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Roberto Romero Molina (Mex) Data.Protons (Highly Commended) TAIGA (Highly Commended) Data.Protons for Audio File (2 Channels Version) (2016) Length: 15 Minutes

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Roberto Romero Molina (Mex) Data.Protons (Highly Commended) TAIGA (Highly Commended) Data.Protons for Audio File (2 Channels Version) (2016) Length: 15 Minutes Forum Wallis Ars Electronica Selection 2017 1/6 Schloss Leuk, 2 June 2017, 10pm & 3 June 2017, 11am www.ForumWallis.ch Forum Wallis Ars Electronica Selection 2017 2/6 Concert 1 Concert 2 2 June 2017, 10pm 3 June 2017, 11am Highly Commended Schloss Leuk Schloss Leuk Fernando Alexis (Can) Adam Stanovic (UK) Tanapon Chiwinpiti (Thailand) Je me retrouve a la fin de mon chemin Ctrl c data.protons Swiss Premiere Swiss Premiere Léo Collin (F/CH) Robert Fleisher (USA) Clovis McEvoy (NZ) Piece to Avoid to be Cold Altro Alfresco Flaneur Swiss Premiere Swiss Premiere Mirko Ettore D’Agostino (IT/TR) 6 A.M. Rocío Cano Valiño (Arg) Sangwon Lee (Kor) Tâches Rollyphony Paolo Gatti (IT) Swiss Premiere Swiss Premiere Senhalte Xavier Madore (Can) Paolo Pastorino (IT) James O'Callaghan (Can/Irl) Les Loges de la Suite Dimensione Aggiuntiva empties impetus Swiss Premiere Swiss Premiere Gaspar Peralta & Roberto Romero (Mex) Panayiotis Kokoras (GR) Mei-Fang Lin (Taiwan) TAIGA Construct Synthesis Entre le Son et La Lumiere Swiss Premiere Swiss Premiere Demian Rudel Rey (Arg) Che-toi Roberto Zanata (IT) Jérémie Ricard (Can) Pareidolia elettroacustica Corrosion Des Alliages Jean-Philippe Velu (F) European Premiere Swiss Premiere single Combat Marco Molteni (IT) Abril Padilla (Arg/CH) EFFIMERE EMERGENZE, EREMI, ECLISSI (ePWsM 1-3) Grimja Swiss Premiere Xavier Madore (Can) Ready about... Tacking Swiss Premiere Schloss Leuk, 2 June 2017, 10pm & 3 June 2017, 11am www.ForumWallis.ch Forum Wallis Ars Electronica Selection 2017 3/6 but the implementation of control systems, developed Sangwon Lee (Kor) on Max MSP, for live electronics and audio Adam Stanovic (UK) Rollyphony (Swiss Premiere) installations. His works have been presented and Ctrl c, Swiss premiere performed at NSEME 2017 - Baton Rouge (USA), Rollyphony (2016) The title of this piece is made by Sound like this 2017 Leeds College of Music (UK), Ctrl c. Composed in 2016 and premiered at the combining two words “Rolly” and “Polyphony.” The San Francisco Tape Music Festival 2017 (USA), Mixtur Institute of Musical Research day on compositional piece is featured by rolling sounds in several layers. 2017 (Barcellona), NWEAMO Festival (Tokyo), CIM practices. Ctrl c (10’58”) received a Nomination in the The main sound sources for this piece are coins, (Cagliari - IT), EMUFest (Rome - IT), CIRMMT (Centre Ninth International Competition of Electroacoustic marbles, bottle caps, etc. The duration of this piece is for Interdisciplinary Research in Music Media and Composition and Visual Music, Destellos Foundation, 6’30”. Technology - Montréal), 3ème Concours International Argentina; this is the Swiss premiere of the work. de Composition pour un instrument acoustique et Sangwon Lee, born in 1979, Korea, holds a Bachelor dispositif électronique (Bourges, France), Inter #6: Adam Stanović (born Stansbie in the UK, 1981) is of Music degree from Keimyung University in Korea experimental sound for loudspeakers (Glasgow - UK), known for his electroacoustic/acousmatic and received his Master of Music degree from New DronesTruck Como (Midway Parkway St. Paul, compositions, which have been widely performed England Conservatory in Boston. Sangwon is currently Minnesota ‐ USA), Galleria comunale d’arte di Cagliari (throughout Europe, Asia, North and South America pursuing his Doctorate Music Arts at the University of (IT), Festival Suona Italiano Suona Francese 2015 and Australasia), published (Elektramusic, Musique et Illinois, Urbana-Champaign where he took classes in (Sassari – IT). Recherche, Taukey and Sargasso) and prized (IMEB, advanced studio techniques with Professor Scott A. Musiques et Recherches, Destellos Foundation, Wyatt. Lee has won numerous international awards SYNC2016). Alongside his creative work, Adam has and honors for his compositions including EACA Robert Fleisher (USA) written extensively on the presentation and International Composition Competition (Japan), Altro Alfresco (Swiss Premiere) performance of acousmatic music and he is currently JURGENSON International Composition Competition interested in the various ontological/phenomenological (Russia), Frederic Mompou International Award Altro Alfresco (5:45, Swiss premiere, 1970/2010): paradoxes that the acousmatic tradition seems to (Spain), “2 Agosto” International Composition After resting comfortably in my archives for four produce. Adam has taught at a number of institutions Competition (Italy), Destellos International decades, several musique concrète experiments from and is currently lecturing at The University of Sheffield Electroacoustic Music Composition Competition 2016 my teens received their first public performances where he directs the MA in Sonic Arts and the MA in (Argentina), 2016 The American Prize, etc. His works beginning in 2009. With a duration just under six Composition. For more information, visit: have been performed and broadcasted in Canada, minutes, Altro Alfresco shares the same (found adamstansbie.com France, Italy, Spain, Japan, Belgium, Brazil, U.S. and percussion) sound sources as its diminutive (68- South Korea. He has been invited as one of the second) “cousin,” Loretto Alfresco (Ars Electronica Roberto Zanata (It) presenting composers from 2016 Contemporanea 2016). Both works feature my childhood friend Thomas Pareidolia elettroacustica (European Premiere) Nuova Musica in Udine (Italy), MA/IN MAtera Loretto playing pots, pans, pipes, etc., recorded under INtermedia Festival 2016 (Italy), MUSLAB 2016 a tree on a small Wisconsin farm. Premiered during Pareidolia is a psychological phenomenon involving a International Festival of Electroacoustic Music (Brazil), the 2011 national conference of the Society for stimulus (an image or a sound) wherein the mind NSEME 2017 (the National Student Electronic Music Electro-Acoustic Music in the United States perceives a familiar pattern of something where none Event), and 2017 New York City Electroacoustic Music (SEAMUS), Altro Alfresco also features two obbligato actually exists. Common examples are perceived Festival. wind parts: in the upper register, Sharon Mattlin images of animals, faces, or objects in cloud playing recorder; in the lower register, the more robust formations, the man in the moon, the moon rabbit, and (and proximate) sounds of Mother Nature. This is the hidden messages within recorded music played in Paolo Pastorino (It) first European concert performance of Altro Alfresco. In Dimensione aggiuntiva (Swiss Premiere) reverse or at higher- or lower-than-normal speeds. 2013, it was heard in the UK’s Audiograft Festival The composition was realized with the open source (online) and in Argentina, on AIR/EAR: Radio Alimento Year of composition – 2016. Duration - 3’ 25’’ software Supercollider (granular, streaming spectral, (live stream). It may also be heard in the current issue pitchshifter, filter band shifting). Composed in 2017. This track is the first part of a study on the sound of the online journal ink & coda: matter. “Dimensione aggiuntiva” means an www.inkandcoda.com/issues/4-1/ additional dimension which is generally referred to a Roberto Zanata completed his studies in music composition and electroacoustic music at the further extension of the objects. A sound object can be Robert Fleisher (b. 1953, USA) is Professor Emeritus considered as an element consisting of an abstract Conservatorio in Cagliari and his studies in philosophy at Northern Illinois University. Author of Twenty Israeli at the University of Cagliari (Italy). He teaches part and a concrete one. One of the two properties can Composers (1997), he is also a contributing composer also occur without the other one. Abstract is a quality electronic music, acoustic music, live electronics and and essayist in Theresa Sauer’s Notations 21 (2009). multimedia in the classes of degree music and new that is considered outside of reality - this part does not Fleisher’s chamber music been described as exist but can be produced from the concrete part. On technology at the conservatory of Foggia in Italy. “eloquent” (Ann Arbor News), “lovely and emotional” Since the middle of nineties he has worked on the other hand, concrete means a complete and real (Toronto Musicworks), “astoundingly attractive” representation of the object; this part can be altered chamber music composition with electronics, music for (Perspectives of New Music), and “ingenious” (Strad); theatre, acousmatic music as well as multimedia giving origin to an abstract part. The investigation of his electro-acoustic music as “rich, tactile” and the boundary between these two aspects is the focus works. In International competitions his works have “endearingly low-tech” (New York Times). His music been awarded Grands Prix Internationaux de Musique of my research. In my compositions the silence is as has been heard globally, with more than 75 important as the non-silence, it creates not only Electroacoustique (Bourges), Interference Festival performances and broadcasts in 10 countries since (Poland), Sonom Festival (Mexico) and others. tension but it is a link between the real (listening hall) 2010. In 2016, these included three electroacoustic and the imaginary (the composition) environment. His publications focus on the studies of electroacoustic works (in Alabama, Michigan, New York, and music, soundscapes, multimedia, contemporary music Switzerland) and three acoustic works (in Illinois, Iowa, Paolo Pastorino (1983) is an italian guitarist, sound in a cross-arts context, access and the contemporary and Greece), including two premieres.
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