... but I had to come back to this place a few days later to break everything down and build it up again ;) ...

GaLaKtIkA

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I_hAd_NeVeR_bEeN_hErE_bEfOrE

Schism

Youd Be So Nice - cover

Cosmopolitan Haiku

Invisible Congruences is a piece that explores forms of sonic congruences between the piano and electronics through a variety of relational behaviors. Through these relational zones, congruences between agents take various sonic forms, investigated through parameters of pitch/tuning, noise, timbre, time, and space. Agents move through separations and congruences, as they relate-in-difference within a shared sonic habitat.

Performed by Fulya Uçanok

Invisible Congruences

1st section of the music I composed for  'Holding Present', a dance piece by Ictus Ensemble & choreographer Ula Sickle.

Music for Holding Present <for modular synth>

Frecuential Aerial Dissapointment

Christina, princesse de l'erotisme (extrait)

This piece investigates dialogs between binarisms. It explores undulations between spectrums of presence/absence, human/machine, acoustic/electronic, instrumental/recorded everyday sound as well as fragmentation/completion.

“Swarming” (2020) is an acousmatic version of my mixed media piece "Childlike only in the depth of innocence" (2019), performed by, Gökçe Göknel (voice), Amy Salsgiver (percussion), Gökhan Bağcı (cello) together with tape.

//

More information about the acoustic version "Childlike Only in The Depth Of Innocence":

On stage, there is a speaker that emits only the voice of the vocal, which stands in the middle of the stage. The instrumentalists (cello and percussion), sit on either side of the “voice”, and the stereo electronics are on an encompassing angle surrounding the performers. The voice what we can call is musically stable and consistent throughout the piece, while all the musical events are in constant flux happening (swarming) around it.

Therefore, the voice is a prominent presence on the aural domain however absent in the visual domain (as it is presented in the form of a speaker). On top of this, in the electronics section, there are samples I have pre-recorded from the players, that are played from the speakers that surround them (in a fixed media format), therefore, the notions which sound is coming from where, who is doing what on stage is questioned: The goal is to play with concepts of real/non-real, presence/non-presence by blurring clear cut boundaries.

Instruments: Voice, Percussion, Cello & Tape.

Performers:
Voice: Gökçe Göknel, 
Percussion: Amy Salsgiver, 
Cello: Gökhan Bağcı

Swarming

Une voix parcourt le Rhône - I
Cette œuvre de Julie Rousse est le fruit d'une recherche qui a commencé en 2019, travail au long cours donnant corps à la voix du fleuve Rhône. Field recordings, procédés expérimentaux et création sonore.

Une voix parcourt le RhÃ´ne

III - Coeur de Fleuve

sound lover, electroacoustic musician & pianist; composing, improvising and experimenting.

currently interested in response-able sympoietic sounding practices with humans and more-than-humans, including practices of material agency with instruments.

please use headphones or loudspeakers in order to reproduce all audio details.

Invisible Congruences

Fulya Uçanok

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Martin Hoogeboom

Marka Tamea

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