19 April 19:00-21:00, 2 Fl. Bangkok Kunsthalle
Celebrating electroacoustic music as a universal language, bringing together global sound pieces from the southeast to the northwest. An homage to BEAST FEaST 2025, the festival that started it all.
Diffusion: Sippapas Thienwiwat
(2022) – Otto Sidharta - 15m17s, stereophonic fixed medium
Kajang is a city in Indonesia, specifically located in the Bulukumba Regency, South Sulawesi Province. It is home to one of the many indigenous communities of Indonesia who are preserving their traditional, simple, and environmentally-friendly way of life.
Kajang people strictly follow ancestral customs, dress in all black, and live in wooden stilt houses without modern technology. They also have deep spiritual beliefs closely tied to nature and uphold strict social and ecological rules.
(2026) – NAKNAN - 10m, live stereophonic audiovisual performance
Live A/V by BKK livecoding rising star NAKNAN.
(2020) – Pradit Saengkrai - 7m, stereophonic fixed medium
This piece is the further development from excerpt of Digital Soundscape No. 1 by different synthesis technique. In Digital Soundscape No. 1, it purely used Csound programming language. But in this piece I'm trying to imitate the same idea with Mutable Instruments Clouds and Rings alongside with eurorack format synthesizer such as Makenoise 0-coast, DPO, Maths
(2018) – Prinda & Jiradej Setabundhu - 11m32s, stereophonic fixed medium with pre-recorded performance footage
Prinda and I first encountered Yeats’ wonderful poem in an unexpected source—a 1986 science fiction novella of the same name by Robert Silverberg, who used a few lines from the poem as his inspiration to create a story of an oceanic world where man has conquered death, literally. In our version, which is influenced by both stories, Yeats’ Sailing is juxtaposed with selected passages from Coleridge’s The Rime of the Ancient Mariner to create a dramatic journey of an old man across the ocean in search of the sages in the mythical city. Since the theme revolves around the renewal of life, the visual is a shadow play created from various junk materials. Likewise the sound elements is from leftover soundbites from my other pieces—a junk sound if you may. The piece is an attempt to capture the atmosphere of sitting around a campfire late at night by the sea, listening to a longshoreman with a story to tell. Special thanks to Bennett Lerner for his “realization” of the poems.
(2003) – Curtis Roads - 10m21s, stereophonic fixed medium with visuals by Brian O'Reilly
In this age of fundamentalist religious fervor, it seemed appropriate to evoke the wry, level-headed spirit of Voltaire in the title of this electronic work. The sound material of Volt Air derives from granular synthesis experiments I made in 1996. Over a period of years, I transformed and edited this material in detail on multiple time scales, especially on the microsonic time scale. For example, I sculpted the original sinusoidal grains (all of which had a common Gaussian envelope) into thousands of uniquely shaped and filtered sound particles. Through various processes of transformation the material separated into four distinct parts, each with a unique logic and macrostructure. The final piece is the result of countless manual gestures applied like brush strokes to the canvas of time. Volt Air Pt. 1 premiered September 2022 in a concert in Lodi, Italy. A first version of the entire work premiered at a concert organized by the Centre de Création Musicale Innias Xenakis (CCMIX), Paris in December 2002.
*program note retrieved from the DVD liner notes of POINT LINE CLOUD, generously sent to Sippapas Thienwiwat by Prof Roads
(2026) – Travis Johns - 9m50s, quadraphonic fixed medium
TBA, commissioned for TagTEAMS 2026
(2026) – Jean-David Caillouët - m, 8.1.4 mixed-format fixed medium
TBA, commissioned for TagTEAMS 2026
(2026) – Sippapas Thienwiwat - 11m, quadraphonic audio-video fixed medium
for you with whom I shared seasons, and for the residues she left in my becoming
The handy recorder is often regarded as the acousmatician's best friend for its portability and operability in many environments, and its capabilities of giving one an enhanced sonic worldview through monitoring in real-time. By putting headphones on, we hear things we normally cannot hear without the aid of technology, and in most cases, this becomes the starting point of the compositional process for most composers. As a self-taught electroacoustic composer who spent the past three years writing exclusively with electronic sounds—and who wasted 4000 THB on a Zoom H4n Pro two years ago without having written a single work with it—I eventually needed to justify the purchase and prevent the device from collecting dust.
In "residues from a shared instant", the Handy Recorder goes through various forms of abuse—amplified lowercase recordings, being forced through small spaces, microphones tapped and scratched, being lent to workshop participants, and self-induced feedback—in order to gather materials that are familiar to the composer. From this point on, the recorded material passes through processes that impart its memory onto pure electronic sounds, achieved through convolution, spectral processing techniques, and literal playback. Through this process, the memory of sound is not presented as a fixed imprint but as residue that persists even after transformation, even after countless cycles of mutation.
Commissioned for TagTEAMS 2026.
Otto Sidharta is a composer of electronic music from Bandung – Indonesia, whose work explores the blending of the sounds of Indonesia and elements of traditional Indonesian music into electronic works.
His work frequently explores the relationship between sound and its environment, reflecting his long-held interest in field recordings. Sidharta has been involved in various projects that aim to highlight the cultural significance of sound in Indonesia, often recording in remote areas to capture unique acoustic ecosystems.
In addition to his compositions, Sidharta has served as an educator, sharing his knowledge of music theory, composition, and sound exploration with students. His studies abroad, particularly in Amsterdam, have enriched his musical perspective, allowing him to combine local traditions with international techniques. Sidharta has formerly served as Chairman for the Music Committee of Jakarta Art Council and the Indonesian Composers Association.
His portfolio of compositions also includes orchestral works, chamber music, and pieces that utilise traditional instruments, showcasing his versatile approach to sound. Through his music, he emphasises cultural heritage, experimentation, and a deep appreciation for the auditory landscape.
Naknan is an audiovisual artist based in Bangkok. He likes both nature and computers. He feels these two things are so different from each other, which sparks his imagination to create two sides of work, such as coding-based and VDO footage-based. He wants to live in a tree leaf and electronic signal, so he creates work that makes him feel closer to these things. Naknan is also a pianist, electronic instrumentalist, and DJ.
Pradit Saengkrai is a multimedia artist and a teacher at the Conservatory of Music, Rangsit University. He collaborated with many composers and visual artists. His recent work is the score for a multimedia installation “Our Place in Their World”, exhibited at the Venice Biennale 2024. He also uses modular synthesizers as a tool for his composition alongside Max and Supercollider for live coding performances.
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.
Curtis Roads creates, teaches, and pursues research in the interdisciplinary territory spanning music and sound technology. He studied electronic music and computer music composition at California Institute of the Arts (CalArts) and the University of California, San Diego (UCSD) and received a Doctorate from the Université Paris 8. In 2024 he retired as Professor Emeritus at the University of California, Santa Barbara (UCSB) after 28 years of service. He served on over 150 masters and doctoral committees.
He was Editor and Associate Editor of Computer Music Journal (The MIT Press) from 1978 to 2000, and cofounded the International Computer Music Association (ICMA) in 1979.
A researcher at MIT (1980-1986), he also worked in the computer software industry for a decade. He taught electronic music composition at Harvard University and sound synthesis techniques at the University of Naples Federico II. He was appointed Director of Pedagogy at Les Ateliers UPIC (later CCMIX) and Lecturer in the Music Department of the Université Paris 8.
Among his books are the anthologies Foundations of Computer Music (1985, The MIT Press) and The Music Machine (1989, The MIT Press). His textbook The Computer Music Tutorial (1996, The MIT Press) is widely adopted as a standard classroom text and has been published in French (1999, third edition 2016), Japanese (2001), and Chinese (2011). He edited the anthology Musical Signal Processing in 1997. His book, Microsound (2001, The MIT Press) presents the techniques and aesthetics of composition with sound particles.
A pioneer in the development of granular synthesis (1974), he also developed (with Alberto de Campo) the program PulsarGenerator (2001), distributed by the Center for Research in Electronic Art Technology (CREATE) at UCSB. In 2008, CREATE released EmissionControl, a new program for sound granulation written by David Thall in consultation with Curtis Roads. In 2013-2016, he collaborated with programmer Sekhar Ramakrishnan to design SpatialChords, a front-end to Ramakrishnan’s Zirkonium spatializer program, based on a theory of “spatial chords” or geometric forms in three-dimensional sound space. The software was tested in performances on the 48.4 speaker Klangdom of the ZKM, the 54.1 AlloSphere at UCSB, and the 28.2 sound system of the Mumuth in Graz, Austria. In 2020, he collaborated with Jack Kilgore and Rodney Duplessis on the development of the application EmissionControl2, a laboratory instrument for sound granulation.
His composition Clang-tint (1994) was commissioned by the Japanese Ministry of Culture (Bunka-cho) and the Kunitachi College of Music, Tokyo. His music is available on compact discs produced by the MIT Media Laboratory, Wergo, OR, Mode, and Asphodel. His collection of electronic music compositions POINT LINE CLOUD won the Award of Distinction at the 2002 Ars Electronica in Linz and was released as a CD + DVD on the Asphodel label in 2005.
In 2010 he was awarded the lifetime achievement award from the Society for Electro-Acoustic Music in the United States (SEAMUS). In 2016 he was awarded the Giga-Hertz Prize by the ZKM, Karlsruhe, and Sudwest Rundfunk, Baden-Baden.
In 2004, he began researching a new method of sound analysis that is the analytical counterpart of granular synthesis called dictionary-based pursuit (DBP). His research partners included Garry Kling, Bob Sturm, Aaron McLaren, and John Shynk. This research was sponsored by the National Science Foundation in 2007-2009 and resulted in a Best Paper award at the 2008 International Computer Music Conference.
Composing Electronic Music: A New Aesthetic was published by Oxford University Press in 2015.
Roads's latest book is The Computer Music Tutorial: Second Edition (2023) by The MIT Press.
His 2019 album Flicker Tone Pulse, with visualizations by Brian O’Reilly, is available as a DVD on the Wergo label. The album POINT LINE CLOUD (2004) was re-issued in 2019 by Presto!? Records, Milan.
His latest album is Curtis Roads: Electronic Music 1994-2021 on the the French Elli Records label. It is available both as a limited edition CD and on streaming platforms.
Travis Johns (b. 1983) is a sound artist residing in Ithaca, NY, whose work includes performance, installation and printmaking, often incorporating eco/bio-based themes and electronic instruments of his own design. As an improviser, he performs primarily on electric bass and electronics; with studies in the field conducted under the tutelage of Fred Frith, Joelle Leandre and Butch Morris, among others. Active in the San Francisco Bay Area experimental music scene for several years, Johns moved to Costa Rica in 2011 where he collaborated extensively with visual artist Paulina Velazquez-Solis on Raro, an immersive sound and sculpture installation that represented Costa Rica in the 2013 Biennial of the Central American Isthmus (BAVIC). Since returning to the states, first to Baltimore and later to Ithaca, he’s continued to apply his trade as a composer, educator and sound artist under the nom de plume of VauxFlores.
He holds a B.M. In Technology in Music and Related Arts from the Oberlin Conservatory of Music, studies conducted with Tom Lopez, as well as an MFA from Mills College in Electronic Music and Recording Media, studies conducted with Chris Brown, Les Stuck and Hilda Paredes. He has participated in residencies at such places as the Atlantic Center for the Arts and RPI’s Create @ iEar, and has had work featured by el Museo Centroamericano de Arte Video (MUCEVI), the Electronic Music Foundation, Berkeley Art Museum/Pacific Film Archive (BAMPFA), the Bienarte 8 Costa Rican Biennial, el Museo Nacional de Costa Rica, MAC Panama, The California Academy of Sciences, Alianza Francesa de Guatemala, The Lab (San Francisco), Battery Townsley (Marin County, Ca), el Museo de Arte y Diseño Contemporáneo de Costa Rica, and Rhizome DC.
Jean-David Caillouët is a French sound and visual artist. Mixing the old with the new, his work often combines together various disciplines such as film, music (acoustic & electronic), choreography and poetry in a live performance context. He has performed internationally, playing well respected festivals such as Celtic Connections, the Edinburgh Fringe, , BEAST in the UK, the Big Mountain festival in Thailand or KLEX, SPECTRA and Sounbridge in Malaysia. As an instrumentalist and producer, he has collaborated with artists as varied as the composers Kimho Ip from Hong Kong, the multi instrumentalist Anant Narkkong, the composer pianist Anothai Nitibhon, Maestro Kee Yong Chong in Malaysia, Cape Coast based musician Kwesi Quayson, the acclaimed Scottish Indie band Aberfeldy and the Celtic singer Heather MacLeod, the artists from Panda Records in Thailand and the violinist poet Hayne Kim. In 2014, He co-curated AS(EAR)N, an interactive installation project celebrating the rich cultural diversity of Southeast Asia from a sonic perspective. Exploring the boundaries between tradition and innovation, many of his recent projects combine thematic audio-visual collages with the new aesthetics of digital media. He currently lectures in music composition, multimedia and production at PGVIM in Bangkok,Thailand.
Based in Bangkok, Sippapas Thienwiwat (b. 2006) is a Thai composer and digital artist whose work lies at the intersection of audiovisual live-coding, live electronics improvisation, and electroacoustic composition with multichannel sound diffusion. Working across fixed media and real-time performance, he treats technological systems—audio gear, feedback systems, analog and digital signal chains, and recontextualized electronic media—as compositional material shaped through reconstruction, recontextualization, and spatialization, often informed by historical awareness of electronic music practices and listening cultures. Under the moniker SKYKYS, he extends this approach into immersive audiovisual live coding performances that combine algorithmic processes, sound diffusion, and multichannel environments.
Sippapas has performed and collaborated with institutions and venues around the world, including BEAST FEaST 2025, SyReN SYNTHposium 2025, Asia-Pacific Improvisers Symposium 2025, University of North Texas CEMI (with Just the TRS! Electronics Sextet), MUSLAB 2025 International Electroacoustic Music Festival, Sonorities Festival Belfast 2026, SEAMUS Conference 2026 (University of Texas, San Antonio), Eastman School of Music (with EMuSE, OSSIA New Music and BEAST), Hybrid Music Lab 2025 (Most Wanted: Music Berlin), SomaRumor: IV Encontro Latino-americano de Arte Sonora (Rádio Soma), Current Plans Hong Kong (with Sonic Officer), Thailand International Composition Festival 2025-2026, Princess Galyani Vadhana International Music Festival 2024-2025, Princess Galyani Vadhana International Symposium 2024-2025 (with Triphens Ensemble and BEAST, respectively), IntAct Festival 2024-2025, and Bangkok Kunsthalle evals. Past local performance locations include One Bangkok, EmSphere, Goethe-Institut Thailand, Bangkok Kunsthalle, BLAQLYTE Rover, Studio Lam, Tentacles Workshop, and SYNAP home/lab.
Sippapas is currently pursuing a Bachelor of Arts and Sciences in Creative Arts and Technology at the Institute of Music, Science, and Engineering, KMITL, where he also conducts practice-based research in electroacoustic music and listening practices under Dr Matthias Jung. In parallel with his academic studies, he is currently studying sonic arts and digital art under the private tutelage of Thanapat Ogaslert, with previous studies in music composition conducted under Dr Tyler Capp. He is also a performing audiovisual livecoding artist and a diffusion artist of Cornea Cochlear Club, a collective focused on audiovisual livecoding music co-founded by his mentor.
Sippapas is the President, Co-Founder, and Diffusion Artist-in-Residence of the Thai ElectroAcoustic Music Society (TEAMS), a Thai-based student-run nonprofit organization established in 2025. He also serves as the Artistic Director and Curator for TEAMS's inaugural festival, TagTEAMS 2026.
Full bio on festival team page