sounding tomorrow

Sounding Tomorrow is a brand-new commissioning platform launched for NME15 in response to the rising interest in integrating the arts with new application of technology, with the specific aim of uniting composers, video/sound artists, new media artists and lighting designers from Hong Kong under one roof.

Teatro dei Portali

Giovanni Santini

  • This is a show designed for VR/AR performer, ensemble, live-electronics, spatial audio and multiple projections. The show explores new ways of artmaking by connecting virtual and real spaces: how can we bring virtual worlds on stage? How are music notation and embodied interactions affected? What new aesthetic dimensions can we embrace?

  • Vanessa Chan, violin
    Pun Chak-yin, cello
    Simon Hui, double bass

Prelude: To Listening

Ryo Ikeshiro

  • The work invites the audience to embark on an exercise into listening: listening in the present, but to the past and the future, and listening across time. Through audio, video and text, it gradually guides the listener and the viewer to traces of history that may or may not be evident in sound: acoustic resonance caused by material remnants from World War II in Hong Kong; the ringing of the three metal strings of the sanxian morphing into the three nylon strings of its slightly smaller cousin: the sanshin from Okinawa, Japan; echoes of sounds from instruments which are no longer in Hong Kong. A neural network attempts to sift through and make sense of these dislocations in time and space.

  • Stella Chan, sanxian/sanshin
    Ho Yi On, Chinese percussion

Sound Astronauts

Amy Chan

  • In a foreign land, where light waves and electrons intersect, where sound frequencies collide with micro-dust, amidst continuous coupling, spinning, and chaos, are we merely following predetermined paths? Are we forging a new landscape? Or...?

  • Amy Chan
    Lam Yip
    Lam Kin Lam
    Kahy Chan
    Natalie Cheung

Hyperspace

Viola Yip

  • Hyperspace is an installative telematic performance that speculates a possibility for simultaneous acoustics. Four performers, from Oslo, Montreal, Mexico City and Hong Kong, with each of them performs a feedback turntable developed by Viola Yip. The instrument highlights the acoustics of each performing space, which will be simultaneously transmitted, juxtaposed and spatialized as a performative hyperspace in the Multimedia Theater of the School of Creative Media at the City University of Hong Kong.

  • Noam Bierstone (CAN)
    Jennifer Torrence (NO)
    Diego Espinosa Cruz González (MEX)
    Karen Yu (HK)

F.A.C.E.S

Esther Wu (HK) &
Thanakarn Schofield (TH)

  • F.A.C.E.S is a multimedia theatre composition that delves into the tensions that arise from the interaction of actors with visuals, sounds, and a chess game. Inspired by the “Game of The Century” (1956) during the Cold War– the famous match between Donald Byrne and a young Bobby Fischer. The work unfolds in two distinct realities: the cerebral, consisting of sound and visual elements, and the physical, featuring actors engaging with chess pieces. As the tension escalates, these realities intertwine, blurring the lines between thought and action, culminating in a dramatic denouement.

  • Karen Yu
    William Lane

The Continuum of Ephemeral Persistence

Lawrence Lau (HK)

  • The Continuum of Ephemeral Persistence is a collection of works that reflect the various ways of interpreting the disappearance of time and presence through mainstream audiovisual records. The project draws inspiration from the scoring form of traditional music. Instead of emphasising the language of traditional scoring, it attempts to use the archive mentioned earlier as the material for scoring, presenting a live performance where text and action coexist through the intertextuality between the score and the performance. The creation and recording of live performances are used as direct creative tools for the performance.

  • Simon Hui, double bass
    William Lane, viola

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