18 April 19:00-21:00, 2 Fl. Bangkok Kunsthalle
A concert of TEAMS members and friends alike. Or I should say… TEAMS players!
Diffusion: Sippapas Thienwiwat
(2026) – CRSRCRSRRR (Thanapat Ogaslert) - 20m, stereophonic live performance with tridents
IR stands for Impulse Response
(2026) – Alric Samuel Godfrey - m, quadraphonic fixed medium
TBA
(2025) – Hery Kristian Buana Tanjung - m, quadraphonic fixed medium
"Cake Dance" is an electroacoustic exploration inspired by the ritualistic energy of the Balinese Kecak dance — a trance-inducing performance driven by the rhythmic chanting of "cak cak cak" in a collective, circular formation. In this piece, layers of vocal fragments, percussive impulses, and natural textures are reimagined through electronic manipulation to evoke the deep relationship between ritual, the human voice, and the environment. The composition not only highlights the power of the human voice as a primal instrument but also reflects on the ecological tension caused by the degradation of Bali’s forests — once sacred grounds for traditional practices like Kecak. The distorted echoes of the forest and the shifting rhythmic pulses in Cake Dance become a metaphor for ecological imbalance, where spirituality and nature are no longer in harmony.
(1952) – John Cage - 4m33s, for TEAMSmulch 26.2 and Bangkok Kunsthalle Screening Room
you might be wondering what the heck this piece is doing here; frankly, i am too. its welcomed inclusion in the festival program is the idea of my curatorial partner mark chearavanont of bangkok kunsthalle, aiming to raise awareness of the sound around us. for those who are not leaving the screening room, we kindly ask that all of us stay together in (supposed) silence for 4 minutes and 33 seconds. maybe we can have 5 more minutes of intermission after that. maybe. -st
original idea by nattakon lertwattanaruk. (thank you dude, seriously)
(1972) – John Chowning - 10m16s, quadraphonic fixed medium
This was the first widely presented composition to make exclusive use of frequency modulation synthesis, discovered by Chowning in 1967. It also makes use of a technique for creating the illusion of sounds in motion through a quadraphonic sound space. The original version was computed on a Digital Equipment Corporation (DEC) PDP-10 computer and recorded on a 4-ch Scully recorder. In 1978 Turenas was regenerated on a real-time digital synthesizer designed by Peter Samson (the Samson Box), and in 2009 Bill Schottstaedt (CCRMA) created a software emulation of the Samson Box that allowed Turenas to be recomputed to meet current audio standards.
Present at the premiere of Turenas in Dinkelspiel Auditorium, Stanford University on April 28, 1972, were Martin Bresnick, Andrew Imbrie, Gyorgy Ligeti, Loren Rush, and Ivan Tcherepnin, who wrote the following notes in 1973 for a concert at Harvard University.
This computer generated tape composition makes extensive use of two major developments in computer music pioneered and developed by John Chowning, working at Stanford's Artificial Intelligence Lab. The first involves the synthesis of moving sound sources in a 360-degree sound space, which takes into account the effects of the Doppler shift. The second was a breakthrough in the synthesis of "natural" (as well as almost "supernatural") timbres in a simple but elegant way, using accurately controlled frequency modulation. This is the technical background, but the piece is not about that background.
The title "Turenas" is an anagram of "Natures", evoking the way sounds "tour" through the space, transparent and pure, produced by the most technologically sophisticated means yet tending to sound perfectly natural, as if a dream could come true.
- Ivan Tcherepnine (1943-1998)
(2024) – Matthew Lam - 6m, quadraphonic fixed medium (reduction)
Playper, as its title suggests, is a play on paper. The majority of the sounds in this piece are very familiar to our everyday lives: they are samples or processed samples related to paper, such as writing, wrinkling, tearing, printer noises, etc. These sounds are panned through a three-dimensional plane, creating surrealistic effects (for instance, you could not write on a sheet of paper three-dimensionally!). This piece is also inspired by the composer’s composition process: a frustrated composer who writes his idea on paper but immediately thinks that the idea is uninteresting, crosses out his drafts and tears the paper.
() – Jorge Gregorio García - m,
(2026) – Nattakon Lertwattanaruk - 6m10s, quadraphonic videomusic (reduction)
A surreal account of a human crew that crash-lands on a planet where all life forms and culture seem to have evolved from a vague recollection of early Crash Bandicoot games.
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 CRSRRR 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.
Alric Samuel Godfrey (b. 1997, India) has had a keen interest in music from a young age, but no formal training in it. He grew up without exposure to serious music until the age of 16 and has since became very interested in composing music. Before entering the College of Music to formally study music, he completed a degree in Business Administration at the Madras Christian College, while he concurrently studied music theory with Augustine Paul. Eager to join a composition course, he had begun studies in composition with Dr Jason Thrope Buchanan at the College of Music, Mahidol University in 2020 and with Dr Tyler Capp in 2022. He is currently pursuing a Master's in Music Compositioin at Bowling Green State University under the tutelage of Dr John Eagle after studying with Dr Piyawat Louilarpprasert in 2024. Eager to expand his artistic horizons, he ambitiously explores a wide range of creative projects. His main artistic interests lies in developing in the field of human bionic augmentations and integrating music to it.
Hery Kristian Buana Tanjung is an Indonesian composer and interdisciplinary artist whose work explores the relationship between tradition, ecology, and the inner world through sound-based approaches. He is active in electroacoustic composition, soundscape exploration, and experimental practices that blend local cultural elements with digital technologies. His works often combine artistic research, field recordings, and sound manipulation to construct sonic narratives that are both reflective and critical of social and environmental change.
John M. Chowning was born in Salem, New Jersey, in 1934. Following military service, he studied music at Wittenberg University, followed by three years of study with Nadia Boulanger in Paris. 1966, Chowning received a doctorate in composition from Stanford University, studying with Leland Smith. With the help of Max Mathews of Bell Telephone Laboratories and David Poole of Stanford, he set up a computer music program using the computer system of Stanford's Artificial Intelligence Laboratory in 1964. Soon after, while researching the distance cue, Chowning discovered the frequency modulation (FM) algorithm in 1967, which Stanford licensed to Yamaha in 1973. Featured in the DX7 in 1983, FM synthesis became the most successful synthesis engine in the history of electronic music.
Chowning retired in 1996 but continues to compose and maintain his relationship with Stanford's Center for Computer Research in Music and Acoustics (CCRMA). He recently headed up an acoustic restoration project at the Chauvet Cave in southern France.
Born and raised in Hong Kong, Matthew Lam is an active composer of acoustic and electroacoustic music and an enthusiast of contemporary music style. His music experiments on a wide array of sounds and timbre with contemporary instrumental techniques and electronics, and integrates electroacoustic elements into acoustic music. His recent interests include saturation in music and ambisonics. Winning multiple awards, his works were featured in numerous events, including ACO Earshot (USA), June in Buffalo (USA), International Rostrum of Composers (Netherlands), MUSLAB (Ecuador), Espacios Sonoros (Argentina), Paysages | Composés (France), and International Review of Composers (Serbia). Groups such as the Hong Kong Philharmonic Orchestra, Toledo Symphony, Kalamazoo Symphony Orchestra, Hong Kong New Music Ensemble, Mivos Quartet, and [Switch~ Ensemble] are among the many who have presented Lam’s music. He is currently pursuing his doctoral studies at Eastman School of Music and serves as a teaching assistant at Electroacoustic Music Studios at Eastman.
Jorge Gregorio García Moncada (*1975) is a composer of electroacoustic music and professor at the Universidad de Los Andes in Bogotá, where he focuses on various teaching and research activities. He is the founder and director of BLAST – Bogotá Los Andes Sound Theatre – a multi-channel sound system for performing electroacoustic and cross-media projects, and the SPECTRA music festival director.
Nattakon Lertwattanaruk (b. 2006) is a composer and performer originally from Bangkok, Thailand. His works often engage with different ways of surfacing, abstracting, and re-remembering artifacts from his own experiences with popular and/or musical culture.
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.