CIME/ICEM 2023 – Electroacoustic Music Days 2023

concerts: A1 A2 / B1 B2 B3 / C1 C2 C3 / D1 D2 D3 / E1 E2

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Concert E2

Margarita Chalakatevaki K. (2023) 8.25
Phivos-Angelos Kollias Cosmodemonia (2022) 10.51
Costis Frantzis Abari (2022) 7.39
Wiktor Mastela Glassophonie 1 (2021) 6.02
Marilú Theologiti Benthon (2023) 6.12
Panos Amelidis  The Voice of the Loom (2023) 10.40

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K. (2023)
Margarita Chalakatevaki
fixed media: 2 channels
duration: 8.25

K. is part of a electro-acoustic collection consisting of individuals sound portraits, inspired by close friends and strangers.

Margarita Chalakatevaki. Born in Athens in 1993. Studied in Ionian University at the department of Audiovisual arts in Corfu. She is composing music over the past few years.

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Cosmodemonia (2022)
Phivos-Angelos Kollias
fixed media: 8 channels
duration: 10.51

You are invited to participate with your senses, driven by your active listening – a state of mind between a passing moment of a rudimental everyday situation and a timeless, spaceless existence in the cosmos. Α kitchen of a busy restaurant. Walking in a large parking lot. A summer morning waiting at the bus station. Floating between planetary satellites. Experiencing a gravityless stasis in outer space. A fearless movement towards a burning star with the speed of light . All sound is created through an ‘intelligent’ instrument, Ephemeron, an adaptive non-linear feedback network. Different actions-gestures interact with Ephemeron, reacting dynamically by analysing sounds’ perceptual features. Premiered at the Australasian Computer Music Conference 2022 (New Zealand).

Phivos-Angelos Kollias, integrates emerging technologies and sonic narratives to examine the interplay between the human experience and its digital counterparts. He has a PhD in interactive music from the University of Paris 8. Kollias has studied classical music in Cambridge, London and Paris and currently lives in Berlin. Kollias has received 9 awards and 9 nominations in international competitions, including the Excellence in Sound Design Award at the Festival of International Virtual and Augmented Reality Stories Competition, Toronto, and one of the Musicworks Electronic Music Competition prizes. The group projects he has participated in have won 12 awards and distinctions, including the Apple TV Game of the Year award and the Gamescom Indie Award and listed twice in Forbes’ top lists.

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Abari (2022)
Costis Frantzis
fixed media: 2 channels
duration: 7.39

Abari (A ship’s hold) invites the listener to immerse in a soundscape that oscillates between realism and fantasy. The basic sonic material is derived from field recordings, which are sometimes presented almost unaltered or with minimal processing and at other times extensively processed using various techniques. The combination of the sonic material reveals the relationships between the structural elements of the work on both a micro and macro level. The listener can discern relationships of succession and repetition, while the alternation of various sonic elements from the background to the foreground (and vice versa) maintains an internal rhythm upon which the entire work unfolds.

Costas Frantzis is a musician & sound Artist based in Greece. He is exploring music and sound through creative projects in the wider context of performing arts (theater, performance art, interactive AV installations etc). He has also gained significant experience composing music and soundscapes for various audiovisual media (e.g. animation, TV commercials, video art, short movies etc.) His audio creations draw elements from various fields and inspirations such as acoustic ecology, experimental instrument techniques, free improvisation, recording techniques, various musical forms, digital sound processing, spatial sound environments. In parallel with his artistic activity, is closely involved in the organization / production management and cultural management.

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Glassophonie 1 (2021)
Wiktor Mastela
fixed media: 4 channels
duration: 6.02

In this particular piece, the sound is created by the glass of drinking glasses which try to render textures and timbres. As in Stockhausen’s ‘mikrophonie I’, the microphones as well as the glass constitute the musical instruments of the work, while through external hardware the received sound is distorted and transformed in real time. There is of course also a metal ball whose existence gives a mobility to the glass sound environment. It could be said that the sphere is the heroine of the story, moving through sonic “glass worlds”.

Wiktor Mastela. As a sound engineer of the University of Athens Laboratory of Music and Technology I have been involved in various projects related to sound recordings, sound processing and full music production. I always try to complete every project with the best outcome following of course the instructions of colleagues. My academic background in musicology has also contributed to this in multiple ways. Also, I would like to emphasize the fact that my MA degree has helped me in the development of better skills in audio–design and the field of electroacoustic music. In addition, as an active musician and ‘creator’ I compose music in several music idioms, therefore I consider myself an open-minded person. This is evident through my participation in various musical bands and of course my compositions.

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Benthon (2023)
Marilú Theologiti
fixed media: 8 channels
duration: 6.12

It’s not by chance that the enigma surrounding the underwater has given birth to various myths and legends in the folklore of many cultures. The deeper we go, where sunlight no longer penetrates, the greater the mysteries the oceans contain within their depths. This piece was created to evoke not only the mysteries of the aquatic world, but also the peculiar conviviality of marine life, which remains remote and unapproachable to humans. It is a sonic journey through the underwater wanders, both real and imaginary.

Marilu Theologiti was born in Athens. She is a graduate of the Sonic Arts and Audio Technologies postgraduate programme of the Ionian University’s Department of Music. She has been active as a sound designer and composer of music for theatrical performances, animations and installations.

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The Voice of the Loom (2023)
Panos Amelidis 
fixed media: 2 channels
duration: 10.40

The piece explores women’s oppression through history, delving into the loom’s profound sonic qualities. In traditional societies, it signifies their struggle for identity, consent, and re-action. As they weave textiles, women craft personal myths and realities, forming a profound bond with the loom, which listens and records their thoughts. This composition imaginatively unveils the loom’s voice, transforming gestures into immersive textures. The structure follows theme and variations, revealing gestural sounds in the end.

Panos Amelidis. Composer, sound artist, and academic specializing in hybrid storytelling through electroacoustic compositions, radiophonic works, interactive installations, live-electronics, and virtual reality environments. Themes include socio-political issues (power, democracy, oppression, trauma, heritage). Coined “acousmatic storytelling” emphasizing synergy between field recordings, narration, sound design, and technology. Research focuses on immersive audio, VR apps for music education, and gamification in music learning. Holds degrees from Ionian University and University of Manchester, including a PhD in Music from De Montfort University (2015). Currently a Senior Lecturer in Music and Audio Technology at Bournemouth University, UK.

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