Li Po (701-762) was one of the most important romantic poets during the Tang dynasty. “Li Po” is a comment on his poetry and, at the same time, on the traditional Chinese music for dizi flute and the great Chinese interpreters which continuously extend the timbral attributes of this instrument. The flute contributes to the textural development, the gestural action and the spatial articulation of Li Po, either as transformed pre-recorded material, or by means of real-time algorithmic treatment within SuperCollider’s environment.
Flutes: Ria Georgiadi, Theodoros Lotis

Flute Dimensions

Li Po

“When I look through the density of the water, at the paving in the depths of a swimming pool, I do not see it in spite of the water and its reflections. On the contrary, I see it through the reflections, because of them. If these deformities, these stripes of the sun were not there; if I were glancing at the paving’s geometry without the interference of this flesh, then I would stop regarding it the way it really is; there, where it really is: beyond every identical space.” — Maurice Merleau-Ponty, L’œil et l’esprit (Eye and Mind), 1964.
The sonic world of Underwater Theories combines electronic sounds created by software synthesizers, with acoustic instruments, such as human voice and doublebass treated by the software Max/MSP. Although my original intention was to explore and emphasize the “rivalry” between electronic and acoustic, or “concrete,” sounds, surprisingly, these two sonic worlds were blended together in a concordant way, creating sonic environments where no confrontations between artificial and natural exist.
Underwater Theories was realized in 2002 at the composer’s studio in London (England, UK) and premiered on October 20, 2004 during the 11th International Acousmatic Festival L’Espace du son (Brussels, Belgium). Underwater Theories was a finalist at the 3rd Biennal Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2004). It has been recorded on the compact disc Epoque de l'Eau and Métamorphoses 2004.
(From electrocd.com)

Epoque de l'eau

Theories Underwater

Troisième épisode d'une série consacrée aux techniques d'écritures sur support expliquées par Annette Vande Gorne.

Aujourd'hui le grain!

Avec les extraits de :
 "Grande Polyphonie" - François Bayle
" Riverrun" - Barry Truax
"Concret PH" - Iannis Xenakis
"Match nul" - François Bayle

Si vous voulez approfondir le sujet, on vous conseille "Le traité d'écriture sur support" d'Annette Vande Gorne : 
http://www.musiques-recherches.be/fr/edition/la-revue-lien

If you want to deepen the subject, we advise you "The treatise on writing acousmatic music on fixed media" by Annette Vande Gorne :
http://www.musiques-recherches.be/fr/edition/la-revue-lien

Les Energies Episode 3 - Grain

Quatrième épisode d'une série consacrée aux techniques d'écritures sur support expliquées par Annette Vande Gorne.

Aujourd'hui l'oscillation et le balancement!

Avec les extraits de : 
"Continuum" - Gyorgy Ligeti 
"Bois" extrait de "Tao" - Annette Vande Gorne
"Métaphore" - François Bayle
"Variations pour une porte et un soupir" - Pierre Henry
"Balancement" - Guy Rebel

Si vous voulez approfondir le sujet, on vous conseille "Le traité d'écriture sur support" d'Annette Vande Gorne : 
http://www.musiques-recherches.be/fr/edition/la-revue-lien

If you want to deepen the subject, we advise you "The treatise on writing acousmatic music on fixed media" by Annette Vande Gorne :
http://www.musiques-recherches.be/fr/edition/la-revue-lien

Les Energies Episode 4 - Oscillation Et Balancement

Claustro 5.1 (for Huw Mcgregor) 

Derived from the Latin, "claustrum," meaning "shut-in" or "enclosure." Claustro is the third composition in a series of works which explore aural micro-space. A sounding place of improved intelligibility through greater aural intimacy. The work is an invitation to come in and listen out for the thin line between philia and phobia that such places evoke. The discontinuous and non-homogenous nature of acoustic space inspires the arrangement of sound materials here.  Recordings of original sound sources were conducted using a micro multichannel array designed and built in collaboration with Huw Mcgregor.

Claustro Stereo Reduction

Theodoros Lotis studied the guitar, flute, music analysis, electroacoustic composition and Fine Arts in Greece, Belgium and the UK. His music has been performed at festivals and conferences in Europe, Australia, America and Asia, and has received a number of awards and distinctions at Bourges, Sculpted Sound Composers Competition, Metamorphoses, Luigi Russolo, CIMESP and and Jeu de temps / Times Play. He was awarded the first prize at the Concours International de Spatialisation pour l’Interprétation des Ouevres Acousmatiques by Musiques et Recherches, in Brussels. He has done commissioned work for Musiques et Recherches (Belgium, 1997, 2000, 2014), Sculpted Sound Composers Competition (UK, 2000), Amici della Musica di Cagliari (Italy, 2001), the festival Visiones Sonoras (Mexico, 2007), the clarinetist Esther Lamneck and many dance and theatre companies. 
He has completed a Ph.D. in Music at the City University, London, with Denis Smalley, thanks to grants from the British Academy (Arts and Humanities Research Board), and the Foundation A.S. Onassis. 
Theodoros Lotis has been teaching electroacoustic composition and analysis at Goldsmiths College, University of London, the Technological and Educational Institute of Crete, the Aristotle University of Thessaloniki, Greece and Universities in Europe and America as invited composer. He is Assistant Professor at the Ionian University, Corfu, Greece. He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and the Hellenic Society for Acoustic Ecology. His music has been released by Empreintes Digitales (https://www.electrocd.com/en/album/2357/Theodore_Lotis/Époque_de_l_eau).

Theories Underwater

Theodoros Lotis

Related tracks