The Thai ElectroAcoustic Music Society (TEAMS) is a non-profit organization established and operated by music students from Thailand. We are committed to advocating works associated with electroacoustic music and digital arts throughout Thailand, Southeast Asia, and globally, with a principal emphasis on cultivating emerging artists. Operating independently of institutional constraints and school-specific practices, TEAMS provides a platform that encourages interactions among artists across various disciplines, thereby stimulating engagement in sound creation and artistic expression.
Furthermore, TEAMS is home to TEAMSmulch, a Pure Data-based sound diffusion system developed for flexible spatial performances of diverse forms of media arts, including both fixed-media electroacoustic music (musique de support) and live electronics.
Among its many missions, TEAMS is dedicated to the advancement, documentation, and expansion of the practice of electroacoustic music in Thailand. Our initiatives to date include ongoing documentation and practice-based research projects by individual TEAMS members, an intimate electroacoustic concert series at local and international venues (TinyTEAMS), an emerging artist performance series (.int), sound diffusion performances of concert works, a community workshop (Sonic Ventures), and our major annual festival, TagTEAMS.
“Thailand's new generation electroacoustic artist” (Time Out, Goethe Institut Thailand) Sippapas Thienwiwat (b. 2006) is a Bangkok-based composer, performer, digital artist, scholar, and curator whose work lies at the intersection of electroacoustic composition, live electronics improvisation, and digital arts practices. Working across fixed media and real-time performance, his work interrogates post-acousmaticism by treating technological systems as compositional material, shaping them through recontextualization, reconstruction, and spatialization while maintaining a keen historical awareness of electronic music practices and listening cultures. As SKYKYS, this approach extends into audiovisual livecoding performances that offer immersive experiences by combining algorithmic processes, multichannel sound environments, and audio-reactive visualizations.
Sippapas has presented and collaborated with institutions and festivals globally, notably with BEAST (including FEaST 2025, PGVIS2025: BEASTs of Wonderland, MiniBEAST, and TagTEAMS 2026), SEAMUS 2026 (UTSA), Sonorities Festival Belfast 2026 (via the 7th Improvising Futures Festival), SyReN SYNTHposium 2025, MUSLAB 2025: MANTRA, Hybrid Music Lab 2025 (Most Wanted: Music Berlin), University of North Texas CEMI (with Just the TRS! electronics sextet), EMuSE at Eastman School of Music (with OSSIA New Music, and BEAST), Current Plans Hong Kong (with Sonic Officer), SomaRumor: IV (Rádio Soma), BANGKOK CITYCITY MUSIC PROJECT (Commissioned Talk & Experimental Library Music), Thailand International Composition Festival 2025-2026, PGVIS and PGMF 2024-2025, IntAct Festival 2024-2025, MAXER-12 (a Triphens Ensemble production), and Rangsit International Symposium of Electroacoustic Music 2026. Past performances in Bangkok include a diverse list of spaces such as Bangkok Kunsthalle, One Bangkok, EmSphere, Goethe-Institut Thailand, Sala Saneha, Tentacles Workshop, JAM, Studio Lam, and SYNAP home/lab. His music can be seldomly heard accompanying Thai video art, including works by Yves Pokakunkanon, Kanyanat Sittisumpun, and Pich Rongmuang. He has received awards and grants from the Princess Galyani Vadhana Institute of Music and the Goethe Institut Thailand. His music has been described as “Brutally abstract” (Jiradej Setabundhu) and “The best noise I’ve heard so far at SEAMUS” (Elainie Lillios).
Sippapas serves as the President and Diffusion Artist-in-Residence of the Thai ElectroAcoustic Music Society (TEAMS), where he is mentored by Jiradej Setabundhu and Scott Wilson. As the Artistic Director, Curator, and Lead Technician for the inaugural TagTEAMS 2026 festival, he designed the TEAMSpace 26.2 loudspeaker orchestra along with the TEAMSmulch sound diffusion system for the performance of 40 concert works. These leadership roles run parallel to his BASc in Creative Arts and Technology at IMSE, KMITL, where he conducts practice-based research in electroacoustic music and computational arts under Matthias Jung. His academic work is further supplemented by private sonic arts and computational arts studies under Thanapat Ogaslert and previous music composition studies with Tyler Capp. Beyond his work with TEAMS, he is a member of the Cornea Cochlear Club collective and formerly served as the Technical Director of the Triphens Ensemble.
Nattakon Lertwattanaruk (b. 2006) is a composer and performer originally from Bangkok, Thailand. Stemming from his interests in archeology and pseudo-anthropology, his works often engage with different ways of surfacing, abstracting, and re-remembering artifacts from his own experiences with popular and/or musical culture. Nattakon also engages with musical instruments as a site of physical exploration and extension, and the integration of multimedia in dialogue with the concert setting.
He is a recipient of the Distinguished Prizes (2022 and 2024) at the Young Thai Artist Award (SCG Foundation), and the Belle S. Gitelman Award (Eastman School of Music), and has collaborated with ensembles including Tacet(i), Orkest De Ereprijs, Klangforum Wien, the Thai Youth Orchestra, Kul-Gänte, OSSIA New Music, and Duo Dubois. His work has been presented at numerous international events, such as the Thailand New Music and Arts Symposium, Young Composers Meeting (The Netherlands), OutHEAR New Music Week (Greece), International Computer Music Conference (ICMC), SEAMUS Conference (USA), TagTEAMS (Thailand), IntAct Festival (Thailand), Thailand International Composition Festival, China-ASEAN Music Festival, among others.
Nattakon is currently pursuing a Bachelor of Music in Composition at the Eastman School of Music in Rochester, New York, where he studies under Dr. Evis Sammoutis. Formative mentors include Piyawat Louilarpprasert, Daniel Pesca, and Mikel Kuehn.
CRSRCRSRRR is an experimental project by Thanapat Ogaslert, an artist and educator based in Bangkok, Thailand. By directly interacting with real-time information, the live coding performances by CRSCRSRRR always unfolds insights of our surroundings, ranging from electrical signals and numbers to our human senses.
CRSRCRSRRR is one of the core member of the Thai Live-coding community that aim to explore the art of algorithms through live computer programming. The results are works that exceed the limitation of physical bounds and often bring the audience to unheard heights of sonic and visual experience.
In 2024, CRSRCRSRRR was one of the TEDxSpeakers advocating the use of deep sensing, sonic memories, and sound and visual synthesis.
Currently, he is an adjunct lecturer at Mahidol University, as well as conducting community workshops around Thailand and nearby regions such as Indonesia, Hong Kong, and Singapore to name a few.
Jiradej Setabundhu studied music with Bruce Gaston and worked as a guitarist and composer with Fong Nam Ensemble. He later continued his study with Donald Crockett, M. William Karlins, Marta Ptaszynska, Amnon Wolman, Michael Pisaro, and Stephen Syverud. His compositions include works for acoustic, electronic, and interactive multimedia that investigate the challenging relationship between human and technology.
For the past three decades Scott Wilson’s music and sound art has explored the intersection of a variety of different and sometimes contradictory practices. Combining aspects of instrumental/vocal composition, field recording, immersive multichannel electroacoustic sound and visuals, cross-cultural collaboration, live coding and improvisation in works that are each a bespoke solution to a unique artistic problem, his output holds few firm allegiances to schools, styles or genres, and regularly transgresses the boundaries of the ‘acceptable’ to be found in even the most supposedly experimental fields of artistic practice. A particular interest in collaboration has led to a rich range of output, including cross-cultural and interdisciplinary works. These and other pieces including hyperreal soundscapes using sound from the natural world, a collaborative musical palimpsest on classic Qawwali recordings, and music created by sonifying the particle collisions of CERN’s Large Hadron Collider have been presented around the world. Also active as an educator and mentor for young artists, he is the co-director of Birmingham ElectroAcoustic Sound Theatre (BEAST) and teaches at the University of Birmingham in the U.K.
Yves Pokakunkanon is a multidisciplinary artist working primarily with 3D, interactive installation, and live visuals. She focuses on the exploration of digital bodies, using them not only as a design medium but as a conceptual instrument for constructing alternate realities and identities. Her work often blurs the boundaries between humans and their synthetic bodies, reality and simulation, and physical and virtual intimacy. At the heart of this are her digital doubles: avatars, clones, and synthetic figures that act as her digital mirrors, reflecting self-idealization, self-projection, and the strangeness of existing alongside a constructed version of yourself.
Drawing from her experience as a female artist, her work also touches on the expectations, ideals, and norms that shape how women see and construct themselves. She often blends visuals with poetic text, creating pieces that feel both seductive and quietly unsettling.
Her practice is rooted in the tech-art community she found during her time at ITP at Tisch School of the Arts. She is a member of ‘Cache’, a Bangkok and NYC-based collective focused on electronic and interactive art, through which she has co-organized two group exhibitions in Bangkok, ‘Shift by Cache’ and ‘Close Inspection from Afar’, both centered on contributing to the growth of the tech-art community in Thailand. She is also an organizing member of the Thai ElectroAcoustic Music Society (TEAMS), where she acts as a video work guest-curator for their music festival, TagTEAMS. She is also an active performer at audiovisual events in Bangkok.
We would like to thank Prof Scott Wilson and the Birmingham ElectroAcoustic Sound Theatre (BEAST), Thanapat Ogaslert and SYNAP home/lab, Mr. Johannes Hossfeld and the Goethe-Institut Thailand, Mark Chearavanont and Bangkok Kunsthalle, Prof Mikel Kuehn and the Electroacoustic Music Studios at Eastman (EMuSE), Wasawat Somno and Cornea Cochlear Club, Adam Stanović and the British ElectroAcoustic Network, and Dr Piyawat Louilarpprasert and the College of Music, Mahidol University for partnering with us.