***Please use your fanciest audio equipment*** 

• 1st Prize at the Iannis Xenakis International Electronic Music Competition (2021) form the Contemporary Music Lab 
• 2024 PRISMS Contemporary Music Festival call for scores, Honorable Mention

The intention behind this piece is mainly to construct a discourse distanced from the elements that are traditionally explored in electroacoustic music, eg. texture and timbre. While these elements are undoubtedly present in the piece, it is first and foremost the rhythmic impetus — working around an unstable pulsation — its energy, as well as the imagery and the dramaturgy of the work that is highlighted. 

I have worked exclusively with a collection of sounds from my personal library as well as sounds that have been recuperated online (sort of objets trouvés), like a depository where I drew the parts that were best suited; hence the title “Junkyard Construction”. 
This comes from an interest to work with fairly limited resources (concerning equipment), which is also why it’s a stereophonic piece.
   
“Why stop the swing?” refers not only to the rhythmic content, but also to the swaying of unstable images that are being constantly re-contextualised, progressively detaching and revealing themselves as the inner drama unfolds.

To learn more: https://www.luis-quintana.com/music-catalogue/junkyardconstruction

Junkyard Construction: Why stop the swing?

Sound and visual recorded by Franklin George for eBKF2021 Sonic Postcard project.

Sungai Besar Long Kerong 1 - Recorded by Franklin George for eBKF2021 Sonic Postcard project.

Music composed by Addie M.S. and Victorian Philharmonic Orchestra

Addie M.S. - Biola Tak Berdawai (vocal)

Addie M.S. - Biola Tak Berdawai (String Quartet)

Benjolin (stereo)

Cerberus

This is a work for beatboxer and live electronics running in the SuperCollider programming language. It makes use of audio event analysis and algorithmic beat manipulation in an effort to create a unified soundworld between the human beatboxer and his mechanical counterpart.

Beatboxing: Giorgos Gargalas | Laptop: Orestis Karamanlis

BitVox Excerpt

AI Phantasy (2020) electroacoustic sound composition
Total duration 10' minutes

© Panayiotis Kokoras

AI Phantasy [tape]

Rubaʿi
is a type of short poem consisting of four lines, popular especially in classical Persian poetry. In this composition, I have used four different types of voices, reciting Rubaiyat by Persian poet Omar Khayyam, and transformed the original material into a certain musical odyssey of sounds.

This composition is a part of the "Timbral Microperspectives" project, realized thanks to the scholarship of the Minister for Culture and National Heritage of the Republic of Poland.

Ruba'i (2020) for fixed media

From session on 6th September 2020 in Basel, Switzerland

MudP / 乜P
Daniil Gorokhov - Bass Trombone, FX
Chi Him Chik - Computer

Ḇ̷͒l̵̦̟͒ả̶͉͉̈́h̵̟͋1̴͎́

Whale Song Stranding


Inflections as sound process to sound quality
Emanating otherness of the
Sound quality to sound process from the reflective

Resulting in an immersive rhizome-like sound world of the omnipresent of the dream like and the very literal 

As different zones are successive, simultaneous, above, below, before, and after, to neither rise nor sink but only float 

A longing as the friction, disputes of the literal and dream-like

And

A persistence of a pulse, heavy, through the literal as a constant movement and the abstract ingenuous stillness, a sound world of the discursive and the narrative

Chiastic process and quality is undermined as the reflections and inflections recur in rounded proportions.  The immersive and form is only tangible through this insistence that is perceived as a dream occurring in real-time

Figuratively
Whale Song suggests, quite literally, uncertainty that is

Stuck between the discursive and the narrative,
The moving streams/waves and the pure tones surrounding within,
Stranding

Whale Song Stranding

Patrick Hartono's work has a particular focus on sound and visual-spatial exploration either virtual or physical. The results include music on acousmatic composition, surround sound concerts, live electronic, compositions in the tradition of academic computer music, underwater photography, installations, site-specific sound art, experimental media, and interdisciplinary arts.

Benjolin (stereo)

Patrick Gunawan Hartono

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