Seminar – Masterclass – Concert
Seminar – Masterclass – Concert
Composer Portrait (1)
Johannes Schöllhorn, composer and professor of composition at the Musikhochschule Freiburg, is this year’s guest of the Tehran International Electronic Music festival. The two-day seminar allows us to get to know his music, aesthetics and ideas with him.
25th and 26th February 2021. 13:00, Tehran Time
Pass code: 093338
Masterclass With Reza Korourian Awards Winners
Masterclass Composition with selected composers of Reza Korourian Awards 2020
Thursday 25 February 2021. 16:00, Tehran Time
Pass code will be sent to registered participants.
Parham Izadyar and Ali Balighi
Electronic Music and Programming
Parham Izadyar and Ali Balighi
Live on Instagram
Thursday 25 February 2021. 22:30, Tehran Time
A Short Report on the Past and Upcoming Events
You can find this piece (Glouded Dusk by Anahita Abbasi) on day 4 among IFCA’s compositions.
Concert (Curated by Dimitri Papageorgiou)
An exercise, in two parts, on the experience of the “not scalable” of the clearness.
In italian language this sentence means:
Un esercizio, in due parti, sull’esperienza della “ingraduabilità” del nitore.
The italian term ingraduabilità can be explained in this way: the difficulty in grading the Clarity (clearness, vividness). Thinking of Francis Bacon.
Railroading in the East
About the Film (by Thomas Edison (1897 – 1906))
Thomas Edison was the inventor of the Kinetograph and the Kinetoscope. This silent motion picture which consists of various recordings of American steam Trains throughout the country , shows Edisonʼs early experimentations with motion pictures recording techniques.
About the Music
All sounds heard in this piece are recorded from the Tbilisi Metro in Georgia Republic (2015) , from the instant of entering the station until the moment of boarding the Train and the journey between two stations while onboard. The recordings were then sampled , Processed and used as the material in my A/V composition
Δtopia: the place, or ‘topos’, where diﬀerences, deviations, displacements, rates of change, and distances between other places reside. “Δ”, in mathematics, is referred to as the diﬀerence operator.The principle of displacement was discovered by Archimedes in antiquity, where the submersion of objects in a container ﬁlled with water would cause the level to rise, thus providing a way to measure their volume. Before that discovery, the shape of all but the simplest real-world objects was simply a form, a strictly qualitative set of characteristics. The principle allowed something measurable to be said about the object, thus allowing a determination of certain attributes, like density and material.
Philosophy and aesthetics have made great strides since that era, but the principe still holds on many levels: the topos (or place) of a creative act is an important contextual reference, whether it
Die Wolke art group2 από 3 refers to actual geography, the sense of place, or even abstractions, and can be used in the sense of origin or destination, memory or imagination, evocation of experience, and more.
Δtopia (pronounced Delta-topia) is a contemporary dance and sonic arts performance that uses sensor interfaces to facilitate the electronic interaction between movement and sound, by measuring certain attributes of motion in realtime. The sonic material originates from interviews of artists of diﬀerent backgrounds, focusing on questions on the topics of displacement, place, and distance. On stage, the motion data is used to modulate, resequence, or otherwise distort them. The resulting displacements, perceived on a semantic (textual) and aural level simutaneously, create the tensions, densities, and perceptual abstractions, around which a time-based performance piece is constructed that takes no speciﬁc thematic position at all: it is the result of the ebbs and ﬂows of information through its process.
Δtopia, made for the Buﬀer Fringe 20-21 festival, Nicosia, Cyprus, is the latest in a series of pieces by Die Wolke art group that explore the applications of technology in contemporary dance and the performing arts in general, following Trajectory of an Idea and Stream: synergy meeting vols. 1 & 2, supported by the Greek Ministry of Culture and Sports and the Culture Secretariat of the North Rhine-Westphallia state of Germany (NRW Kultursekretariat) respectively.
Die Wolke Art Group
Performance with the use of media, network platforms, electroacoustic compositions, video compositions, instrumental ensembles, performative acts. In various places between Venice and Siena. By and with HYPERSONIC WEB INTRUDERS (a collective team composed by some students of the Workshop of contemporary practices and writings, the teachers Eleonora Costanza and Federico Costanza and invited guests Carlo Siega and Gianangelo Bolzonello)
CAOSMO is an attempt of stream art, a performative and artistic construction through limiting platforms and systems, rigid powers but generators of possibilities. The concept of Chaosmosis alludes to the impending Chaos and the prospect of an osmotic evolution of Chaos. The plane of Chaosmosis is the continuous interchange between cosmic breathing and singularity refrains.
Music is the vibrational search for a possible conspiracy that goes beyond the noise of the world, that recomposes fragments of noise into a sound capable of interpreting human intention in a conscious vibration of acoustic matter.
In the spasm the sound collapses into noise, into a tangle of unheard voices. In Chaosmosis, on the contrary, the noise is recomposed within a happy rhythm of vibration. (taken from Respirare di Franco Bifo Berardi, 2019) CAOSMO is therefore a territory of artistic creation that we have generated.
Hypersonic Web Intruders (instruments, electronics, voices, thoughts, glitch video&sound, etc.) Mattia Amato, Gioia Anichini, Aurora Arcudi, Leonardo Balucani, Giorgio Barni, Matteo Bencivenga, Leonardo Binazzi, Camilla Cantara, Eleonora Costanza, Federico Costanza, Cecilia Cuglitore, Marco Farruggia, Elena Feliciello, Niccolò Gelli, Cosimo Gragnoli, Maria Novella Menicacci, Matteo Prandini, Sara Romagnoli, Tommaso Tappeti, Clelia Venturi.With special guests: Carlo Siega (electric guitar) and Gianangelo Bolzonello (rawdata & glitch sounds).Project by Eleonora Costanza
Technical support and streaming direction from Siena: Francesco GrassiProduction by Hypersonic Web Intruders, Conservatory I.S.S.M. “R. Franci” di Siena
Lapsus memoriae III
Light and darkness. Life and death. Beginning and ending… such is the dialectical polarity upon which our two-dimensional human existence depend, a condition which nature views in scornful neutrality.
Lee Yi Wei Angus
is an audio work that was made through transcription of field recordings to digital sound events. One specific and suspicious construction sight in the south of Belgrade was recorded and used as a model for creation of an audio work. Every sound event caught in the recording of the suspicious construction sight had to be turned into a similar digital sound information of this piece.
In Vessels (160935 km) various kinds of continuous flows of different speeds, densities, and textures, are perplexed. The work was inspired by a fusion of two ideas of continuous flows that define us: imagining blood cells running through vessels in a body, as well as a vehicle driving on the highway, which is why the title could refer to both concepts and almost looks like a road sign. The average length of blood vessels in an adult human body is about 100,000 miles, which is equal to 160934.4 kilometers, but I decided to round it up to 160935 km for the title. The piece was originally commissioned by Stef Van Vynckt for amplified harp, video, and smartphone, but during its making, it also resulted in the creation of this version of a solo audio work that could optionally be accompanied a video.
Luminescence is a spontaneous emission of light by a substance not resulting from heat. There are a lot of ways to create it, but what makes a difference is the way you will use it. You may use it to light up the darkness, or you could use it to bring hidden figures in life. Changing one condition may reveal a new kind of sensation. You may end up playing with conditions, expanding your horizons, and tricking the senses.
A progression of chords articulates the structure of the composition. During the development of this progression, the essential shapes of the sounds change, resonating like glassy materials of different consistencies. The rhythm alternates confused moments with moments of stasis, reaching a periodic and obsessive beat, which becomes the backbone of the piece, around which the sound evolution develops.
WassermannWassermann presents extensive morphing of source materials. Most prominent are the extended voice samples that are stretched and distorted often beyond recognition. Henry Miller in Big Sur and the Oranges of Hieronymous Bosch provides a description of transformation that was similar to the spirit of Wassermann “Every creature, every object, every place has its own ambience which is unique. But worlds, objects, creatures, places, all have this in common: they are ever in a state of transmutation. The supreme delight of dream lies in this transformative power. When the personality liquefies, so to speak, as it does so deliciously in a dream, and the very nature of one’s being is alchemized … he who awakens from his dream knows beyond all doubt that the imperishable soul which he calls his own is but a vehicle of this eternal element of change”. In Wassermann a program designed to achieve a goal efficiently, efficiently evokes a response – in other words, with predictable results. A bit grumpy because of the southern California pop culture, the water-man enticed a program to become inefficient and messy in order to drown its beauty. Constructively, Wassermann presents a constellation of correspondences between a source and its output. This galaxy consists of planets which maintain a variety of associations with an original to those which retain no perceptible link. The voice is of Ute Wassermann. The work was realized at Southwestern University in San Diego.
Michael Edward Edgerton
Fata MorganaFata Morgana. A mirage seen during hot days in desert, land or sea, Fata Morgana distorts the objects on the horizon, often to such extent that they become completely unrecognizable. 125 whistling tracks – single pitches within the range of about 3 octaves, covering 42 microtonal frequencies per octave – are juxtaposed in varied combinations and durations. The sustained microtonal pitches that create beating frequencies, the unstable nature of whistling and the rough hue of the recordings, give the overall impression of a static but internally trembling object, similar to the Fata Morgana illusion.
DédalesDédales [Mazes] is freely inspired by music composed for Les familiers du labyrinthe (2005) [Regulars of the Labyrinth], choreographed by Michèle Noiret for the Paris Opera. Significant structural changes have been made to the original work and new elements have been integrated. Every now and again, the piece sets up the notion of a strange, undefinable presence by means of ‘coloured silences’; sonic chiaroscuro-like moments which open a door to the unknown. At times, very distinct and rhythmic sonic structures cause the hostile, mechanical and unpredictable universe of the labyrinth to materialize, in whose machinery the performers’ bodies are lost and found again. Emphasis is placed now on its inescapable permanence, now on its kinetic vivacity. This machine, however, is not only external — it inhabits the souls and bodies of the performers and also reflects them, as only they can perceive and imagine it. It is therefore an echo of the apparent fragility of men and women, whose sonic presence is symbolically represented by breath and vocal sounds. These sounds appear throughout the composition in diverse forms, their multiple transformations retaining the imprint of their original source. Dédales also explores the juxtaposition of distinct spaces and sounds that appear, disappear, and react to one another, as well as unusual combinations, disturbances and accidents. This kind of superposition is made possible, without compromising listening transparency, through extensive exploration of the possibilities offered by multichannel diffusion. The different strata of sonic material are subjected to distinct types of temporal distortion, fragmentation and metamorphosis — disrupting and altering our perception of time and space.
Uncomfortable Possibilities of Seemless Unions (2012)
This is a wacky desert: a fallacious visual interior that converges to an uncanny anthem, to a dazzling unification, to an unbearable reinforcement of straight virtualities.
Clicking, hitting, resonating through abandoned shells under the sky, suspended there like a wormhole, most likely, redundant like an amber.
In there, I am scanning through stimulations and making the most out of them,
Evanescing through its derived and mostly guessed beauty.
(Tolga Tuzun, from Whispering Desert 2012)