11 July 2026
Bangkok CityCity Gallery
This tiny program is presented as part of the Tropical Glitch commissioned talk series for BANGKOK CITY CITY's MUSIC PROJECT, focusing on various varieties of acousmatic writing of my own works and works that have inspired me to write. The program features 2 acousmatic works that have inspired me as of lately, and 2 recent works of mine which I hold dear to my heart.
Prior to my portrait concert, I will be doing sound diffusion for my teacher and brotherly figure Thanapat Ogaslert's performance. Without him, I would not be where I am today.
– Sippapas ThienwiwatShale Sea was written for the Thailand International Composition Festival 2014, hosted by Mahidol University.
for (Great) Scott
"UnFoundsoundObjects" is a reflection of futurist nostalgia, tracing a line from the early days of repurposing post-war equipment into tools for electronic music to our current obsession with vintage gear. The piece draws from the pioneering spirit of early electronic music, where composers offered their own versions of the "sounds of the future" constructed from wartime machinery. In the spirit of its title, the work builds a sound world of tomorrow's objects from yesterday's "sound objects"—using voltage-controlled modular synthesizers, analog delay units, and spring reverb to resurrect the optimism of yesterday’s tomorrow.
The French title (the same in Latin) - slopes, inclines, ascents - was suggested by the outlines of the broad stretches of the piece, which evoke spacious landscapes. Most of the music was created by transforming instrumental sounds. However, the only recognisable sound source is the Northumbrian pipes, whose drone is responsible for the slowly evolving harmonies out of which a haunting traditional melody appears. The piece was commissioned by the Groupe de Recherches Musicales, Paris, and was composed in their studios in 1974. The first performance took place in what is now called the Salle Olivier Messiaen, in the Maison de la Radio, Paris, on March 20th 1975.
for Gianni, warmly
“Time Slip” (2025-2026), as the title suggests, examines the recontextualization (time slip) of sound and visual material in sampling culture through an acousmatic collage. Constructed from a selected corpus of music videos of hit tracks by K-Pop girl group Red Velvet, the piece invites its audience to investigate the time slip phenomenon; catchy bubblegum pop lyrics slipped and displaced in time and space, interwoven with breakbeat fragments that slip into dark, deconstructed, destructive off-grid breakcore. Cutesy aegyo moments turn intense while words of love stretch to the depths of hell, reimagining the essence of “remixing” and “sampling” to its core.
The title “Time Slip” is derived from the 2015 Red Velvet song “Time Slip”, the 7th track of the “The Red” album.
The 2025-2026 version of “Time Slip” is reworked for Gianni Bencich-Grigore's February 2026 MiniBEAST curation (Jan-March 2026 season of miniBEAST). The original version was written for the IntAct Festival 2025 Performance 6 "Noise Untamed" at the Bangkok Kunsthalle, performed on the TEAMSmulch sound diffusion system.
“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.