19:00-21:30, 24 October 2026
Screening Room, Bangkok Kunsthalle
599 Pantachit Alley, Pom Prap, Pom Prap Sattru Phai, Bangkok 10100
Tickets (redirects to Ticketmelon)
The Thai ElectroAcoustic Music Society (TEAMS), in collaboration with the British ElectroAcoustic Network (BEAN) and the Bangkok Kunsthalle, presents "TinyTEAMS: BEAN in the mix", an evening of electroacoustic works from Great Britain. The program includes 10 works selected from the BEAN 2026 Call for Works, and a group improvisation by TEAMS on the TEAMSpace concert sound system. Truly putting the BEAN in the mix with this one.
Our Society's mission has always been to represent Thai electroacoustic music on a global stage. The TinyTEAMS miniature concert format is devised as a platform to present electroacoustic music at home and abroad in various locations and in different stage settings. In this special edition, "BEAN in the mix" presents ten concert works from our friends over at the British ElectroAcoustic Network in Great Britain as part of an ongoing partnership between the Network and our Society. All ten pieces will be presented on our TEAMSpace loudspeaker orchestra in the Bangkok Kunsthalle, the place that helped foster detailed presentations of Thai electroacoustic music since TagTEAMS 2026.
In this instance, I extend my deareste gratitude to Adam Stanović of the British ElectroAcoustic Network and Mark Chearavanont of the Bangkok Kunsthalle for their invaluable support and collaboration in making this evening possible.
Myself and my beloved TEAMS team would like to invite you to experience this sound exchange across the world with us tonight.
– Sippapas Thienwiwat
President, Thai ElectroAcoustic Music Society (TEAMS)
Diffusion: Sippapas Thienwiwat
– Intermission –
in the mix (2026) – TEAMS (Sippapas Thienwiwat, Thanapat Ogaslert, Yves Pokakunkanon)"All That Remains' is part of Earthworks, a collaborative project by Garling Wu and Jessie Leov. Composed remotely, the project responds to their changing environments as nomadic artists; from the metropolis of London, to rural landscapes of Japan, to ancient glaciers in Aotearoa New Zealand. During their travels, they gathered field recordings and samples, improvisations, voice memos, photographs, and words – sending these ‘musical letters’ to each other across vast distances. Through contemplation of rapidly changing climates, Leov and Wu present their view of a fragile yet beautiful world. "
"Starlings is an audio-visual response to a murmuration of starlings on the wetlands and reed beds of the Avalon Marshes, a wildlife reserve situated on the Somerset Levels, UK. The marshes have emerged from disused peat works, the scars of industrial extraction have been transformed into a landscape of rich aural and visual phenomena. Most evenings from December to March it is possible to experience this phenomenon. It is an overwhelming experience; with the vast graceful patterns the birds form as they gather in their thousands from all directions contrasting with the escalating cacophony as they descend to the reed beds to roost. Through a mixture of image and sound, both abstract and real, the video attempts to evoke this dramatic natural event. "
This piece is trying to say something. It explores sound, in its simplest form as a wave - and builds up to the complexity of the human voice. When recording electromagnetic audio, radio signals slip in. This produces an interesting effect, humanity struggling to be heard against the din of our creations.
"Listen to the sounds of Lud's Church - sandstone, mosses, and mud.
Chasm was composed as part of a project inspired by the geology and geography around the chasm known as Lud's Church. The project is by VORTEX, an ensemble comprised of Richard Whalley, Stephen Altoft, and Sarah Keirle-Dos Santos."
Son de Matería explores the world of Mexico’s manual and artisanal processes in dialogue with the sonic imagery of plucked string instruments and other electroacoustic sounds. It is based on the idea that all sound arises from material friction: impact, friction, vibration, and wear as traces of a culture of making. Through field recordings, sound objects, and electroacoustic techniques, the work constructs a hybrid landscape in which an apparent musicality gradually emerges from the behavior and morphological combination of the sounds. Between the recognizable and the abstract, the piece proposes a listening experience that links the acoustic with the symbolic and the affective.
"Omniopticon is a 16-channel electroacoustic composition that explores the spatial model of participatory surveillance.
The concept of the omniopticon (or omniopticism) describes a modern state of mutual surveillance where “the many monitor the many”. The attention economy and social media platforms drive this new reality: traditional top-down power is deconstructed, and surveillance becomes a flat, decentralised network. Users constantly share and consume information online, creating a vast web of peer-to-peer monitoring. In this digital landscape, physical boundaries disappear, and continuous interaction defines the space instead. Every individual acts simultaneously as both the observer and the observed, the hearer and the heard.
Omniopticon translates this invisible digital architecture into a spatio-sonic environment. The work deliberately uses sound to build this space. Contemporary surveillance is no longer unidirectional, symbolised by a single camera pointing at a target; instead, it is an omnidirectional, diffused field. Sound naturally possesses these exact qualities: it travels in all directions, passes through obstacles, and wraps around the listener. The work strips away fixed spatial music arrangements; it is composed for flexible multichannel distribution, without specific needs for orientation, angle, or location. The composition draws upon a collection of sound materials symbolising data sharing, extraction, and consumption: camera noises, electromagnetic recordings, notification tones, applause, and so on. "
Underpass takes sounds from the many pedestrian underpasses in Glasgow City Centre. These tunnels allow roads, railways and people to overlap and cross one another, often within dense and compact urban structures. In these locations, the sounds of the city collide; voices, footsteps, traffic, trains, and construction reverberate off concrete walls and pillars. The soundscape of this piece reflects the rumbling of ambient sounds which are coloured and distorted by the deep reverberations and echoes of the underpass.
"Whispers of the South is a fixed-media composition for stereo diffusion exploring resonance, atmosphere, and transformed instrumental textures.
Using bowed vibraphone, thumb piano, steel tongue drum, processed environmental recordings, and software synthesis, the work constructs an imagined sonic environment suspended between memory and abstraction. Rather than relying on recognizable regional sonic signifiers traditionally associated with Southern China, the piece approaches locality as an affective and perceptual condition through timbre, resonance, and spatial listening.
Close-miked instrumental textures, sustained metallic resonance, and layered spectral materials create an immersive and lingering listening space in which hidden sonic details are gradually revealed through resonance and touch. Through intimate listening and subtle sonic transformation, the work explores how atmosphere and auditory memory may evoke a sense of place beyond direct representation."
"[recording: Sandhaven Harbour, Sandhaven, Aberdeenshire, UK - 3 January 2020]
Protected from the wind and from traffic noise from a nearby road, the peaceful ambience of Sandhaven Harbour invited me in to listen more deeply. As the jetty was floating and the movement of the water in the harbour was minimal, the gentle creaking of wood and metalwork often sounded animalistic, sometimes reminiscent of whale song at other times, of injured or dying animals uttering their last breath. I worked with these “animalistic” groans, transforming them to create further utterances.
The piece forms part of the Aides... mémoires... project with Jonty Harrison, consisting of short form pieces (3-6’) made from single field recordings. To visit the project, please go to https://bit.ly/aidesmemoires"
"Take Me Back to Indonesia is rooted in a field recording made in Madobag Village, Mentawai Islands, Indonesia, capturing children playing near an old well. As a sonic memory, it inspired the composer to reflect on the contrast between fleeting moments of travel serenity and the pressures of everyday life.
The work explores the tension between two acoustic worlds. It opens with the calm of the island, employing gentle drones and textures to construct a dreamlike space between the external environment and internal memory, reimagining how memories emerge in times of longing. Sharp phone alarms and daily noises then shatter this tranquil soundscape, marking the collapse of the imagined realm. In the end, the work maintains an open, unresolved narrative tension, oscillating between memory and the present."
A group improvisation on the TEAMSpace concert sound system with accompanying video art.
Boyi Bai is a composer and sound artist specialising in field recording, soundscape composition and interactive VR spatial audio, whose practice-led works transform environmental sound into immersive auditory spaces while exploring the intrinsic relationships between place, memory and media. His works have been widely presented at internationally acclaimed festivals, art exhibitions, and radio programmes, including ICMC 2026, NYCEMF 2026, BBC Radio 6, TagTEAMS 2026, MA/IN Festival 2025, SOUND/IMAGE Festival 2025, and the San Francisco Tape Music Festival 2024, building an extensive exhibition profile in the global fields of sound art and electroacoustic music.
Scarlett Henderson is a composer based in Manchester. At the an early stage in her career, she currently works as a composer for a video game studio. She is the winner of the Special Prize in the Max Brand Composition Award 2025 for her piece CURFEW, and has had works performed at festivals across Europe. She has recently completed a degree in music at the University of Manchester.
Sarah is an electroacoustic composer and performer based in Manchester, UK. Having completed her PhD in 2024, she now works as a Lecturer in Electroacoustic Composition at the University of Manchester. Her works have been performed at the ICMC, EASTN-DC, Radio CASo, Reform Radio, BEAST FEaST, MANTIS, ArtHouse Jersey, Diffrazioni Festival, Mariannenplatz, Espacios Sonoros, TAma Festival, Ecos Urbanos, NMNW, REF Festival, BFE/RMA, MeCCSA-PGN, NWCDTP ResConf, and SHETogether. Her works have also been released by Empirica Records (FIXED.wav 2021) and ABLAZE Records (Electronic Masters vol. 8). Sarah is also currently a member of KANTOS, a chamber choir comprising of the top choral singers across the North West of England.
Tom Macfadyen is an electroacoustic composer, improviser and sound designer from Dunfermline, Scotland. His practice uses recorded sounds from a range of instruments and non-musical objects, re-shaped through digital processing to produce surreal, sometimes uncanny, highly detailed and immersive textures that transport listeners into ever transforming soundscapes that are nevertheless deeply rooted in a sense of the ‘real’. He is interested in producing reflective and playful work that tells a story about an affecting sonic encounter, and is particularly interested by sounds personal to him, his friends, and his home in Scotland.
His output has included acousmatic works for loudspeakers, improvised performances with DIY digital systems, works for acoustic instruments and interactive electronics, audiovisual compositions, and a wide range of interdisciplinary and collaborative projects with instrumentalists, filmmakers, dancers, and artists. Tom holds BMus (2024) and MMus (2026) degrees in Composition from the Royal Conservatoire of Scotland, specialising in electroacoustic composition and digital instrument design.
Born and raised in Aotearoa New Zealand, Garling Wu and Jessie Leov both hold a Master of Music from the University of Auckland. Their collaborative work draws on their experience across sound art, audiovisual music, contemporary classical composition, songwriting, and popular music. As independent artists they have performed and exhibited across the world, and their collaborative work has been supported by Creative New Zealand and APRA AMCOS NZ.
Pete Stollery studied composition at the University of Birmingham and was one of the first members of BEAST (Birmingham Electroacoustic Sound Theatre) in the early 1980s. Following work as a school teacher in Kent, he moved to Aberdeen to work in higher education. From 2000, he was part of the team which re-introduced music programmes at the University of Aberdeen, including the introduction of doctoral programmes in Composition and the development of the electroacoustic music studios. He was Head of Music for many years and retired as Professor of Composition and Electroacoustic Music in 2022.
His main creative interest is in how humans respond to sounds in their immediate surroundings, in particular sounds that are not necessarily intended for listening purposes, and how an engagement with sound relates to the idea of place. His creative work exists as electroacoustic compositions, sound installations, web-based sound art, as well as instrumental/vocal compositions.
His music is published by the Canadian label empreintes DIGITALes petestollery.com
Irving Kinnersley is a composer and sound artist based in Somerset, UK. Compositional work includes composition for concert performance, sound for video and sound for gallery installation. His work has been performed internationally at numerous peer reviewed festivals and has been awarded at the KLANG International Electroacoustic Competition (France), the MUSICA NOVA International Electroacoustic Competition (Prague).
Finn Kinnersley’s photography and video work has explored a variety of genres but in recent years she has focused on the natural world, exploring it through a mixture of abstraction and naturalism. Recent video performances include the Seeing Sound Festival, the MANTIS Festival, CMU 2025 Carnegie Mellon University, NOIS/E Multimedia Festival (Italy), and Split International Film Festival.
Tobías Álvarez (1996) is a Mexican-British composer and sound artist whose practice spans instrumental and electroacoustic music. His work lies at the intersection of listening, memory, and technology, exploring the emotional relationships that shape our perception of reality through musical environments where narrative and extramusical elements converge. Graduated from the Faculty of Music at the National Autonomous University of Mexico and a recipient of the Arturo Márquez Extraordinary Chair in Musical Composition, he is currently pursuing a master’s degree at the Royal Conservatory in The Hague under the tutelage of Yannis Kyriakides and Trevor Grahl. His music has been performed in Mexico, Canada, and various European countries. He has received international awards and artistic creation grants from the Mexican government, and has also collaborated with institutions such as the Center for Digital Arts, CENIDIM, Música UNAM, and the University Museum of Contemporary Art.
Dingling Ying is a composer and sound artist working across electroacoustic composition, soundscape, and acousmatic practice. Educated at the University of Manchester and Goldsmiths, University of London, her work explores resonance, spatial listening, and the relationship between atmosphere, memory, and sonic perception.
Through transformed instrumental textures, environmental recordings, and close listening practices, she creates immersive fixed-media works situated between soundscape composition and electroacoustic narrative. Her recent works often examine how locality and cultural memory may emerge through atmosphere rather than explicit representation.
Her works have been presented internationally at Listening Room IV (Pécs, Hungary), the MANTIS Festival, and the Goldsmiths Exhibitions Hub WIP Screening Event. Her electroacoustic work has also been selected for the Sonic Arts Forum (Maynooth University).
Zhao Jiajing (赵嘉旌; surname: Zhao) is a spatial music composer and interdisciplinary sound artist. His work spans acousmatic music, sound installation, performance, and new media, with a specific focus on spatial sound since 2019. He frequently collaborates across disciplines, working with practitioners and researchers in both arts and sciences. His work has been presented at major venues and festivals such as Ars Electronica, IRCAM, ZKM Karlsruhe, ICMC, SICMF, GMEM, and ORF musikprotokoll. Recently, he was selected as the British Representative for the ISCM World New Music Days 2026. Additional recognitions and commissions include those from Musica Nova, Aesthetica × Audible, the Shanghai International Arts Festival, and Musicacoustica. Zhao holds an MA from the Royal College of Art and is pursuing a PhD at the University of the Arts London.
The British Electroacoustic Network (BEAN) is the national body for electroacoustic music in Britain. BEAN was founded in 2016 by Adam Stanović, and James Andean, with the aim of establishing a network of composers, performers, and listeners with an interest in electroacoustic music. The British ElectroAcoustic Network applied for membership of the International Confederation of Electroacoustic Music (CIME/ICEM) – an NGO Partner of UNESCO and Member of International Music Council. After spending 2016 as a Candidate Member, BEAN was awarded full membership in 2017 (National Federation Member). The network is now enjoying an active relationship with other international members of CIME.
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.
Sippapas Thienwiwat (b. 2006) is a Bangkok-based composer, digital artist, scholar, and curator. His music and sound arts challenge the notion of post-acousmaticism by adopting technology as raw compositional material. His works have been presented in the USA, England, Ireland, Germany, Brazil, Ecuador, Hong Kong, Indonesia, Singapore, and Thailand. Recent collaborations include BEAST, CEMI, EMuSE, OSSIA New Music, Sonic Officer, and TACETi Ensemble. He is the President of the Thai ElectroAcoustic Music Society (TEAMS), currently under the tutelage of Thanapat Ogaslert, Jiradej Setabundhu, Scott Wilson, and Matthias Jung.
For the past decade, CRSRCRSRRR has been one of the core contributors of live-coding practice in Bangkok, Thailand. CRSRCRSRRR delved into the multi-sensory practice of sound and visual creation through algorithms, signal processings and unique human interfaces. CRSRCRSRRR is grounded in a multi-faucet of music backgrounds ranging widely from contemporary music, Club music, Algoraves, and generative/procedural ambient music. With this blend of sonic characters, CRSRCRSRRR performances push the perceptive boundary of genre into a unique amalgamate. His practice examines the use of data in live performances, handbuild electronic music instruments, and live manipulation of sound and visuals through algorithms and live audio visualizations.
CRSRCRSRRR is a member of many music groups in various positions, namely Tacet(i) Ensemble (electronics perfomer), CorneaCochlearClub (organizer/performer), S.U.P. (visual artist and DJ), and SYNAP[home/lab] (founder/curator).
Apart from live performance and solo music releases, CRSRCRSRRR is also an avid instructor advocating the use of technology in sound creation and hosts Audio programming workshops regularly both in Thailand and Abroad (Hongkong, Indonesia and online classes).
Currently, he is a lecturer at Mahidol University, Thailand in both Music College and International College conducting class on sound creation and electronic music.
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. She is also an active performer at audiovisual events in Bangkok.