Sonic Cyberfeminism

nowi - powazni

Stone Age (2022) for violoncello and electronics
Total Duration 8' 40" minutes.

Ensemble Holophony Project
Preview Full Score at https://www.panayiotiskokoras.com/compositions/
Studio edited mix © Panayiotis Kokoras

2022

Stone Age [cello & electronics]

Agata Zubel - String Quartett; A. Bauer - cello, B. Koziak - cello, M. Zdunik - cello, M. Pałosz - cello

Agata Zubel - String Quartett (4 cellos and electronics)

The work is contrasting aural places of intimacy and enclosure with expansive spaces and propagates through their interaction.  The title is borrowed from a painting by René Magritte, depicting two coffins seated in a mountainous landscape. The source materials for the work have been recorded with an 18 channel microphones arrange in a globe shape, encoded in Higher Order Ambisonics. The work was completed with the support of Musiques & Recherches at the Métamorhose d'Orphée studio during in the summer of 2024. 

Par une belle fin d'apres-midi (stereo reduction)

Composition: Marcin Pietruszewski
 
Libretto: Katrina Burch (aka Yoneda Lemma), 
Helen Hester and Virginia Barrett
 
Speech synthesis design: Marcin Pietruszewski in collaboration with Phonetic Sciences (University of Amsterdam) and The Centre for Speech Technology Research (Edinburgh University)
 
The composition has been commissioned by Deutschlandradio Kultur - Hörspiel and CTM. Production supported by  Adam Mickiewicz Institute through "Polish Culture Abroad" grant and Edinburgh College of Art Research Fund. 

(dia)grammatology of space - text opening (excerpt)

Installation for transmitter, bird house (or similar) and radio. Two texts, one poem one prose, one English one German, one synthetic voice one human. 

I Am This Radio

A radiophonic piece for live performance, radio intervention, and broadcast as an ersatz radio play. When I was young I half-believed that there were little people living inside the radio--what happens if they decide to try to communicate with one another when we, the Ears, are asleep? What do they do when I turn off the radio?
This version created in 2002, remixed in 2011. For more info check out nicelittlestatic.com

The Clandestine Transmissions of Pirate Jenny (excerpt)

Personaggi: Euridice 
for choir of 24 soloists and orchestra
Introduzione

libretto: Nathalie Gendrot

Chór Polskiego Radia
Polska Orkiestra Radiowa
Szymon Wyrzykowski, choir conductor
Szymon Bywalec, conductor

Personaggi: Euridice, Introduzione

commissioned by Deutschlandradio Kultur and CTM Festival. Broadcasted on 2.09.2016: http://www.deutschlandradiokultur.de/ursendung-the-dia-grammatology-of-space.1022.de.html?dram%3Aarticle_id=364100

(dia)grammatology of space (full radio version)

Ewa Liebchen - alto flute

Final concert of International Summer Course for Composers SYNTHETIS 2017
Radziejowice, 28 July 2017

Kompozycja izorytmiczna nr 2 (version I) for alto flute (2017)

Conversation with Annie Goh; artist, researcher, and co-founder of the Sonic Cyberfeminisms project during her residency at Studio XX in April 2018.

Feminist Computer Music with Annie Goh

"Emergon αβ" for chamber ensemble and computer (2011)
fl, ob, cl, bsn | tpt, hrn, trbn | 2 perc | pno | comp

The word emergere in Latin means “to emerge”, “to arise”, “to appear”. In a composition, individual sounds, as well as whole groups of sounds, may “emerge”. Specific articulation means that they may also gradually arise, slowly modulating the sound material of a composition. The slow emergence also concerns the higher level of organization of form. 

The title's source has associations with yet another concept, that of emergence. Emergence is a phenomenon, which was being described by the natural sciences as early as the 1920s and 1930s. It refers to a particular property of systems, which consists in the fact that the properties of the system as a whole cannot be deduced from the properties of its parts examined individually. In other words, when a system evolves and moves to another level of organization, it acquires new properties, which do not result from the combination of the properties of the system's individual elements (for example, the physical properties of the individual elements of air do not indicate that their mixture will enable sound waves to travel). 

In a composition based on the phenomenon of emergence, the superimposition of consecutive layers creates new sound qualities, which do not result from hearing them separately. Hence the concept of creating, at a global level of the composition, two layers α, and β, which sound by themselves compared to the way they sound combined. Layer α – Emergon α – is intended as an acoustic composition. The ensemble performs a fully autonomous composition based on the principles described above. Layer β – Emergon β – is composed using electroacoustic means. To this end, a computer software was written which transforms the algorithms used previously to build the score of layer α in real time. The use of more or less analogous compositional techniques unites the two layers, α and β, while the use of different performance apparatus clearly separates one from the other. In accordance with the title's etymology, as well as the conception of the work, these layers penetrate each other, and the 'emergence' of the title concerns the micro-, the macro- and the metaform. 

The concept of emergence has proved relevant mainly in natural sciences, but its influence can also be seen in human (philosophy) or social sciences (sociology, economics). The use of ideas fundamental to this phenomenon makes Emergon αβ; part of the 'art & science' trend - a creative attitude with the aim of commenting on science through art. 

Commissioned by the 54th Warsaw Autumn International Festival of Contemporary Music for Ensemble Musikfabrik.

Emergon αβ  (2011)

Connotations (2015) for string orchestra and electronics
Total Duration 9' minutes.

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/en/works.html
Studio edited mix © Panayiotis Kokoras

Connotations [string orch & elec]

Please, use headphones or good loudspeakers and PLAY IT LOUD :)

Outer Space (2018), for video, 4 performers, and electronics.
Based on a short film by Peter Tscherkassky (you can watch the film here: https://www.youtube.com/watch?v=yASwqIWjaVI). 
Commissioned by Darmstadt Summer Course. Supported by Ulysses Network, co-funded by Creative Europe Programm.

Live Recording at Centralstation, Darmstadt 2018 
NIKEL Ensemble (Brian Archinal, Yaron Deutsch, Antoine Francoise, Patrick Stadler)
Sound Engineer: Alfred Reiter
Recording: Aaron Holloway-Nahum

Outer Space (2018), for video, 4 performers, and electronics [Please, use headphones!!]

Finalist in SCRIME  2008 electroacoustic composition competition.

The material for the work was developed out of simple and short sounds that
accidentally occurred in the digital studio during previous work: (clicks, pops, digital
distortion et cetera). These sounds were transformed into more organic, gestural
material using mainly the GRM Classic plug-ins in a Pro-Tools environment. The
only field recording used in the piece is the sound of crickets, used here to
establish a nocturnal soundscape. This is in contrast with the otherwise rather
abstract sound world, which exhibits timbral characteristics perceptually related to
materials such as wood, metal, water and combinations of thereof.

Resurrection

Full track available from electrocd.com
electrocd.com/en/album/5984/Niko…poulos/Micro-lieux

Selection at Bourges Electroacoustic Music Competition 2008.

For James Mooney

Greek root poly, meaning "many", and choros meaning "room" or "space".

! Warning ! You should be fairly well acquainted with the convex uniform polyhedra and their symmetry groups, and somewhat well acquainted with the six convex regular polytopes in four-dimensional space and their symmetry groups, if this material is to make any sense to you.

The work was composed during a four week residency at the surround sound studios of the Culture Lab, Newcastle University. Many thanks to everyone at the Culture Lab for their support during the making of Polychoron.

Polychoron (Stereo Reduction - Excerpt)

www.marcinpietruszewski.com

marcin pietruszewski (born 1984) a composer and researcher.
 
 
He is engaged in sound synthesis and composition with computers, exploring specific formal developments in the tradition of electroacoustic music and contemporary sound art, as well as extra-musical domains of auditory design, computational linguistics and psychoacoustics. He works across performance, multimedia installation and radio productions probing the dynamics between formalism of synthetic sound and its material realisation.                             
 
 
He has collaborated extensively with musicians and composers - e.g., Marcus Schmickler (performed and recorded Schmickler's Demos for choir, chamber quintet and electronics), Tristan Clutterbuck (fancyyyyy), Jules Rawlinson and Lauren Sarah Hayes. Recent projects include a collaboration with Florian Hecker and a graphic design company NORM from Zurich, a philosopher Chris Schambaugh (The New School, New York), choreographer and dancer Agnes Cebere (Martha Graham School of Contemporary Dance, New York), the Laboria Cubonics Collective (the authors of Xenofeminist Manifesto).
 
contact: studio@marcinpietruszewski.com