FESTIVALS Art of Sounds - AOS Sunday, 28. December 2008. at 18:00 FIRST ANNUAL INTERNATIONAL FESTIVAL OF ELECTRONIC POLYMEDIA ART, ELECTRO-ACOUSTIC AND RADIOPHONIC MUSIC A festival of this profile had never existed in our country, although, there was some overlapping with existing festivals of this variety. Nevertheless, one can, for instance, encounter similar works at the International Rostrum of Composers, at manifestations organized by the Drama Program of Radio Belgrade and, certainly, BITEF. At this first AOS festival - the subtitle of the festival is more complete than the title – featured are works belonging to one of the three announced categories: electronic Polymedia Art, electro-acoustic music and radiophonic music and works belonging to the music-poetry field. Electronic Polymedia Art mostly makes use of three media: the visual-kinetic, the sonic and verbal-semantic. One of our major selection criteria was the achievement of a balance in the cultural levels of all three of the media components involved. All the components have been realized at an artistic level here, as opposed to only some being realized at an artistic level and others on a sub-cultural level. We have decided to accept both individual and collaborative works, because of the very limited number of authors engaged in Polymedia Art that are equally fluent in both of the fields of music and of the visual arts. Electronic music (or electro-acoustic music, if we are to use Schaeffer’s concept) encompasses all music that has been subjected to electronic processing at least in one of its phases of creation. On this occasion, only works composed for reception via loudspeakers, frequently referred to as acousmatic music will be presented at the Festival. Although the composers do not mention in all instances relevant data related to the creation of the musical works, there seems to be here music made with the assistance of computers as well as pure computer music where the computer also effects the distribution of sound events to a significant extent. There is no clear-cut distinction between electro-acoustic music and radiophonic pieces. Radiophonic works mostly include the spoken word, and even if that is not the case, they strive toward narratives through sonic effects and, so to say, “iconic” sounds, extracted from the environment. For radiophonic musical works it is essential that the author of the complete work is at the same time also the author of the music, without permitting the use of other people’s musical creations as is done in musical programs. The importance of this Festival is to be found in the fact that it presents works belonging to all three categories, works that are still being actively produced throughout the world. From the field of Polymedia Art, the festival features works by Ellen Fellmann, Ge-Suk Yeo, Gordana Novaković, Katarina Miljković, Čedomir Vasić, Mihailo Ristić and others. The program of electro-acoustic music among other authors presents works by Barry Schrader, Dieter Kaufmann, Srdjan Hofman and Marjan Šijanec. Radiophonic creations are represented by the works of Francesco Maggio, Ivana Stefanović, Arsenije Jovanović and Vladimir Jovanović. It might be worth mentioning that the age of the selected authors participating at the Festival spans from persons just twenty years of age to those that are seventy five, including the works by the young Chinese female artist Yungxiang Gao and Serbian artist Nenad Krcić. Parallel to the spatial-temporal presentation of these three artistic categories, the aim of this festival is to counter the omnipresent electronic music subculture through the affirmation of artistic electronic music. However, this is not an action against non-artistic, albeit widely popular genres; rather this is an act of resistance against the extinction and negation of the origins and identity of certain forms of artistic music. Although the term identity, used from Spinoza to Hegel could be reconsidered again, and taken to refer to the essence and appearance of things as being one and the same, it may still be of use to us. For one may expect that a concert of electronic music at the festival be devoted to the technical sub-category of pop, rock or some other musical sub-culture, since one of the lines of development of this culture is called “electronic music”. However, only artistic technological music born in 1951 can with justification be called by this name. And finally, the significance of this Festival is that with it we have endeavored to present a cross-section of artistic output during this year from all of these three categories of electronic art, and this was done in a relatively small place and in a very short period of time, and at the same time we have tried to remind ourselves of that which had been achieved in the past in those same fields. The awareness of the existence of the continuity of culture is something we often lack, and this continuity is both the foundation for our present lives and is also our legacy for the future. Vladan Radovanović Thursday, December 25, 7pm Guarnerius lobby Ueuphemisms for the Intimate Enemy, 2008 12-hour long work by Rainer Linz Guarnerius Hall Thursday, December 25, 8pm OPENING OF THE FESTIVAL Keynote Speaker: Radmila Hrustanović, Belgrade's mayor deputy and Vladan Radovanović. Program: POLYMEDIA ART I Vladan Radovanović, Constelations, 1997, 16’30’’ Gordana Novaković, Fugue, 2006, 6’20’’ Ellen Fellmann, from: Audiovisuelle Kompositionen, 4. Frontiera, 1999/2000, 4’30’’ 6. Gras, 2006, 4’30’’ Huba de Graaff, composition - Zanne Bekrovich,video The Evolution, 1’54’’ AAT-bells, 2’24’’ Čedomir Vasić, Fall of Giants, 3’00’’ Small Themes for Big Graphics, 1996, 5’00’’ Francoise Provencher, Sous le microscope, 2008, 3’46’’ Katarina Miljković, music - Dawn Kramer, choreography and performance - Stephen Buck, video, lighting, Cracking, 2008, 11’00’’ Friday, December 26, 6pm ELECTROACOUSTIC ART I Benoit Granier, Shape and its Content, 2008, 14’41’’ Adrian Borza, Dusk, 2007, 7’59’’ Felipe Otondo, Ciguri, 2008, 9’15’’ Adam Stansbie, The Bridge of Arta, 2008, 11’45’’ Zhou Jiaojiao, Falling From the Sky, 2008, 6’21’’ James Wyness, Ceol Mhor, 2008, 14’17’’ Friday, December 26, 8pm ELECTROACOUSTIC ART II Srđan Hofman, Rebusi I & II, 1989, 9’00’’ Dieter Kaufmann, from: Symphonie Acousmatique, Part V, Op.75-87, 1994-2001, 10`00`` Yungxiang Gao, Aria, 2007, 7’48’’ Barry Schrader, from: Monkey King, Part II, 2005-2007, 9’42’’ John Mallia, Anastasis, 2002, 10’00’’ Marjan Šijanec, 1995, Venus Orchestra, 13’44’’ Saturday, December 27, 6pm ELECTROACOUSTIC ART III Michael Pepa – Denis Patrick, Fractals, 2006, 12’24’’ - Fractal I, Voice of the Great Spirit - Fractal II, Rain - Fractal III, Sound Sprawl - Fractal IV, Bells - Fractal V, Sko’mish Mathew Adkins, from: 5 panels, Panel no. 1 (to Luke), 2008, 9’00’’ Ylva Lund Bergner, Mysotis, 2005, 4’51’’ Fabio Barbagallo, Trasferendo in luoghi, 2004, 9’18’’ Kari Besharse, Omphalos, 2008, 12’58’’ Christofer Ariza, Demiurgic Ecstasy Whispering in Streets of Ear, 2007, 13’15’’ Saturday, December 27, 8pm RADIOPHONIC ART I Ivana Stefanović, First Eastern Dream, 1998, 26’00’’ Lisa Whistlecroft, Almost nothing but, 2005, 8’55’’ Vladimir Jovanović, Pilgrimage to Gardens of Emptiness, 2008, 33’55’’ Part 1 19’49’’ Part 2 7’44’’ Part 3 6’22’’ Sunday, December 28, 6pm RADIOPHONIC ART II Arsenije Jovanović, Approaching, 2008, 19’00`` (world premier) Bojana Šaljić, Mora, 2008, 9’00`` Dejan Miljanović, Water Bearer Story, 2008, 6’21’’ Francesco Maggio, In alto mare, 2008, 3’52’’ Nenad Krcić, Music Box of 21st century, 2008, 9’11’’ Sunday, December 28, 8pm POLYMEDIA ART II Ivan Elezović, Dedicated to Giacinto Scelsi, 2007, 10’51’’ Ge-Suk Yeo, from: Ging Gang , 2007, Cycle of Sound Poems, Sequence 4, 8’00’’ Lilienweis, from: Seasons The New Year, (2008) 2’20’’ Springtime, 2008, 5’50’’ Phil Taylor, Your Order No. is| 05`, 11’47’’ Ana Isabel Ordonez/François Oliveiri, Shades of Jazz on Noire, 10'45'' Mihajlo Ristić, Discourse II, 6’10’’ Sonia Paqo-Rocchia, Peddaling under London’s Clouds, 2008, 6’00’’ Mathew Dotson, audio, Bart Woodstrup, video Song Cycle for Haruki Murakami, 2007, 10’00’’ I movement II movement III movement IV movement