18 April 15:00-16:00, 2 Fl. Bangkok Kunsthalle
Crossing large distances between distinct sound worlds.
Diffusion: Sippapas Thienwiwat
(2016) – Myriam Boucher - 10m2s, stereophonic videomusic
Nuées is a videomusic work that arose from the idea of flapping wings. The recordings were made with the baritone saxophonist Ida Toninato in an immense desertic and reverberant space at night. The birds were recorded mid-flight.
(2024) – Anak Baiharn - 5m49s, stereophonic fixed medium
Ring modulation + Feedback loop
(2025) – João Pedro Oliveira - 8m, stereophonic videomusic
Gardens of light and shadow plays with the idea of inner gardens changing shape and morphing in different ways. Maybe some of these gardens live inside our mind...
(2002) – Trevor Wishart - 25m38s, stereophonic fixed medium
‘...To see a world in a grain of sand...’
Imago is a ‘magical’ piece of sonic metamorphosis, in which the most surprising events (the sound of the sea, the human voice, a scrapyard ‘gamelan’ ....) are evolved from a single brief sound (the clink of two whisky glasses). It is also aims to make the development of sonic materials out of the source clearly audible, and the evolutionary structure of the piece transparent. Every sound in Imago derived from the first ‘clink’, and every musical idea from sonic transformations of that sound (and the repeating sequence of that sound which follows it at the very outset of the piece).
Imago arose from a request to write a 1 minute piece for Jonty Harrison’s 50th birthday concert, using source material from his works. The first, originating, sound in Imago is taken from ‘et ainsi de suite’. Work on the piece was made possible by an AHRB Creative Arts Fellowship.
(2011) – Prinda Setabundhu & Jiradej Setabundhu - 10m30s, stereophonic videomusic
Conceived from the constraint of limited time and resources, I Cross a Very Large Distance is a collaborative videomusic work premiered at the 2011 Thailand International Composition Festival at Payap University. Inspired by the game Dead Runner, the piece features a runner captured in a dark, minimalist void. He moves with an increasing sense of urgency, as if running away from the ghostly melodies that are continuously haunting him.
The videomusic centers on creating a (not so) linear narrative using the BugBrand modular synthesizer, specifically the CLK2B – Binary Division from BugBrand's Old Blues series, which he just purchased prior to the work's genesis in an effort to 'complete' his system (you never will, Ajarn!). It begins with a repetitive three-note pattern that mimics a steady heartbeat. As the work progresses, the tempo accelerates until the rhythmic pulses blur together, transforming into a low, ghostly buzzing drone as it reaches the pitch formation spectra. While the music and the exhausted runner move at different speeds, a flickering strobe effect creates a strange connection between the eyes and the ears. The videomusic explores the tension between human limits and machine-driven pulses, ending only when the runner finally disappears into the shadows as the pulse dies down.
— analytical program note by Sippapas Thienwiwat, written with Jiradej's blessing
Sound and image composer, and professor in digital/audiovisual music composition at the Université de Montréal (CA), Myriam Boucher merges the organic and the synthetic in her mesmerizing videomusic installations, immersive projects and audiovisual performances. Her sensitive and polymorphic work explores the intimate dialogue between music, sound and image, transforming everyday landscapes into fantastical, living phenomena. Elements in her skin-tingling pieces can move in synchronization with waves of sound, and very fluidly shift from solid to liquid, fragment to flood, plastic to plasmic. Her research in videomusic composition proposes a classification of image/sound relationships as a building block towards an eventual grammar of the genre. Boucher approaches video much in the same way as she did music composition and improvisation.
Her commission list is varied and distinguished and includes the Orchestre Symphonique de Montréal (OSM), Ensemble Contemporain de Montréal (ECM+), Ars Nova, Nouvel Ensemble Moderne (NEM), Magnitude6, Collectif9, 5ilience and Architek Percussion. As VJ, she performed with many artists/DJ such as Shackleton (UK), Mind Against (IT), Deadboy (GB), POLE (GE), Ayesha (US), Automatisme (CA) and DJ Lag (ZA). Her work has been presented at many international events and places, including Mutek (CA, AE, ES, JP, MX), Kontakte (DE), Igloofest (CA), Rendez-vous du cinéma québécois (CA), Musée d’Art Moderne et Contemporain de Strasbourg (FR), and Akousma (CA). Her research work is published by Routledge (UK).
Her research-creation activities integrate musical composition, improvisation, deep listening, sound ecology, site-specific creation and immersive experiences. Her research aims to understand and analyze the mechanisms of perception in audiovisual works and multidisciplinary concerts integrating sound, music, image, and performers, with the perspective that art is a practice capable of transforming reality and generating new forms of sensitive representations.
Anak Baiharn is a composer with a fascination for a diverse array of musical styles. He enjoys composing music that engages with and transforms pre-existing musical works. Anak has collaborated with a range of ensembles, festivals, and organizations, and has participated in several music programs and competitions. These include participation in the 81st Composers Conference at Avaloch Farm Music Institute (supported by the Fromm Foundation); the Emerging Composers Completion Grant from ARTZenter in conjunction with the San Francisco Contemporary Music Players (world premeiere and grant recipient); the 31st Young Composers Meeting (recipient of the Orkest De Ereprijs Commission Prize); finalist selection in the 2025 ASCAP Foundation Morton Gould Young Composer Awards; and finalist selection (2024/25) and honorable mention (2025/26) in the Red Note Music Composition Competition (Chamber Category). He is also the recipient of the 2025 Howard Hanson Orchestral Prize, the winner of the OSSIA International Call for Works (2023/24), a selected participant in the Eugene Difficult Music Ensemble's New Music Festival (2025), and the winner of the Horizon Ensemble Call for Scores (2026).
Other performances and collaborations include the Bang on a Can Summer Music Festival 2024 (supported by ASCAP and commissioned by Elizabeth and Justus Schlichting), June in Buffalo (with the Arditti Quartet), Score Follower (Spring 2024), Florida State University Festival of New Music (with the University Symphony Orchestra), the Young Thai Artist Award 2023 (winner, with TACETi Ensemble), Int-Act Festival 2020 (with the Thailand Techno Orchestra), Thailand Philharmonic Orchestra, Borneo Ensemble, Triphens (---) Ensemble, Gusto Saxophone Quartet, Wind Band Association of Singapore Composition Competition (finalist, 2019), Manila Composers Lab, New Opera Singapore, and the Princess Galyani Vadhana Institute of Music International Symposium.
As a recipient of the Samuel Adler and Warren Benson Scholarship, Anak is in his final semester of the Master of Arts in Composition Program at Eastman School of Music with a full scholarship. He is currently studying in Dr. Daniel Pesca's studio. Alongside his studies, Anak holds an assistant position at the Electroacoustic Music Studios @ Eastman (EMuSE) under the direction of Dr. Mikel Kuehn. Anak earned a Bachelor of Music in composition from the College of Music, Mahidol University, where he studied with Dr. Narong Prangcharoen and Dr. Jason Thorpe Buchanan. He will begin his doctoral studies at the Cornell Department of Music in the fall of 2026.
Anak is also the founder of Triphens (---) Ensemble, a Thailand-based student-run ensemble established in 2023.
Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition, and architecture in Lisbon. He completed a Ph.D. in Music at the University of New York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music, and experimental video. He has received over 70 international prizes and awards for his works, including the prestigious Guggenheim Fellowship in 2023, the Bourges Magisterium Prize, and the Giga-Hertz Special Award, among others. His music is played all over the world. He taught at Aveiro University (Portugal) and Federal University of Minas Gerais (Brazil). His publications include several articles in journals and a book on 20th century music theory.
TREVOR WISHART: (b 1946) Composer/performer from the North of England specialising in sound metamorphosis, and constructing the software to make it possible (Sound Loom / CDP). He has lived and worked as composer-in-residence in Australia, Canada, Germany, Holland, Sweden, Mexico and the USA.
He creates music with his own voice, for professional groups, or in imaginary worlds conjured up in the studio. His recent work “The Garden of Earthly Delights” (2021) is a darkly comic take on the human situation using the voices of actors, singers and politicians.
He is also the principle developer of music processing software for the Composer’s Desktop Project. His aesthetic and technical ideas are described in the books On Sonic Art, Audible Design and Sound Composition.
In 2008 he was awarded the international Giga-Herz Grand prize for his life’s work, and in 2018 the British Association of Songwriters, Composers and Authors (BASCA) Award for Innovation.
For further information consult https://www.trevorwishart.co.uk.
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.
Prinda Setabundhu’s education spans a wide range covering traditional Thai music, dance, Philosophy, and studio art. She helped designing a new interdisciplinary curriculum at Washington University in St. Louis, integrating 3-D applications with traditional practice. Her work shows a continuing search for an integration of various disciplines and strives to bridge the space that separates art inside and outside the gallery establishment.