pf. Ensemble Modern
cond. Enno Poppe
premiere, Frankfurt, March 2020
contains a field recording by Vincent Duseigne of veal calves being separated from their mothers 
(2015, https://archive.org/details/aporee_30571_35170)
art: Egon Schiele, "Sawmill" (1913)

We are all okay

@dotworks delivers the unpredictable rythms underlined with deep tones and textures!


- Its been more than a year now since our last compilation dropped. Meanwhile We all went through some crazy times. some of us were affected more and some less.
In colombia the people are affected hardly. Not only by covid. Even more by the violence and corruption of their government.
In early 2021 Demonstrators were speaking out about structural inequality, poverty, land reform, police violence, health care, and lack of education and opportunity
a lot of these problems have existed in Colombia for years, but they deepened dramatically during the pandemic.
Police responded by repeatedly and arbitrarily dispersing peaceful demonstrations and using excessive, often brutal, force, including live ammunition.
Multiple killings by police, as well as beatings, sexual abuse, and arbitrary detention of demonstrators and bystanders are documented.
Most of these things are still an actual problem.
In order to support the fight agianst the violence by the colombian government we made this compilation.
100% of the profits will go to temblores ONG. so please donate 🙂
about the organisation:
"At Temblores ONG we seek to activate and mobilize community processes for social transformation.
We aim to shake the hegemonic structures that perpetuate exclusion, violence, discrimination,
and the systematic denial of the rights of communities and populations which have been historically marginalized and ignored by the State."
-taken from en.temblores.org/nosotros

dotworks - the crabman

‘You know when you are a little kid, they always 
tell you the boogie man is going to get you? 
And you are supposed to be scared? 
I always had a fantasy or a dream that the boogie man came
And he is riding on this black stallion, and he comes to my window, 
and he comes to get me, and I jump on the horse with him and, like, 
I wrap my arms around his waist and I get under his cape and we fly away…’

from the documentary series by Erol Morris 
First Person, S2E4: The Killer Inside me
lyrics

Fly away follow the mighty roar
Thank god you’re still alive
How many girls are gone 
You broke them like a twig
I hear their mothers weep

A person, animal or thing that 
kills you like a virus

a person, animal or thing that 
kills you like a virus

Fly away into the lion’s mouth
the sharpness of his teeth
You could’ve been devoured
You could’ve been his lunch
Instead you were his love

a full, deep cry uttered by the lion
a full, deep cry uttered by the lion

Nothing makes sense, in life and death
Nothing makes sense, in life and death

Ms London Flies Away

a little bit after

four singers, two organs, two amplified surfaces

recorded London, Autumn 2014

Of the immortality of the crab

Bird´s food - Flute and electronics (live impro excerpt)- A Noisy Catalogue duo

This live stage work for 13 actor-vocalists is lead by performer-director Kestrel Leah and composer Yiannis Christofides—aka PHYSICAL PLASTIC—in collaboration with choreographer Brigette Dunn Korpela and visual artist Dasha Sur.

We conceived Alarm while living in Bed-stuy, Brooklyn, where nightly we experienced a security alarm from a nearby building. Its violent disruption and the physical response it created inspired our initial exploration of the sonic character of alarms in relation to movement. Since, the project has become for us a questioning of boundaries, ownership and power as observed both locally and in the geopolitical scene. Alarm performs ideas of need, limit and transgression (i.e. stealing or trespassing) in the context of capitalist society and its ongoing crises. A full-length choral score by Christofides that uses extended vocal textures and the opposition of silence and its disruption, will be staged with a choreographed vocal ensemble portraying the bystander, the trespasser, and the alarm—and evoking the mythological sirens.

We bring forth the acoustic event of the security alarm as a rupture—an event which signals the current state of affairs, and in doing so, presents us with the possibility for the emergence of new social order. The alarm, as a public performance of danger, sets an example for the violating body and its desire to transgress, to disrupt and renegotiate the limits of its existence. Once it sounds, the divisions between self and other, between public and private, previously hidden in the background, are revealed, as are the networks and infrastructures protecting those boundaries. Alarms implicate us in questions of difference, of desire, and law. For us, Alarm is a rebellion, a cry of conscience from amidst the urban viscera concealing systems of protection, fear and power in infinite webs of wires and cables: an alarm in and of itself that gives physical voice to our unease at witnessing the rapid gentrification of and complicated racial relations in a struggling neighborhood as once neighbors, outsiders and “gentrifiers”.

Our newly formed company is founded upon theater’s inherent capacity to make immanent issues of universal concern. In response to racial and economic segregation, and rising tendencies of nationalism, we make a conscious effort towards international collaboration and a breadth of cultural perspectives, so as to better shed light upon issues both at home and abroad, and confront cultural differences directly, as part of our creative process.

In March 2017, we have been invited to develop this work in residency at Robert Wilson's Watermill Center.

This work has been selected for a 2017 New Music USA grant.

More information about this project: 

https://www.newmusicusa.org/projects/alarm

http://www.physicalplastic.com

Voices: Kestrel Leah, Nathan Nonhof

ALARM vignette 1 (excerpt, 2017)

“Blue” is a reinterpretation of a Major Blues in which both the harmonic skeleton and its characteristic 12 bar structure have been preserved, stretched throughout the piece ́s slightly more than 6 minutes.

Blue (excerpt) - Tenor saxophone, piano and drums (2016)- CrossingLines ensemble

Untitled Spacemadness  Preview

Telchines were four mysterious magician-smiths and sea daimones native to the islands of Keos and Rhodes. They invented the art of metal-working and were said to have crafted the sickle Kronos used to castrate his father Ouranos and later a magical trident for Poseidon which the god used to lever mountains into the sea and form the islands. Their malignant use of magic later angered Zeus, who cast them beneath the sea or into the very depths of Tartaros. These strange Sea Daimoneswere sometimes described with the heads of dogs and fish-flippers for hands.

Telchines (2012)

περιπατητικά τοπία // peripatetic landscapes
Audio track for Emilio Koutsoftides' & Gabor Stark's sound sculpture in the Cyprus Pavilion at the 17th International Architecture Exhibition, La Biennale di Venezia 2021

https://precariouspropositions.wordpress.com/2021/01/09/peripatetic-landscapes-at-la-biennale-di-venezia-2021/
https://cypruspavilion.org
https://www.labiennale.org/it
...
Sonic portrait of Lemba Valley, Cyprus
Field recordings: Emilio Koutsoftides
Arrangement & piano: Gabor Stark

peripatetic | ˌpɛrɪpəˈtɛtɪk | 
adjective
• travelling from place to place, in particular working or based in various places for relatively short periods  
• (Peripatetic)Aristotelian - with reference to Aristotle's practice of walking to and fro while teaching

landscape | ˈlan(d)skeɪp | 
noun 
• all the visible features of an area of land, often considered in terms of their aesthetic appeal
• a picture representing an area of countryside
• the genre of landscape painting
• the distinctive features of a sphere of activity

peripatetic landscapes

Yiannis Christofides combines practices in electronic music, soundscape composition, creative sound design and field recording and has a background in media theory and cultural studies.

His music and soundscapes for art installations, performance, and curatorial projects have been presented at leading venues and institutions throughout Europe and the U.S including Centre Pompidou (FR), Lincoln Center (US), The Watermill Center (US), The Athens & Epidaurus Festival (GR), La Triennale di Milano (IT), New York City Electroacoustic Music Festival (US), Queen Elizabeth Hall | Southbank Centre (UK), Municipal Theatre of Piraeus (GR), Fonoteca Nacional de México (MX), Passerelle Centre d'art contemporain (FR), Berlin International Sound Art Festival (DE), Cyprus Theatre Organisation (CY), International Festival of Ancient Greek Drama (CY), 3LD Art & Technology Center (US), The Invisible Dog Art Center (US), Point Centre for Contemporary Art (CY), the wulf. (US), Metamatic: The Art Foundation (GR), The Ethnological Museum (CY), Los Angeles Contemporary Exhibitions (US), Nicosia Municipal Arts Centre (CY).

Much of his personal work investigates our experience of place through the use of field recordings as principal material. His particular interest in field recording relates to the contextual aspects of sound and the intersensory experience that it affords.

Yiannis is co-founder of PHYSICAL PLASTIC, a Los Angeles based composer-director partnership with actor/director Kestrel Leah.

He is based in Los Angeles, Athens and Nicosia and works internationally.

ALARM vignette 1 (excerpt, 2017)

Yiannis Christofides

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