Textures Arc The Points is dedicated to my late teacher Mark Chambers, who was a great composer that often introspect about music. Thank you for introducing me to the world of “Spectra and Pixies” and the world of electronics

Textures Arc The Points was commissioned by the Debris Project; utilizing sound solely from their database.

Engulfed by the many points, as these materials conglomerate within the plane 
Matter as figurative and external

Conglomerates veil the arcs

Meandering through the flow, at times with extreme exaggeration Flow that is never the same
As flow is made up of impermanent elements

Cyclic material that occurs “once”; an ephemeral quality 
Often unfair

Endure with an inner rhythm of
Textures of a phantom-like movement
Veiled by the engulfment of the points

We endure through perception of, not form, but rather

Yielding the flow
And respond to the “through” material

Textures Arc The Points

Konstantinos Baras, a Greek composer with a passion for complex and saturated sound, embarked on his musical journey following a diagnosis of HanDL syndrome at the age of 18. Baras is recognized for creating works that convey intense emotions and delve into the complexities of trauma, employing visceral, chaotic sounds marked by a continuous energy flow and aggressive gestures. 

Utilizing digital signal processing, noise, distortion and live interactivity, Baras extends the timbral profile of traditional instruments and seamlessly blends disjunct materials into unified structures. With interest in site-specificity and interdisciplinary collaboration, he works often with dancers and movement artists and engages creatively with space, lights, and visual effects. 

His continued entanglement with black metal and techno contributes to an arrestingly distinctive sound palette, exploring the potential of repetition and bodily mechanics to intensify a sound’s impact on the listener. Toward that aim, Baras organizes his compositions through various processes of iteration and fragmented circularity, manipulating duration and density, often utilizing repetitive material but subtly altering it with every reappearance. The end result is driving, gripping, and grave.

His music has been performed and commissioned by Ensemble Modern, Ensemble Intercontemporain Moscow Contemporary Ensemble (MCME), Vertixe Sonora Ensemble,Ensemble Multilaterale, among other, with performances in festivals and conferences such as, IRCAM ManiFeste, MIXTUR, Darmstadt, reMusik, ilSuono, Ticino Musica, among others.

Currently pursuing a PhD in Composition at Northwestern University, Baras holds Masters degree from Boston University, and Bachelors degree Aristotle University of Thessaloniki.

for sketches and sundries that don't warrant commercial releases

David Quang-Minh Nguyen is an audio engineer, sound designer/re-recording mixer, and composer of concert music. His current interests lie in composing acousmatic works that explore multi-channel loudspeaker expansion, various types of sound spatialization, and immersive audio.

Recognized nationally and internationally, David has had his works presented at the June in Buffalo New Music Festival, where he received individual master classes with Harvey Sollberger, Martin Bresnick, Roger Reynolds, and Brian Ferneyhough. He was an active participant in the Festival DME under the direction of Åke Parmerud, Musique & Recherches Académie d'été de composition électroacoustique under the direction of Annette Vande Gorne and João Pedro Oliveira, and the Sounds Around Me Festival under Thomas Gorbach. He was also selected by Master Artist Robert Normandeau for a residency at the Atlantic Center for the Arts.

His works have been presented at more than fifty national and international events, and he is a laureate or finalist in numerous competitions.  He has been published on ABLAZE Records' Electronic Masters Vol. 7 and received an honorable mention at the XII° Destellos Electroacoustic Competition 2019 for his work Misprints.  He also placed 2nd in the XIII° Destellos competition for Adumbrations, was a finalist for the PRIX CIME 2019, and won 2nd place for the ASCAP/SEAMUS Award for his work Weight Stranding. In 2021, his SEAMUS-commissioned piece Whale Song Stranding was selected for presentation on the SEAMUS 31 CD and received the Ars Electronica Forum Wallis selection.  David was awarded the Prix CIME 2023 Residency Award for Whale Song Stranding.  His work Texture Arc the Points won 1st place in the ULJUS Međunarodno Pijanističko Takmičenje Smederevo Competition and 2nd place in the prestigious Concours Biennal de Composition Acousmatique Métamorphoses.

David Q. Nguyen holds a BM from Old Dominion University, where he studied with Andrey R. Kasparov and Mark Chambers.  He also graduated at the top of his class from The Omega Studios School of Applied Recording Arts & Sciences with a focus on Audio Engineering in the Music Industry and Film/Television.  He has received his Master and a Doctor of Musical Arts degree at the University of Illinois Urbana-Champaign, where his primary teachers are Reynold Tharp, Erik Lund, Eli Fieldsteel, Sever Tipei, and Scott A. Wyatt.

TIMOTHY ROY (b. 1987, Nederland, Texas) composes music steeped in imagery and allusion, which seeks to elicit a sense of time, place, and feeling. With an output that encompasses works for acoustic instruments, electronic sound, and the intersection of these two realms, Roy endeavors to explore a broad range of mediums and contexts in which his work might be experienced.
 
Engagement with other disciplines of study is the lifeblood of Roy's creative practice. Recent projects have involved cooperation with practitioners in fields as varied as medieval and religious studies, ecology, dance, and film. His current slate of projects includes an ambisonic fixed media work, commissioned by ASCAP/SEAMUS and an orchestral work for the Shepherd Symphony Orchestra at Rice University.  
 
Roy’s music has been heard in concerts across the United States and twenty countries abroad, with performances by Ensemble Signal, Illinois Modern Ensemble, the Little Giant Chinese Chamber Orchestra, the Saint Louis Chamber Chorus, Loop38, violinist Sayako Kusaka, and pianists Keith Kirchoff, Adam Marks, Stacey Barelos, and Xenia Pestova. His music has been presented at such venues and events as the National Theater of Taipei, Music Biennale Zagreb, ZKM Karlsruhe, Ars Electronica, Birmingham ElectroAcoustic Sound Theatre (BEAST), Sonosfera Theatre (Pesaro, Italy), the DiMenna Center (NYC), San Francisco Tape Music Festival, Seoul International Computer Music Festival, Florida State University Festival of New Music, Bowling Green New Music Festival, June in Buffalo, Toronto Electroacoustic Symposium, Sonorities Festival Belfast, International Computer Music Festival (ICMC), Center of Cypriot Composers, Society for Electro-Acoustic Music in the United States (SEAMUS) National Conference, Electronic Music Midwest, and the International Electroacoustic Music Festival of Chile, “Ai-maako.”
 
In 2024, Roy received an Honorable Mention in the McKnight Composer Fellowship awards from American Composers Forum. He has also received awards and recognition from the Salvatore Martirano Memorial Composition Award (First Prize, 2022), ASCAP/SEAMUS Student Commission Award (First Prize, 2023; Finalist, 2018), Robert Avalon International Competition for Composers (First Prize in Professional Division, 2023), Giga-Hertz Production Prize (Honorable Mention, 2022), Prix CIME from the International Confederation of Electroacoustic Music (Distinction, 2023), Musicworks Electronic Music Composition Contest (Second Prize, 2023), New Music on the Bayou (2021 Black Bayou Composition Award), Sigma Alpha Iota Inter-American Music Awards (Winner, 2015), the International Competition of Electroacoustic Composition “Prix Destellos” (First Prize, 2013; Honorary Mention, 2019), Musicacoustica-Beijing Composition Competition (First Prize, student mixed media category, 2012), the First International Jean Sibelius Composition Competition (Finalist, 2015), the International Composition Competition “Città di Udine” (Finalist, 2012), and the I-Park Foundation (Resident Artist, 2018).
 
His work "Behind the Back" for pipa and electronics appears on Crossings: Contemporary Music for Chinese Instruments, The Little Giant Chinese Chamber Orchestra’s debut album with Albany Records. His "Salve Regina" for chorus is published by Edition Peters.

He frequently collaborates with musicians to present works for instruments and electronics. In July 2021, he worked closely with Steven Takasugi to produce two portrait concerts of his works for amplified instruments and electronics during the Twin Cities New Music Festival. Other notable collaborations include performance of electronics for Kate Soper's Voices from the Killing Jar and for the North American premiere of Unsuk Chin's "Double Bind?" for violin and 8-channel audio, using proprietary motion-tracking sensors and software from Ircam.

He was a visiting faculty member at Western Michigan University during the 2018–2019 academic year, where he taught private composition lessons, undergraduate theory, and graduate seminars in musical form and the aesthetics of electroacoustic music. He previously taught at MidAmerica Nazarene University in Olathe, Kansas.
 
Roy and his wife currently reside in Saint Paul, Minnesota, where he is choirmaster and organist at the Church of Saint Peter Roman Catholic Community. He is completing a doctorate at Rice University’s Shepherd School of Music; there, he taught electronic music, theory, and composition, and served for three years as the Teaching Fellow for the Rice Electroacoustic Music Labs (REMLABS). His teachers have been Kurt Stallmann, Pierre Jalbert, Karim Al-Zand, James Mobberley, Chen Yi, Paul Rudy, Kevin Hanlon, Simon Sargon, and Martin Sweidel.

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