection Award in Art Division from 18th Japan Media Arts Festival. He participated in many exhibition and festival, such as Venice Architecture Biennale, TED X, ARS Electronica, Todaysart Festival and Japan Media Arts Festival. Candaş Şişman recently exhibited Sonicfield-01 Sound Installation in Venice Architecture Biennale and ‘FLUX’ audiovisual installation among İlhan Koman Hulda festival in İstanbul. Candaş Şişman aims to manipulate our notion of time, space and motion by his work, using digital and mechanical technologies. Taking the natural sciences and universe as his reference point, the artist combines physical forms with digitally produced images. Thus a bridge between the physical world and the digital world becomes visible. The works of Şişman build on complex bases, but the forms are simple, allowing the audience to engage in intellectual interaction with the artwork, in which the “process” is the utmost important structural element. The artist lives and works in İstanbul, and is represented by PG Art gallery in Turkey. www.csismn.com www.nohlab.com www.nosvisuals.com


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JAGODA SZMYTKA Born in Legnica (Poland) in 1982, she studied art history, philosophy, music theory and composition in Wrocław, Graz, Frankfurt/Main and Karlsruhe. Her music has received international recognition through numerous features at festivals and institutions such as Warsaw Autumn, Wien Modern, Lucerne Festival, Festival d’Aix-en-Provence, Huddersfield Contemporary Music Festival, Ultraschall Berlin, ECLAT Stuttgart, Ferienkurse Darmstadt, Tonhalle Düsseldorf, Deutschlandfunk Cologne, Royaumont Paris, Polish National Opera

Warsaw and many others. Among other things she received Staubach Honorarium and the Stipend Prize of the Darmstadt International Summer Course for New Music, scholarships from the DAAD, the Art Foundation Baden-Württemberg, residencies at Herrenhaus Edenkoben and La Muse en Circuit Paris. In 2017 artist in residency at Villa Serpentara. Many time artist-in-residency at ZKM|Centre for Art and Media Karlsruhe. In 2015 WERGO/EZM released her portrait CD “BLOODY CHERRIES”. In 2016 Jagoda Szmytka wins the GEMA Detuscher Musikautorenpreis. Jagoda Szmytka composes “for people”, “about people”, “with people”. Szmytka’s “social composing” examines social and interpersonal processes such as communication and identity often in relation to phenomena that influence modern life or referring directly to the social dimension of making music. Szmytka’s “intertextual music” is written for ear, eye and thought - incorporates mixed-media, trans-media and cross-genre formats - her compositions are mixture of texts, images and sounds that build dense structures in reference to high & pop culture, philosophy, or reality (music theater projects: LIMBO LANDER - social-media music theatre, LOST - trans-media music theatre, LOVE LABEL - mass-media music theatre). Jagoda Szmytka is a founder and leader of two projects: PLAY – Platform for art and culture social initiatives & ENTER - Collective specialized in performing Referential Music.

JUSTe JANULYTe Born in Vilnius in 1982, she studied composition at the Lithuanian Music and Theatre Academy, Milan ‘Giuseppe Verdi’ Conservatoire and in various masterclasses. She has collaborated with some of the world’s leading ensembles and soloists including Teatro La Fenice Symphony, Gothenburg Opera Symphony, BBC National Orchestra of Wales, Polish National Philharmonic Orchestra, Brno Philharmonic, French Flute Orchestra, Riga Sinfionetta, Birmingham Contemporary Music Group, Ensemble Bit20,

Orchestrutopica, Estonian Philharmonic Chamber and Male Choirs, Danish Radio Chamber, Kamer, Sequenza 9.3 and Camerata Silesia choirs, Quasar, Xasax and Flotilla

saxophone quartets, cellists Mario Brunello, Francesco Dillon, Henri Demarquette, and Anton Lukoszevieze, flutist Manuel Zurria, saxophonist Marcus Weiss, harpsichordist Goska Isphording amongst others. Her music has been performed across Europe, the Americas, and Australia, and has featured in some of the world’s leading festivals including Sydney Festival, Schleswig-Holstein Festival, Venice Biennale, RomaEuropa, Holland Festival, Warsaw Autumn, Huddersfield Contemporary Music Festival, SonicA (Glasgow), Maerzmusik (Berlin), Biennale Némo (Gaîté lyrique, Paris), Musica festival (Strasbourg), Musik protokoll im steirischem Herbst (Graz), Musicadhoy (Madrid), Vale of Glamorgan Festival (Cardiff), Expositions of New Music, Moravian Autumn (Brno), Gaida (Vilnius) to name a few. Justė Janulytė first came into public view in 2004 when her graduation work White music, for 15 strings, was awarded as the best chamber piece of the year by the Lithuanian Composers’ Union. Furthermore, her five next compositions also won the same prize. In 2009 Aquarelle, for choir, won the 1st prize (in the category of composers under 30) at the International Rostrum of Composers in Paris. In 2011 she was awarded the Young Artist’s Prize by the Lithuanian Ministry of Culture and in 2017 the Lithuanian National Arts and Culture Prize, the highest artistic distinction in Lithuania. The majority of the works by the author, written for dense monochromatic ensembles (only strings, only winds or only voices), explore musical time/space experiences through large-scale multilayered textures of infinite pulsating sounds and extremely gradual ‘thermodynamic’ metamorphoses. While balancing between the aesthetics of minimalism, spectralism and drone music, Justė Janulytė composes acoustic metaphors of optic ideas (Observation of Clouds for voices, winds and strings, The Colour of Water for saxophone(s) solo and orchestra, and Here at the quiet limit for male choir and string orchestra), and researches the visual nature of musical phenomena in the works where sound and image are fused together (Breathing Music for string quartet, electronics and kinetic sculptures, Eclipses for 4 strings, live electronics and soundproof glass installation, Sandglasses for 4 cellos, electronics and video installation). Justė Janulytė currently teaches composition at the Lithuanian Academy of Music and Theatre, lives between Vilnius and Milan

manuella blackburn is an electroacoustic music composer who specializes in acousmatic music creation. However, she also has composed for instruments and electronics, laptop ensemble improvisations, and music for dance. She studied music at The University of Manchester (England, UK), followed by a Masters in Electroacoustic Composition with David Berezan. She became a member of Manchester Theatre in Sound (MANTIS) in 2006 and completed a PhD at The University of Manchester with Ricardo Climent in 2010. Manuella Blackburn

has worked in residence in the studios of Miso Music (Lisbon, Portugal), EMS (Stockholm, Sweden), Atlantic Centre for the Arts (New Smyrna Beach, FL, USA), and Kunitachi College


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of Music (Tokyo, Japan). Her music has been performed at concerts, festivals, conferences and gallery exhibitions in Argentina, Belgium, Brazil, Canada, Chile, Costa Rica, Cuba, France, Germany, Italy, Japan, Korea, Mexico, Portugal, Spain, Sweden, and the USA. Manuella Blackburn has received a number of international awards and prizes for her acousmatic music including: Grand Prize in the Digital Art Awards (Fujisawa, Japan, 2007), First Prize in the 7th and 10th Concurso Internacional de Composição Electroacústica Música Viva (Lisbon, Portugal, 2006, ’09), First Prize in the Musica Nova International Competition of Electroacoustic Music (Prague, Czech Republic, 2014), International Computer Music Association European Regional Award (Australia, 2013), 3rd Prize in the Diffusion Competition (Ireland, 2008), Public Prize in the Concurso Internacional de Composição Eletroacústica (CEMJKO, Brazil, 2007) and Honorary Mentions in the Centro Mexicano para la Música y las Artes Sonoras (CMMAS) competition (Morelia, Mexico, 2008) and in the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’07, Brazil). She is currently Senior Lecturer in Music at Liverpool Hope University (England, UK).

matteo franceschini Born into a family of musicians, he began his composition studies with his father later graduating from the “Giuseppe Verdi” Conservatoire in Milan under the guidance of Alessandro Solbiati. He studied at “Santa Cecilia” National Academy in Rome under the supervision of Azio Corghi and attended the Cursus offered by the Ircam in Paris. He has received several prizes, both in national and international competitions. He has received commissions from La Scala Philharmonic Orchestra, Ensemble Intercontemporain, Wigmore

Hall, Biennale of Venice, Festival Mito, Philharmonie de Paris, Orchestre national d’Île-de-France, National Orchestra of Belgium, Reims Opera, Saint-Etienne Opera, and, moreover, from important festivals and organizations. He has realized operas, orchestral and choral works, chamber music, soundtracks for movies as well as multimedia installations. Matteo Franceschini concentrates his research on theatricality of musical gesture and on the necessity of pulling languages of different matrix together by following the rules of contrast and fusion. His imagination is founded on the strength of narrative contents and the creation of a complex, formal and sound structure. His works, conducted among others by Jukka-Pekka Saraste, Mikko Frank, Pascal Rophé and Gustav Kuhn, have been performed in various international festivals. “Il risultato dei singoli”, his first monographic record, was published in April 2011. He has been named composer in residence at “Arcal” of Paris, at the Orchestre national d’Île-de-France and at the Philharmonic Academy of Rome. “Fedora – Rolf Liebermann Prize for Opera 2014”, he has received the “Italian Affiliated Fellowship in the Arts” from the American Academy in Rome. In 2017, Franceschini adopted “Tovel” as his stage name for the project “ABCDEFG [a tuned sculpture]”. As “Tovel”, he relaunches

the figure of the author/interpreter. His direct, live involvement becomes therefore the expression of a creative act. Since 2011 he is published by Casa Ricordi – Universal Music Publishing.

YAN MARESZ French composer was born in 1966 in Monaco. He started music as an autodidact jazz guitarist and then became the sole student of guitarist John Mc Laughlin. Studies at Boston’s Berkelle College of Music, and then composition at the Juilliard School of Music, he enters in 1993 at Ircam’s composition and computer music course. Since then, his music is widely performed at major international festivals, as well as in the seasons of prestigious symphonic ensembles or ensembles

in Europe, the United States and Asia. He was resident at the Villa Medicis in Rome, at the Europaisches Kolleg der Kunste in Berlin, and at the Civitella Ranieri Foundation. He teaches new technologies and electro-acoustic composition at the Conservatoire National Supérieur de Paris, as well as at the Conservatoire de Boulogne Billancourt.

CATHY VAN ECK Cathy van Eck is a composer and sound artist. She focuses on composing relationships between everyday objects, human performers, and sound. Her artistic work includes performances with live-electronics and installations with sound objects which she often designs herself. She is interested in setting her gestures into unusual and surprising relationships with sounds, mainly by electronic means. The result could be called “performative sound art”, since it combines elements from performance art, electronic music, and visual arts.

Her work transcends genres and is presented at occasions as diverse as experimental or electronic music concerts, open air rock festivals, sound art gallery venues, digital art events, or performance art festivals. Cathy has a teaching position at the Sound Arts department of the University of the Arts in Bern, Switzerland. She is a regular guest lecturer at other art and music universities. In her book Between Air and Electricity, published in 2017, she investigates the use of microphones and loudspeakers as musical instruments.


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_ MA/IN VENUES >>

Matera is a suggestive city in the region of Basilicata, in Southern Italy.

Matera is well known for being one of the oldest inhabited cities in the world; the town lies in a small canyon carved out by the Gravina. “Sassi”, ancient cave-dwellings, has been inscribed as World Heritage Site, and the city was declared Italian host of European Capital of Culture for 2019.

CASA CAVA is a rock-cut auditorium. Can be considered the only underground Cultural Center in the world! Firstly carved as a quarry of stones, then abandoned and used as a waste dump, now restored and transformed into a Center for Youth Creativity. It is a symbol of the historical evolution and cultural rebirth of Matera.


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« festival overview /// + awards

Category [A] – Acousmatic ~+ Award of Distinction +

Zuriñe Gerenabarrena | FYR

- Honorary Mention -Hayley Suviste | Kinesis

James O’Callaghan | If (and only if) I am amongEric Zurbin | Flint Playground

Category [b] – MIXED MEDIA ~

+ Award of Distinction +Nathaniel Haering | Medical Text p.57

- Honorary Mention -Maximilian Marcoll | Amproprification #6

Category [c] – audiovisual ~ + Award of Distinction +

Joao Pedro Oliveira | Tesseract

- Honorary Mention -not assigned

Category [d] – LIVEPERFORMANCE / SOUNDART ~+ Award of Distinction +

Cod.Act | πTon/2

- Honorary Mention -Pier Alfeo | Interferences Quartet

Hyungjoong Kim | Data Nature AnagenesisTatsuru Arai | Matters-ton


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asss

« partners /// Sponsors +

a special thanks to CYCLING’74 for donating #4 full licenses of Max/MSP 8


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program notes

MA/IN ~ SPAZIOMUSICA COMMISSION 2018 With the support of “Spaziomusica” organization of Cagliari (Sardinia, Italy) the il MA/IN promotes the creation of new works for Flute and Electronics/Multimedia. The best two projects has been selected and the works performed twice: the world premiere at the 37th Festival Spaziomusica (Cagliari, October 2018), the second performance during the MA/IN 2018 (Matera, October 2018).

The selected works are:Sergio Andrés Santi (ARG) – UIRA

Ainolnaim Azizol (MYS) – JULAJULI

enrico di felice Ernico Di Felice completed his ute diploma in 1978 with full marks cum laude. He has performed as soloist in the most prestigious European concert halls, including the Concertgebouw Amsterdam, the Musikhalle Hamburg, the Conservatoire Hall Geneva, as well as Montreal, Tokyo, Dijon, Brussels, Strasbourg, Dresden, Leipzig, Neuchâtel, Bern, Innsbruck, Budapest, Bucharest, Copenhagen, Madrid, Lisbon, Ljubljana, Athens, Istanbul, Tirana etc.He has also performed in some international festivals: Nuova Consonanza Rome, Biennale Musica and Festival Galuppi Venice, Antidogma and Musiche in Mostra Turin, Schleswig-Holstein Musikfestival, Autunno Musicale Como, Contrechamps Geneva, Musikfestival Davos, Festival Barroco Oporto, Hofschlössnitz Dresden, Ma/In Matera etc. Enrico has recorded for the RAI (radio and television), ORTF (France), NOS (Holland), RDS (German Swiss), ORF (Austria) and for radio in Hungary, Romania, Egypt and Canada. He has also recorded numerous CDs of the most important works for ute by Vivaldi, Albinoni, Telemann, Scarlatti and Monteclair. His CD recording of Pergolesi and Leo’s concertos for ute was given maximum recognition in the prestigious French music publication Diapason. On 2014 he published a CD with the complete works for ute and piano by Astor Piazzolla (Stradivarius – STR 14001) valued with “Five Stars” by the two best musical italian magazines Amadeus and Musica. On July 2016 he published a CD with some works by Beethoven for ute and piano (Stradivarius 37049).Since 2016 Enrico Di Felice is member of New Made Ensemble Milan, with this group he performed in some important festivals like Festival Cinque Giornate Milan, Bellagio Festival Italy, Festival Tours France and in prestigious theatres like Teatro Lirico Cagliari, Politeama Garibaldi Palermo, Masini Theatre Faenza etc.Since 1993 Enrico has been professor of fute at the Conservatoire of Cagliari as well as holding the position of further studies in baroque flute and chamber music at the Centre of Baroque Music Studies in Oporto (Centro de Estudos de Musica Barroca).


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Alex BUCK

FANTASIA ESSATA [acousmatic] ITALIAN PREMIERE 10’34”

The piece’s name is a clear reference to the concept, coined by Italian renaissance’s scientist / artist Leonardo da Vinci. I came across this concept through Vilem Flusser’s article in which he explains that photograph images (or, in our case, recorded sounds) would be good examples of products resulting from two combined realms, Science and Art. Science because cameras are direct consequence of scientific research; Art because these devices are, most commonly, at service of imagination, of inventiveness. This applies to what Leonardo da Vinci used to call “Fantasia Essata” — this union between the precision / objectivity of the scientific field and subjectivity / inventiveness, typical of the realm of Arts.

eric zurbin HONORAble MENTION

flint playground [acousmatic]ITALIAN PREMIERE 07’33”

Certain events in the media could not avoid my consciousness during the genesis of this work. This is perhaps the source of this work’s sardonic, abrasive character. It is also in some ways a lament. The title may refer to an image of an abandoned playground. It could also perhaps refer to a kind of political playground whereby so few can casually wield such destructive power over so many. The source material for this piece was recorded improvisations on an old, rusty, musical saw.

blabla trains

imaginary Trainscape [live performance]euro PREMIERE 12’00”

Ana Dall’Ara-Majek

Takuto FukudaImaginary Trainscape is a theatrical structural improvisation for an augmented Theremin and a DIY gestural controller. This performance evokes a nostalgia for the golden age of Canadian trains. While appreciating nostalgia of its obsolescence, Imaginary Trainsca-pe also dreams of the Renaissance of railways in North America. In association with the transmission mechanism between a boiler and driving wheels of steam locomotives, this performance explores two types of synchronicity: inter-corporeal synchrony and sonic-corporeal synchrony, meaning synchronicity between performers and the one between sounds and bodily gestures of each performer, respectively. Our self-made

analogue/digital musical instruments - the augmented Theremin and the gestural con-troller - mediate these synchronies, and empower our mental boilers, which enthusiasti-cally trigger an over-saturation of synthetic sounds from the instruments.

Nikos Stavropoulos

Karst Grotto [acousmatic] 8’00”

The title, chosen for its onomatopoeic qualities and its direct references to landscape types, as well as geological spatial structures and processes, reflects the sound world of the work. The recordings of source materials were conducted using small electret condenser microphones in a 5.1 Polyhymnia pentagon configuration. The work, which was composed at the studios of the Department of Music Technology & Acoustics in Crete and the Institute for Computer Music and Sound Technology in Zurich, is the result of ongoing investigation into capturing and working with spatiality in acoustic micro space.

matteo marson

chora [audiovisual] euro PREMIERe 4’26”

Chora is an audio/video composition that investigates the relationship between repre-sentative and represented in pictorial art. Color, in its most materic sense, becomes the protagonist, not as a means to create images, but as the last point of observation.

f. Gualazzi | a. Damiani | a. lorrai

mflute [live performance]15’.00”

M-Flute is an audiovisual performance that uses an electronically modified flute as a medium of ex<x>pression. Through the implementation of sensors that reads light, mo-tion and inclination it’s possible to control and create digital audio and video in real time. The performance consists in a flute player’s improvisation, translated into shapes, lines and points projected on the screen. The flute becomes mediator of a generative audio-visual process of free interpretation. The sound language used by the performer create constantly changing visual worlds.


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Zuriñe Gerenabarrena award of distinction

fyr [acousmatic]ITALIAN PREMIERE 07’53”

Multi-channel work composed in Studio Alpha in VICC, Visby (Sweden). Fyr, meaning “Faro” in Swedish. It’s a piece inspired by the voice as based material. On the one hand as a communicative language, the language as a border, text and their meaning and understanding; on the other hand the sound emanating from the words, the musicality of its own with different speeds, pitchs, ex<x>pressions giving us strengh.I explored in this work the relationships emerging as pure sound and I searched a constructive relationship between the internal and outside sound, where the possibilities, the stimuli of nature linked with technology resources produced and processed in studio. In Fyr the voice is material that is atomized to assimilate to the sonorous landscape. It’s shell and path of an elusive meaning that caresses the memory, encouraging from listening to cross utopian islands.

PLAID + bruno zamborlin [live performance]

Music technologist Bruno Zamborlin bring his amazing Mogees in Matera, when he performs with electronic music duo Plaid. Mogees are revolutionary devices that allow users to turn any object into a musical instrument by using a small contact microphone and circuit board that connects to your smartphone. The vibrations created when the object is touched are picked up by the device and translated into sound by the Mogees app. Plaid are an English electronic music duo composed of Andy Turner and Ed Handley. They were founding members of The Black Dog and used many other names, such as Atypic (Andy Turner) and Balil (Ed Handley), before settling on Plaid. They have collaborated with female singers Mara Carlyle, Nicolette and Björk, and have released records on the labels Clear, Peacefrog, Black Dog Productions, and Warp (along with Trent Reznor’s label Nothing Records).Aside from their own material, Plaid have done extensive remix work for many other artists, including Red Snapper, Björk, Goldfrapp, and The Irresistible Force. Parts in the Post (2003) contains just a handful of Plaid’s remix work to date. Plaid collaborated with video artist Bob Jaroc for their live perfor-mances and on the 5.1 audio/visual project entitled Greedy Baby. The project was completed on 20 July 2005, and was first shown at the Queen Elizabeth Hall in the South Bank Centre, and subsequently at the BFI Imax cinema in Waterloo, London. Greedy Baby was released on DVD from Warp on 26 June 2006. In 2006, Plaid composed and performed the original score to Mi-chael Arias’ anime film Tekkonkinkreet, and then went on to rejoin Arias for his second feature, Heaven’s Door, as well as two of his subsequent short films. In 2009, they contributed a cover of a Plone song to the Warp20 (Recreated) compilation.

Robert Seaback

in surge [acousmatic] euro PREMIERE 7’.20”

In surge, for eight-channel audio, is characterized by undulating granular pulse streams that accelerate and fuse into continuous, modulating timbres, or disperse and dissolve into small particles. Recognizable sounds from the piano, voice, and other sources are subject to granular decomposition and re-assembly as in a pixelated surface where images coalesce, smear, and interpenetrate. The construction of in surge was an exer-cise in the creation of archetypes of spatial motion (using up to 3rd order ambisonics) and gestural evolution that are continually recycled and layered in counterpoint. The work was composed in part at the Atlantic Center for the Arts and at the Florida Electro-acoustic Music Studio.

Tatsuru Arai HONORAble MENTION

matters-ton Trainscape [live performance]20’00”

Ana Dall’Ara-MajekTakuto Fukuda

Sound Visual performance Matters-ton is a 2nd chapter of his Hyper Serial Music pe-roject/series aiming to expand, in new contemporary sense, classical means related to the history of Serial Music. In this work, Tatsuru developed and evolved into more complex and higher quality result, unfolding the relation between Sound and Matters on the three Dimensions of Space. By means of algorithmic simulation, principles desi-gning the audiovisual substance are correlated directly on showing the physical side of Universe through human perception.

sergio andres santi

uira [mixedmedia]for flute + ELECTRONICS world PREMIERE 4’.00”

flute : enrico di feliceelectronics : sergio santi

ma/in spaziomusica commission


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ainolnaim azizol

julajuli [mixedmedia]for flute + ELECTRONICS world PREMIERE 7’.00”

flute : enrico di feliceelectronics : giulio colangel

ma/in spaziomusica commission

hayley suviste HONORAble MENTION

kinesis [acousmatic]euro PREMIERE 07’40”

Kinesis is an exploration of the sonic characteristics of spinning objects, both embracing and subverting the processes in which the objects naturally follow. All of the sounds in this piece are derived from the stimulus of an object and the subsequent movement that this produces (the spinning of a coin, a bicycle wheel, motors and the ringing of Tibetan singing bowls), exploring the tensions between the gestural characteristic of the stimulus and the timbral quality of the movement that follows.

roberto zanata

cagliari resonance [audiovisual] world PREMIERE 4’.04”spaziomusica production

natahniel haering award of distinction

Medical Text p.57 [mixedmedia]for voice + ELECTRONICS euro PREMIERE 8’.00”

Voice: Virginia Guidielectronics: Nathan haering

Medical Text p. 57 is an aggressive, virtuosic, and remarkably vulnerable piece crafted around selections of text found in the educational tome Cyclopædia of Practical Medi-cine Vol. 1 published in 1845. The chapter that this piece addresses is on the topic of age and its effects on the body through multiple stages of life, beginning with nascent burgeoning growth and advancing to the eventual unerring onset of decay. This piece manipulates the coherence of text and plays off of humanity’s want to comprehend speech in voices, often crafting phonemes and consonants that are similar to spee-

ch but contorting them beyond understanding. When juxtaposed with recognizable text and married with a plethora of timbre driven gestures and extended vocal tech-niques, smooth transitions between nonsense and meaningful text help to drive the piece through continuums of obfuscation and clarity. This piece is structured through the manipulation of a set of durational contours derived from the relative proportions of the 5 governing sections of the piece. These contours define both the macro and micro elements of the piece, controlling sectional longevity as well as the length of individual gestures and sustains. Acting as an exposition, the opening showcases these proportions and the prominent techniques and sound world associated with the section they are derived from.

james O’Callaghan

xeno- [mixedmedia]for voice + ELECTRONICS italian PREMIERE 8’.00”

Voice: Virginia Guidielectronics: james O’Callaghan

Xeno- is a work for voice and electronics composed in close collaboration with perfor-mer Sarah Albu. The voice of the performer is constantly in flux, transforming through imitations of different animal vocalisations and live electronic manipulations. The form of the piece is related to one of Zeno’s paradoxes, where that which is in locomotion must arrive at the half-way stage before it arrives at the goal. These successively shorter half-way points are presented in reverse, where the musical energy of the pie-ce unfolds through bursts of noise separated in successively greater distances. These kinds of ‘big bangs’ which unfold all the materials of the piece into a warping menage-rie of being-transformation.

EDISON STUDIO

THE BATTELSHIP POTEMKIN [live performance]directed by Sergej Michajlovic ejzenstejnlive Soundtrack by Edison Studio

music and sound design : L. Ceccarelli / F. Cifariello Ciardi / A. Cipriani feat. V. Coreelectric guitar: Vincenzo Core

double bass: Giacomo Piermattisound engineer: Andrea veneri

A new wonderful restoration of the original version of The Battleship Potëmkin is pre-sented with a double audio track, including the original music by Edmund Meisel (1925) and the music by Edison Studio (2017). The work by Edison Studio composers offers a re-interpretation of the movie through the fusion of music, voices in Russian lan-guage, electroacoustic and environmental sounds unveiling athmospheres, senses and


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secret rhythms of Ejzenštejn’s masterpiece. For the composition of the new original soundtrack Edison Studio composers have studied Ėjzenštejn’s complex editing tech-niques, his theories about audiovisual montage and the various visual rhythm types he used in his movie. It’s a complex and dense soundtrack, which aims at rendering the power of the faces expressions, of gestures, of suspensions, accelerations, symbols, internal and external rhythms, and of the deeply human dimension in which the action of masses and people unravels. Music and sound intertwine in counterpoint with the visual editing in various ways in the 5 acts of the film, re-inventing its audiovisual form in a contemporary way.with the support of Società Italiana Autori ed Editori for the project “SIAE – classici di oggi” and Fondazione Cineteca di Bologna

james O’Callaghan HONORAble MENTION

If (and only if) I am among [acousmatic] italian PREMIERE 9’.00”If (and only if) I am among is an acousmatic re-imagining of two of my pieces for instru-ments and electronics: IF:IFF (2014) and AMONG AM A (2015). When developing such works, I create extensive electroacoustic materials that are sometimes never heard in a performance of the final work, and so transporting these artefacts of the compositional process into a new work can breathe new life into them. Besides these materials, I also took recordings of the premieres of the instrumental pieces — by the McGill Contem-porary Music Ensemble and Ensemble Paramirabo, respectively — as source material. I chose to link these two works together because they examine related ideas that gain new meaning in an acousmatic context. IF:IFF examines the idea of cause and effect through a severing of performance gesture and resultant sound, as well as a sonic ima-ge of glass shattering and ‘unshattering’, as if scrubbing backward in time. AMONG AM A examines the experience of concert listening and a breakdown of the division betwe-en ‘musical’ and ‘non-musical’ sounds, gestures, and spaces. The acousmatic context natively severs gesture and sound, offering another vantage point for these ideas from which one’s imagination may become more active.

candas sisman

flux [audiovisual] 4’.43”A Short Animation Inspired by the Works of İlhan Koman Video and sound design by Candas SismanCommissioned by Plato Art Space (Plato collage of higher education)Thanks to :İlhan Koman, Bager Akbay, Gorkem Sen, Burcu Beslioglu, Plato Art Spa-ce (Plato collage of higher education), Koman foundation, Deniz kader, Basak Senova

myriam bleau

soft revolvers [live performance]

Soft Revolvers is a music performance for four clear acrylic spinning tops designed and built by the artist. Each top, 25 cm in diameter, is associated with an “instrument” in an electronic music composition. The tops are equipped with gyroscopes and ac-celerometers that communicate wirelessly with a computer. The motion data collected (speed, unsteadiness at the end of a spin, acceleration spikes in case of collisions) informs musical algorithms and controls custom sequencers designed in Pure Data. LEDs inside the tops illuminate the body of the objects in a precise counterpoint to the music, creating stunning spinning halos. With their large circular spinning bodies and their role as music-playing devices, the spinning-top interfaces strongly evoke turn-tables and hip hop culture. Some of the mappings between gestures and sound have been borrowed directly from the bimodal behavior of turntables: at slow speeds the sounds produced can remind of scratch solos, with the characteristic unstable pitch variations. At full speed, the spinning tops act like normal turntables playing vinyls, in this case playing pre-composed material. Familiar objects, in this case spinning tops, engage audience members in a particularly intricate manner, awakening subconscious physical memories of their lived experience with those objects in terms of behavioral expectations, function and symbolic connotations. The public can anticipate the physi-cal rules that will guide the performance and thus actively participate in the tension and release dynamics at play in Soft Revolvers.

Hyungjoong Kim HONORAble MENTION

DATA NATURE ANAGENESIS [live performance]EURO PREMIERE 25’.00”

This work is a 25 minutes audio-visual live performance about ‘evolution of life’. The project is inspired by the hypothesis that all life forms today evolved from a single Primi-tive life form as their origin. From the fact that all life forms have been evolving through coincidental and random combinations of DNA bases, I come up with an idea that ‘I’ may have been programmed (such as a computer software or machine) to evolve. This is why I start this work with extracting and analyzing my own DNA sequence.In this performance, the fragments of my own DNA sequence are gradually combined by a genetic algorithm to evolve, and this process is represented through audio-visual mate-rials, which are strictly mapped to each DNA base (A, G, T, C). The first 15 minutes show the evolution process from a single cell to artificial intelligence. The rest of the perfor-mance is composed of visualization of post-human and sound samples of Buddhist Heart Sutra (Prajñā-Paramitā) with self-assembled wearable LEDs for displaying the future cyberpunk world. This second version of my work, ‘Data.Nature.Anagenesis_2’


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has been created during the Asia Culture Center Artist-in-residency program in 2017 and presented at the ACT Festival 2017 (Gwangju, Korea). Where do we come from? And where are we headed? *Everything is created by Pro-cessing3 and Max 7

JOAO PEDRO OLIVEIRA award of distinction

TESSERACT [AUDIOVISUAL]ITALIAN PREMIERE 8’.30”

A tesseract, also defined as a hypercube is the four-dimensional equivalent of the cube. This video presents a possible journey throughout the six faces of a cube, and how they can be transformed and projected into a tesseract using different processes: transla-tion, rotation, fragmentation, explosion and implosion, etc..

FREDRIK GRAN

ECONOMY OF LEISURE [live performance] ITALIAN PREMIERE 10’.00”for solo laptop

<< sound ART /// EXHIBITION ||

cod.act award of distinction

πTon/2 [sound installation]supported by Faulhaber Drive System

πTon/2 is a sound installation that intervenes in the continuity of the researches of Cod.Act on mechanical and sound organicity. It results from an experience on the deforma-tion of an elastic form and its incidence on the evolution of a musical work. The object is a flexible ring closed on itself. It is set in motion by torsional engines located inside its body. πTon, by twisting and waving on itself, moves in a very natural and unpredi-ctable way. The origin of the music created by πTon is a deep sound of bass clarinet. It evolves according to its movements and is diffused by loudspeakers located inside its body. When πTon moves slowly, its contractions and dilatations produce deep sensual

sounds that evolve like deep breathes. When the movements become fast, nervous and brutal, the creature develops acid and sharp sound along the tube, like a nervous flow.

pier alfeo honorable mention

INTERFERENCES QUARTET [sound installation]The pollution and the sounds caused by the ceaseless technological progress are what prompted my research, the leitmotiv of my works. My work is driven by the intriguing chance to translate these anthropic and polluting phenomena into sonic objects, acou-stical or digital sounds rearranged for composing purposes. The focus is on the pollu-tion caused by intense mechanical activities, such as in airports, factories and espe-cially in windmills. The structure “Rumore e vibrazioni” (“Noise and vibrations”), by Arpa FVG, recently took up studying health repercussions on individuals regularly exposed to low-frequency noises defined infrasound. The acoustic analysis ranged from 10.0 Hz to 16.0 Hz and pinpointed a consistent sound intensity at 12.5 Hz. These frequencies were employed here to cause the speakers to oscillate; using their pneumatic motions, they would then form complex rhythmic patterns, basically writing a composition. The-se interferences, caused through frequencies normally harmful to humans, are now being “amplified” and rearranged for artistic purposes, and ultimately being played by a curious quartet.

loxosconcept

cut it! [sound installation]Disintegrate the linearity of the speech. Neutralize the logic with the synthesis of innu-merable phonetic segments. The big ear listen to all of that. The hand want to make a link with user. This is the most intuitive tool to interact with installation. Only by touching the hand it happens the “bacterial infection”. The movement of this particles is “surreal-ly” transformed into acoustic energy.This movement generates electronic cellula which contains chaotic, altered, granulized messages. It generates new dialectic expressions very influent on the userʼs sensibility. A broken and illogic information stream in a relati-ve time...a perception of the stream of consciousness.

buster keaton reloaded [audiovisual installation]

Goat - Buster Keaton | music Ludovico FaillaOne week - Buster Keaton | music Vincenzo CoreHigh Sign - Buster Keaton | music Fabrizio Girando


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CONTENTS...In 2009 Aquarelle, for choir, won the 1st prize (in the category of composers under 30)...

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Transcript of CONTENTS...In 2009 Aquarelle, for choir, won the 1st prize (in the category of composers under 30)...