Tinnīre (2019)
A pair of music, a pair of ears
inMemory [sound-ritual] (2018)
Four augmented singing bowls are used to facilitate a ritual, containing the memory of the souls. The singing bowl is crackling and sparkling for at least one life that has been taken. A ritual specialist conducts the ritual by listening to the crackles and producing sound from the bowls as a colotomy to the ritual. It provides time and space for the audience to make their wishes, prayers, or hopes for the world. The goal is, however, not to inform, but to console those who were left by their loved ones.
Cubicle Music (2017)
The tiniest little movement could sometimes express more than anything else. In this work, micro-activities of the performer's eyes and face are captured through a webcam, transforming and exploring the sound produced by creating controlled feedback from the laptop's internal speaker and mic. The visual data from the webcam is projected onto a big screen to amplify its activity. This setup leads to a performance of someone working in a cubicle. The performance is partly structured and partly improvised.
Full performance in WESA 2017, Seoul, South Korea: https://vimeo.com/256547886
Kultur Destruktif (2017)
Music still has a place in human's heart, but not in machine's heart. This work starts, ends, and evolves through human's intuition, that without ignoring the surrounding, is also eventually destructed by the machine.
Kultur Antarmuka (2017)
Kultur Antarmuka is a work for string quartet, written in a longing for a sound memory. However, the memory has somehow been distorted by the present culture. Phrases are derived from fragments of present sound memory and organized intuitively yet constructive and rough in texture.
Mata dan Senar (2015-2017)
All sound from the instruments are amplified, live-processed, and diffused to a multichannel system. From the audience's perspective, the comfortable state of watching a performance on one direction to the stage is confronted by the sound spatialization.
Music, Female, Hipster. (2017)
This work focuses on bringing the so-called lo-fi materials to an 'expensive' environment, declaring the non-existence of sound quality, rather a reason behind every 'sound.' The materials are personal archives gathered from smartphone and cheap camera recording. This 10-minute work presents an explorative and distorted sonic discourse, diffused into a multichannel system.
Developed during the CMS Residency at Anton Bruckner Privatuniversität.
Mga Alon sa Batangas (2016)
A site specific sound installation intended to be presented by the beach. This is an impression from an all-night-little-talk with young composers by the beach of Batangas in the Asian Composers League 2015. This kind of talk recharges me to full.