MA/IN 2018 matera intermedia festival /// INTRODUCTION ||| _CONTENTS_
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 4_ The organizing committee MA/IN [MAtera INtermedia festival]. 5_ Technical supervisors 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 6_ Selection panel composers, within a unique and lovely background of the city of Matera. 12_ MA/IN venues
Every year A/V performances, live electronics, electroacoustic music events, sound 14_ festival overview / awards installations, workshops and masterclasses will be organized in several evocative venues like the ancient hypogea of Casa Cava. 19_ partners / sponsors
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 feld of electronic arts. 20_ MA/IN~spaziomusica commission 2018 The festival is composed by four diferent categories : [A] Acousmatic ~ 21_ program notes [B] Mixed Media ~ 30_ sound art [C] AudioVisual ~ [D] LivePerformance/SoundArt ~ 32_ acousmatic music mixtape
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.
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The organizing committee technical supervisors
LOXOSconcept organization Giulio Colangelo TECHNICAL DIRECTOR Giulio Colangelo ARTISTIC DIRECTOR Donato Corbo TECHNICAL SUPERVISOR Donato Corbo TECHNICAL DIRECTOR / COMMUNICATION Delio Colangelo PROGRAM MANAGER Delio Colangelo PROJECT MANAGER olindo linguerri SOUND ENGINEER Valerio De Bonis TECHNICAL ASSISTANCE Gerardo De Pasquale VIDEO DIRECTON AND EDITING partners Donato Corbo VIDEO PRODUCTION / PHOTOGRAPHY Valerio Polici VIDEO PRODUCTION / PHOTOGRAPHY Keyhole ORGANIZATION WAVESERVICE AUDIO spaziomusica ORGANIZATION LOXOSconcept AUDIO RECORDING BLUECATBLUES ASSOCIATION EDISON STUDIO ASSOCIATION SOUNDS OF SILENCES | ROMAEUROPAFESTIVAL | CINETECA DI BOLOGNA
economic support COLLATERAL EVENTS
LUCANA FILM COMMISSION IN VITRØ artificial sonification art patronage MUTE silent film mutations Matera-Basilicata 2019 Foundation
SPONSORS
CYCLING 74 [ max / msp ] fra i sassi residence osteria malatesta residence san pietro barisano
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Belgium and abroad, such as the “Berliner Kunstpreis für Musik” (2016), “ISCM Young # The selection panel »» 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 Alexander Khubeev was born in 1986 in city Perm Belgian Musician of the Year”. In 2014 he became laureate of the Royal Flemish Academy (Russia). He graduated from Moscow Tchaikovsky of Belgium for the Sciences and Arts in the Class of the Arts. Stefan Prins is closely involved Conservatory in 2011 (class of composition of Yuri with the Nadar Ensemble, as a composer and co-director, and was one of the founders of Kasparov, class of electronic composition of Igor the long-standing trio for improvised music “collectief reFLEXible” and the band “Ministry of Kefalidis), he fnished his post-graduate course in Bad Decisions”, together with percussionist Brian Archinal and e-guitarist Yaron Deutsch. Moscow Tchaikovsky Conservatory in 2014. Since His music has been played by a.o. Klangforum Wien, Nadar Ensemble, Ictus Ensemble, Nikel 2014 he is a coordinator of Young Composers Ensemble, Ensemble Mosaik, Trio Accanto, Ensemble Dal Niente, Ensemble Recherche, Academy in Tchaikovsky city. Alexander Khubeev won Athelas Sinfonietta, Ensemble Proton Bern, Zwerm Electric Guitar Quartet, Champ d’Action awards in Argentina, Italy, Russia, Ukraine, USA. In on festivals such as the Donaueschinger Musiktage, the Darmstadt Ferienkurse, Wittener 2014 he received a scholarship of Darmstadt Summer Tage für Neue Musik, Eclat, Warsaw Autumn, Gaudeamus Festival, Musica Strasbourg, Ars Courses, in 2015 he became Gaudeamus prize winner Musica, Tzlil Meudcan, Impuls Festival, Huddersfeld Contemporary Music Festival & Ultima in Netherlands. His music is played in concerts held in more than 20 countries around Festival. His preferred color is blood-red. 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 Candas sisman (1985, İzmir-Turkey) studied Festival”, “Moscow Forum”, “Diaghilev Festival”, ”Moscow Autumn” and many others. fne arts in high school and graduated from the Khubeev worked with such conductors as Reinbert de Leeuw, Lucas Vis, Bas Wiegers, Animation department of Eskişehir Anadolu Thomas Moore, his compositions were played by such ensembles as Asko|Schoenberg, University. He spent one year at university in the Nadar, Slagwerk den Haag, Blackpage Orchestra, L’Arsenale, Insomnio, Uusinta, Netherlands, studying multimedia design. In dissonArt, Vortex, Aleph, ExNovo, Vertixe Sonora, IEMA, Gageego, Lemniscate, Moscow 2011 he co-founded Nohlab, a studio producing Contemporary Music Ensemble, The Studio for New Music Ensemble, Percussion interdisciplinary experiences around art, design ensemble of Mark Pekarsky, GAM-ensemble, eNsemble, string quartet “Cantando”. His & technology. He is also a member of NOS music is broadcasted on radio France Musique, Deutschlandradiokultur, Concertzender Visuals, which is a collaborative platform that (Netherlands), RTP (Portugal), ARTxFM (USA), Radio of Russia, Radio “Orpheus” (Russia) creates real-time, sound-reactive audiovisual and others.Composer in residence of GAM-ensemble in 2011. Member of Russian performances. For the last fve years, he gives Composer’s Union. Since 2017 his compositions are published by Donemus. 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 Stefan prins After graduating as an engineer, Stefan 18th Japan Media Arts Festival. He participated in many exhibition and festival, such as Prins (Kortrijk, Belgium, 20/5/1979) started to study Venice Architecture Biennale, TED X, ARS Electronica, Todaysart Festival and Japan Media fulltime piano and composition at the Royal Flemish Arts Festival. Candaş Şişman recently exhibited Sonicfeld-01 Sound Installation in Venice Conservatory in Antwerp, Belgium, where he obtained Architecture Biennale and ‘FLUX’ audiovisual installation among İlhan Koman Hulda festival his Masters degree in Composition magna cum laude. in İstanbul. Candaş Şişman aims to manipulate our notion of time, space and motion by his Concurrently, he studied “Technology in Music“ at the work, using digital and mechanical technologies. Taking the natural sciences and universe Royal Conservatory of Brussels,“Sonology“ at the Royal as his reference point, the artist combines physical forms with digitally produced images. Conservatory of The Hague and “Philosophy of Culture” Thus a bridge between the physical world and the digital world becomes visible. The works and “Philosophy of Technology” at the University of of Şişman build on complex bases, but the forms are simple, allowing the audience to Antwerp. In 2017 he obtained a PhD in composition engage in intellectual interaction with the artwork, in which the “process” is the utmost at Harvard University under the guidance of Chaya important structural element. The artist lives and works in İstanbul, and is represented by Czernowin and Hans Tutschku. As a composer he received several important awards in PG Art gallery in Turkey. www.csismn.com www.nohlab.com www.nosvisuals.com
6 7 MA/IN 2018 matera intermedia festival saxophone quartets, cellists Mario Brunello, Francesco Dillon, Henri Demarquette, and Born in Legnica (Poland) in JAGODA SZMYTKA Anton Lukoszevieze, futist Manuel Zurria, saxophonist Marcus Weiss, harpsichordist 1982, she studied art history, philosophy, music Goska Isphording amongst others. Her music has been performed across Europe, theory and composition in Wrocław, Graz, Frankfurt/ the Americas, and Australia, and has featured in some of the world’s leading festivals Main and Karlsruhe. Her music has received including Sydney Festival, Schleswig-Holstein Festival, Venice Biennale, RomaEuropa, international recognition through numerous features Holland Festival, Warsaw Autumn, Huddersfeld Contemporary Music Festival, SonicA at festivals and institutions such as Warsaw Autumn, (Glasgow), Maerzmusik (Berlin), Biennale Némo (Gaîté lyrique, Paris), Musica festival Wien Modern, Lucerne Festival, Festival d’Aix-en- (Strasbourg), Musik protokoll im steirischem Herbst (Graz), Musicadhoy (Madrid), Vale Provence, Huddersfeld Contemporary Music Festival, of Glamorgan Festival (Cardiff), Expositions of New Music, Moravian Autumn (Brno), Ultraschall Berlin, ECLAT Stuttgart, Ferienkurse Gaida (Vilnius) to name a few. Justė Janulytė frst came into public view in 2004 when Darmstadt, Tonhalle Düsseldorf, Deutschlandfunk her graduation work White music, for 15 strings, was awarded as the best chamber Cologne, Royaumont Paris, Polish National Opera piece of the year by the Lithuanian Composers’ Union. Furthermore, her fve next Warsaw and many others. Among other things she received Staubach Honorarium and the compositions also won the same prize. In 2009 Aquarelle, for choir, won the 1st prize Stipend Prize of the Darmstadt International Summer Course for New Music, scholarships (in the category of composers under 30) at the International Rostrum of Composers in from the DAAD, the Art Foundation Baden-Württemberg, residencies at Herrenhaus Paris. In 2011 she was awarded the Young Artist’s Prize by the Lithuanian Ministry of Edenkoben and La Muse en Circuit Paris. In 2017 artist in residency at Villa Serpentara. Many Culture and in 2017 the Lithuanian National Arts and Culture Prize, the highest artistic time artist-in-residency at ZKM|Centre for Art and Media Karlsruhe. In 2015 WERGO/EZM distinction in Lithuania. The majority of the works by the author, written for dense released her portrait CD “BLOODY CHERRIES”. In 2016 Jagoda Szmytka wins the GEMA monochromatic ensembles (only strings, only winds or only voices), explore musical Detuscher Musikautorenpreis. Jagoda Szmytka composes “for people”, “about people”, time/space experiences through large-scale multilayered textures of infnite pulsating “with people”. Szmytka’s “social composing” examines social and interpersonal processes sounds and extremely gradual ‘thermodynamic’ metamorphoses. While balancing such as communication and identity often in relation to phenomena that infuence modern between the aesthetics of minimalism, spectralism and drone music, Justė Janulytė life or referring directly to the social dimension of making music. Szmytka’s “intertextual composes acoustic metaphors of optic ideas (Observation of Clouds for voices, winds music” is written for ear, eye and thought - incorporates mixed-media, trans-media and and strings, The Colour of Water for saxophone(s) solo and orchestra, and Here at cross-genre formats - her compositions are mixture of texts, images and sounds that build the quiet limit for male choir and string orchestra), and researches the visual nature of dense structures in reference to high & pop culture, philosophy, or reality (music theater musical phenomena in the works where sound and image are fused together (Breathing projects: LIMBO LANDER - social-media music theatre, LOST - trans-media music theatre, Music for string quartet, electronics and kinetic sculptures, Eclipses for 4 strings, live LOVE LABEL - mass-media music theatre). Jagoda Szmytka is a founder and leader of electronics and soundproof glass installation, Sandglasses for 4 cellos, electronics two projects: PLAY – Platform for art and culture social initiatives & ENTER - Collective and video installation). Justė Janulytė currently teaches composition at the Lithuanian specialized in performing Referential Music. Academy of Music and Theatre, lives between Vilnius and Milan
Born in Vilnius in 1982, she JUSTe JANULYTe manuella blackburn is an electroacoustic studied composition at the Lithuanian Music music composer who specializes in acousmatic and Theatre Academy, Milan ‘Giuseppe Verdi’ music creation. However, she also has composed Conservatoire and in various masterclasses. She for instruments and electronics, laptop ensemble has collaborated with some of the world’s leading improvisations, and music for dance. She studied ensembles and soloists including Teatro La Fenice music at The University of Manchester (England, UK), Symphony, Gothenburg Opera Symphony, BBC followed by a Masters in Electroacoustic Composition National Orchestra of Wales, Polish National with David Berezan. She became a member of Philharmonic Orchestra, Brno Philharmonic, French Manchester Theatre in Sound (MANTIS) in 2006 and Flute Orchestra, Riga Sinfonetta, Birmingham completed a PhD at The University of Manchester Contemporary Music Group, Ensemble Bit20, with Ricardo Climent in 2010. Manuella Blackburn Orchestrutopica, Estonian Philharmonic Chamber and Male Choirs, Danish Radio has worked in residence in the studios of Miso Music (Lisbon, Portugal), EMS (Stockholm, Chamber, Kamer, Sequenza 9.3 and Camerata Silesia choirs, Quasar, Xasax and Flotilla Sweden), Atlantic Centre for the Arts (New Smyrna Beach, FL, USA), and Kunitachi College
8 9 MA/IN 2018 matera intermedia festival of Music (Tokyo, Japan). Her music has been performed at concerts, festivals, conferences the fgure of the author/interpreter. His direct, live involvement becomes therefore the and gallery exhibitions in Argentina, Belgium, Brazil, Canada, Chile, Costa Rica, Cuba, expression of a creative act. Since 2011 he is published by Casa Ricordi – Universal Music France, Germany, Italy, Japan, Korea, Mexico, Portugal, Spain, Sweden, and the USA. Publishing. 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 YAN MARESZ French composer was born in 1966 Música Viva (Lisbon, Portugal, 2006, ’09), First Prize in the Musica Nova International in Monaco. He started music as an autodidact Competition of Electroacoustic Music (Prague, Czech Republic, 2014), International jazz guitarist and then became the sole student of Computer Music Association European Regional Award (Australia, 2013), 3rd Prize in guitarist John Mc Laughlin. Studies at Boston’s the Difusion Competition (Ireland, 2008), Public Prize in the Concurso Internacional de Berkelle College of Music, and then composition at Composição Eletroacústica (CEMJKO, Brazil, 2007) and Honorary Mentions in the Centro the Juilliard School of Music, he enters in 1993 at Mexicano para la Música y las Artes Sonoras (CMMAS) competition (Morelia, Mexico, 2008) Ircam’s composition and computer music course. and in the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’07, Since then, his music is widely performed at major Brazil). She is currently Senior Lecturer in Music at Liverpool Hope University (England, UK). 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 matteo franceschini Born into a family of teaches new technologies and electro-acoustic composition at the Conservatoire National musicians, he began his composition studies with Supérieur de Paris, as well as at the Conservatoire de Boulogne Billancourt. 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 CATHY VAN ECK Cathy van Eck is a composer and Azio Corghi and attended the Cursus ofered by the sound artist. She focuses on composing relationships Ircam in Paris. He has received several prizes, both between everyday objects, human performers, and in national and international competitions. He has sound. Her artistic work includes performances with received commissions from La Scala Philharmonic live-electronics and installations with sound objects Orchestra, Ensemble Intercontemporain, Wigmore which she often designs herself. She is interested Hall, Biennale of Venice, Festival Mito, Philharmonie de Paris, Orchestre national d’Île-de- in setting her gestures into unusual and surprising France, National Orchestra of Belgium, Reims Opera, Saint-Etienne Opera, and, moreover, relationships with sounds, mainly by electronic from important festivals and organizations. He has realized operas, orchestral and choral means. The result could be called “performative works, chamber music, soundtracks for movies as well as multimedia installations. Matteo sound art”, since it combines elements from Franceschini concentrates his research on theatricality of musical gesture and on the performance art, electronic music, and visual arts. necessity of pulling languages of diferent matrix together by following the rules of contrast Her work transcends genres and is presented at occasions as diverse as experimental and fusion. His imagination is founded on the strength of narrative contents and the creation or electronic music concerts, open air rock festivals, sound art gallery venues, digital art of a complex, formal and sound structure. His works, conducted among others by Jukka- events, or performance art festivals. Cathy has a teaching position at the Sound Arts Pekka Saraste, Mikko Frank, Pascal Rophé and Gustav Kuhn, have been performed in department of the University of the Arts in Bern, Switzerland. She is a regular guest lecturer various international festivals. “Il risultato dei singoli”, his frst monographic record, was at other art and music universities. In her book Between Air and Electricity, published in published in April 2011. He has been named composer in residence at “Arcal” of Paris, at 2017, she investigates the use of microphones and loudspeakers as musical instruments. 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 Afliated 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
10 11 MA/IN 2018 matera intermedia festival _ 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.
12 13 MA/IN 2018 matera intermedia festival « 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 among Eric Zurbin | Flint Playground
Category [b] – MIXED MEDIA ~ + Award of Distinction + Nathaniel Haering | Medical Text p.57
- Honorary Mention - Maximilian Marcoll | Amproprifcation #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 Anagenesis Tatsuru Arai | Matters-ton
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16 17 MA/IN 2018 matera intermedia festival asss
« partners /// Sponsors +
a special thanks to CYCLING’74 for donating #4 full licenses of Max/MSP 8
18 19 MA/IN 2018 matera intermedia festival 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 program notes 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 fute and chamber music at the Centre of Baroque Music Studies in Oporto (Centro de Estudos de Musica Barroca).
20 21 MA/IN 2018 matera intermedia festival Alex BUCK analogue/digital musical instruments - the augmented Theremin and the gestural con- troller - mediate these synchronies, and empower our mental boilers, which enthusiasti- FANTASIA ESSATA [acousmatic] cally trigger an over-saturation of synthetic sounds from the instruments. 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 Nikos Stavropoulos 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 Karst Grotto [acousmatic] and Art. Science because cameras are direct consequence of scientifc research; Art 8’00” because these devices are, most commonly, at service of imagination, of inventiveness. The title, chosen for its onomatopoeic qualities and its direct references to landscape This applies to what Leonardo da Vinci used to call “Fantasia Essata” — this union types, as well as geological spatial structures and processes, refects the sound world between the precision / objectivity of the scientifc feld and subjectivity / inventiveness, of the work. The recordings of source materials were conducted using small electret typical of the realm of Arts. condenser microphones in a 5.1 Polyhymnia pentagon confguration. 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 eric zurbin HONORAble MENTION micro space. flint playground [acousmatic] ITALIAN PREMIERE 07’33” matteo marson 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. [audiovisual] It is also in some ways a lament. The title may refer to an image of an abandoned chora playground. It could also perhaps refer to a kind of political playground whereby so few euro PREMIERe 4’26” can casually wield such destructive power over so many. The source material for this Chora is an audio/video composition that investigates the relationship between repre- piece was recorded improvisations on an old, rusty, musical saw. 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.
blabla trains f. Gualazzi | a. Damiani | a. lorrai imaginary Trainscape [live performance] mflute [live performance] euro PREMIERE 12’00” 15’.00” Ana Dall’Ara-Majek M-Flute is an audiovisual performance that uses an electronically modifed fute as a Takuto Fukuda medium of ex
Zuriñe Gerenabarrena award of distinction Robert Seaback fyr [acousmatic] in surge [acousmatic] ITALIAN PREMIERE 07’53” euro PREMIERE 7’.20” Multi-channel work composed in Studio Alpha in VICC, Visby (Sweden). Fyr, meaning In surge, for eight-channel audio, is characterized by undulating granular pulse streams “Faro” in Swedish. It’s a piece inspired by the voice as based material. On the one hand that accelerate and fuse into continuous, modulating timbres, or disperse and dissolve as a communicative language, the language as a border, text and their meaning and into small particles. Recognizable sounds from the piano, voice, and other sources are understanding; on the other hand the sound emanating from the words, the musicality subject to granular decomposition and re-assembly as in a pixelated surface where of its own with diferent speeds, pitchs, ex
24 25 MA/IN 2018 matera intermedia festival ainolnaim azizol ch but contorting them beyond understanding. When juxtaposed with recognizable text and married with a plethora of timbre driven gestures and extended vocal tech- [mixedmedia] niques, smooth transitions between nonsense and meaningful text help to drive the julajuli piece through continuums of obfuscation and clarity. This piece is structured through for flute + ELECTRONICS world PREMIERE 7’.00” the manipulation of a set of durational contours derived from the relative proportions flute : enrico di felice of the 5 governing sections of the piece. These contours defne both the macro and electronics : giulio colangel micro elements of the piece, controlling sectional longevity as well as the length of ma/in spaziomusica commission 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. hayley suviste HONORAble MENTION james O’Callaghan kinesis [acousmatic] euro PREMIERE 07’40” xeno- [mixedmedia] Kinesis is an exploration of the sonic characteristics of spinning objects, both embracing for voice + ELECTRONICS italian PREMIERE 8’.00” 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 Voice: Virginia Guidi that this produces (the spinning of a coin, a bicycle wheel, motors and the ringing of electronics: james O’Callaghan Tibetan singing bowls), exploring the tensions between the gestural characteristic of Xeno- is a work for voice and electronics composed in close collaboration with perfor- the stimulus and the timbral quality of the movement that follows. mer Sarah Albu. The voice of the performer is constantly in fux, transforming through imitations of diferent 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 roberto zanata 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- cagliari resonance [audiovisual] ce unfolds through bursts of noise separated in successively greater distances. These world PREMIERE 4’.04” kinds of ‘big bangs’ which unfold all the materials of the piece into a warping menage- spaziomusica production rie of being-transformation.
EDISON STUDIO natahniel haering award of distinction THE BATTELSHIP POTEMKIN [live performance] Medical Text p.57 [mixedmedia] directed by Sergej Michajlovic ejzenstejn for voice + ELECTRONICS euro PREMIERE 8’.00” live Soundtrack by Edison Studio Voice: Virginia Guidi music and sound design : L. Ceccarelli / F. Cifariello Ciardi / A. Cipriani feat. V. Core electric guitar: Vincenzo Core electronics: Nathan haering double bass: Giacomo Piermatti Medical Text p. 57 is an aggressive, virtuosic, and remarkably vulnerable piece crafted sound engineer: Andrea veneri around selections of text found in the educational tome Cyclopædia of Practical Medi- A new wonderful restoration of the original version of The Battleship Potëmkin is pre- cine Vol. 1 published in 1845. The chapter that this piece addresses is on the topic of sented with a double audio track, including the original music by Edmund Meisel (1925) age and its efects on the body through multiple stages of life, beginning with nascent and the music by Edison Studio (2017). The work by Edison Studio composers ofers burgeoning growth and advancing to the eventual unerring onset of decay. This piece a re-interpretation of the movie through the fusion of music, voices in Russian lan- manipulates the coherence of text and plays of of humanity’s want to comprehend guage, electroacoustic and environmental sounds unveiling athmospheres, senses and speech in voices, often crafting phonemes and consonants that are similar to spee-
26 27 MA/IN 2018 matera intermedia festival secret rhythms of Ejzenštejn’s masterpiece. For the composition of the new original myriam bleau soundtrack Edison Studio composers have studied Ėjzenštejn’s complex editing tech- niques, his theories about audiovisual montage and the various visual rhythm types he [live performance] used in his movie. It’s a complex and dense soundtrack, which aims at rendering the soft revolvers power of the faces expressions, of gestures, of suspensions, accelerations, symbols, Soft Revolvers is a music performance for four clear acrylic spinning tops designed internal and external rhythms, and of the deeply human dimension in which the action and built by the artist. Each top, 25 cm in diameter, is associated with an “instrument” of masses and people unravels. Music and sound intertwine in counterpoint with the in an electronic music composition. The tops are equipped with gyroscopes and ac- visual editing in various ways in the 5 acts of the flm, re-inventing its audiovisual form celerometers that communicate wirelessly with a computer. The motion data collected in a contemporary way. (speed, unsteadiness at the end of a spin, acceleration spikes in case of collisions) with the support of Società Italiana Autori ed Editori for the project “SIAE – classici di oggi” and informs musical algorithms and controls custom sequencers designed in Pure Data. Fondazione Cineteca di Bologna 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- james O’Callaghan HONORAble MENTION 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 If (and only if) I am among [acousmatic] sounds produced can remind of scratch solos, with the characteristic unstable pitch italian PREMIERE 9’.00” variations. At full speed, the spinning tops act like normal turntables playing vinyls, in If (and only if) I am among is an acousmatic re-imagining of two of my pieces for instru- this case playing pre-composed material. Familiar objects, in this case spinning tops, ments and electronics: IF:IFF (2014) and AMONG AM A (2015). When developing such engage audience members in a particularly intricate manner, awakening subconscious works, I create extensive electroacoustic materials that are sometimes never heard in a physical memories of their lived experience with those objects in terms of behavioral performance of the fnal work, and so transporting these artefacts of the compositional expectations, function and symbolic connotations. The public can anticipate the physi- process into a new work can breathe new life into them. Besides these materials, I also cal rules that will guide the performance and thus actively participate in the tension and took recordings of the premieres of the instrumental pieces — by the McGill Contem- release dynamics at play in Soft Revolvers. 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 efect through a severing of performance gesture and resultant sound, as well as a sonic ima- Hyungjoong Kim HONORAble MENTION 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- DATA NATURE ANAGENESIS [live performance] en ‘musical’ and ‘non-musical’ sounds, gestures, and spaces. The acousmatic context EURO PREMIERE 25’.00” natively severs gesture and sound, ofering another vantage point for these ideas from This work is a 25 minutes audio-visual live performance about ‘evolution of life’. The which one’s imagination may become more active. 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’ candas sisman 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 flux [audiovisual] performance, the fragments of my own DNA sequence are gradually combined by a 4’.43” genetic algorithm to evolve, and this process is represented through audio-visual mate- A Short Animation Inspired by the Works of İlhan Koman rials, which are strictly mapped to each DNA base (A, G, T, C). The frst 15 minutes show Video and sound design by Candas Sisman the evolution process from a single cell to artifcial intelligence. The rest of the perfor- Commissioned by Plato Art Space (Plato collage of higher education) mance is composed of visualization of post-human and sound samples of Buddhist Thanks to :İlhan Koman, Bager Akbay, Gorkem Sen, Burcu Beslioglu, Plato Art Spa- Heart Sutra (Prajñā-Paramitā) with self-assembled wearable LEDs for displaying the ce (Plato collage of higher education), Koman foundation, Deniz kader, Basak Senova future cyberpunk world. This second version of my work, ‘Data.Nature.Anagenesis_2’
28 29 MA/IN 2018 matera intermedia festival has been created during the Asia Culture Center Artist-in-residency program in 2017 sounds that evolve like deep breathes. When the movements become fast, nervous and and presented at the ACT Festival 2017 (Gwangju, Korea). brutal, the creature develops acid and sharp sound along the tube, like a nervous fow. Where do we come from? And where are we headed? *Everything is created by Pro- cessing3 and Max 7 pier alfeo honorable mention INTERFERENCES QUARTET [sound installation] The pollution and the sounds caused by the ceaseless technological progress are what JOAO PEDRO OLIVEIRA award of distinction 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- TESSERACT [AUDIOVISUAL] stical or digital sounds rearranged for composing purposes. The focus is on the pollu- ITALIAN PREMIERE 8’.30” tion caused by intense mechanical activities, such as in airports, factories and espe- A tesseract, also defned as a hypercube is the four-dimensional equivalent of the cube. cially in windmills. The structure “Rumore e vibrazioni” (“Noise and vibrations”), by Arpa This video presents a possible journey throughout the six faces of a cube, and how they FVG, recently took up studying health repercussions on individuals regularly exposed can be transformed and projected into a tesseract using diferent processes: transla- to low-frequency noises defned infrasound. The acoustic analysis ranged from 10.0 Hz tion, rotation, fragmentation, explosion and implosion, etc.. 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 “amplifed” and rearranged for artistic purposes, and ultimately being played by FREDRIK GRAN a curious quartet. ECONOMY OF LEISURE [live performance] ITALIAN PREMIERE 10’.00” loxosconcept for solo laptop 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 << sound ART /// EXHIBITION || 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 cod.act award of distinction contains chaotic, altered, granulized messages. It generates new dialectic expressions very infuent on the userʼs sensibility. A broken and illogic information stream in a relati- πTon/2 [sound installation] ve time...a perception of the stream of consciousness. 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 fexible ring closed on itself. It is set in motion by torsional engines located inside buster keaton reloaded [audiovisual installation] 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 Goat - Buster Keaton | music Ludovico Failla evolves according to its movements and is difused by loudspeakers located inside its One week - Buster Keaton | music Vincenzo Core body. When πTon moves slowly, its contractions and dilatations produce deep sensual High Sign - Buster Keaton | music Fabrizio Girando
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