stem cell orchestra

The translation of stem-cell research to the clinic includes critical issues such as reproducibility and quality assurance of cell lines. Currently, the practice of stem cell production remains highly idiosyncratic and requires specific craft like skills. Here by utilisation sonification, which is the use of non-speech audio to convey or contextualize complex information, we have introduced a non-narrative (NO textual, verbal or video description) approach to assess the practice variations in stem cell research. Cells is an audiovisual composition with the Cardiff Gamelan Ensemble. Audiovisual Footage


Talandon, is a live composition for a custom designed electroacoustic musical instrument and light. The music is developed around a basic rhythmic pattern radiated directly from the body of the instrument and from a set of physical models simulating various vibrating structures. The interplay between the rhythmic gestures [form] of the performer and the resonance of the physical and virtual bodies [colour] is enriched, transformed and amplified by the presence of the light component of the composition. The novelty and the significance of the piece can be identified in the interaction and also in the interplay between the physical and the simulated sounds. Moreover the body of the instrument has been designed and developed using digital fabrication methods that reflect the rhythmical elements of the structure composition. Therefore the rhythmical patterns appear on the physical form, on the triggered light pulses and on the sonic component of the piece.

quantum music #001

In this project sonification and electroacoustic composition techniques to represent simulated controlled quantum dynamics were explored for the first time. An intuitive sonification process was suggested, in order to represent acoustically and musically an important quantum phenomenon that is used in quantum computation. An interesting problem in this field has been to understand why states floats back and forth between a number of configurations, seemingly unguided, and yet almost miraculously reach target eventually. Through Parameter-Mapping-Sonification the dynamics of this microscopic peculiar system were explored. In the current research, the sonification choices have both a functional and an aesthetic goal. A sound-installation has been created and presented in various locations and was first premiered in the Athens Science Festival 2015.


Metronom, which stands for metronome in Welsh, is a live audiovisual composition for a custom designed haptic interface. The interface consist of four haptic faders, and a digitally fabricated transparent acrylic structure, etched and cut according to the requirements of the music and the visual content. The performer interacts hapticaly with the moving faders, which behave like metronomes, at various tempi and rhythmic motifs. The faders’ mechanical sounds are recorded and processed in real-time by digital signal processing algorithms and projected sonically back into space. Moreover the positions of the faders, driven by automated procedures and altered mechanically by the performer gestures, are controlling various compositional parameters affecting the timbre, the rhythm and the movement of various projected words and phrases. A gradual interplay between the shadows of the physical interface’s structure, the human gestures and the light refraction from the acrylic surfaces shapes equally the visual elements of the composition. The present inter-media performance, is an interactive audio-visual composition and a dance between the hands of the performer and the movements of the haptic interface. Audiovisual Footage


ebgdaE is a piece composed for electric guitar and sound transformation procedures. The subtle electric guitar textures are performed live while the transformation gestures are precomposed and preprogrammed using digital signal processing software running on a laptop computer. Parts of the processing may also be modified interactively if needed but does not constitute an essential element of the performance. Some aspects of the musical vocabulary of the piece are intentionally left in an undefined state. Indeterminacy in note durations, rhythm and even in pitch contrasts the rigorous sound treatment parts, which form the basic element of the compositional dialect.


“We must all return to the crafts,” wrote Walter Gropius in the first manifesto of the Staatliches Bauhaus in 1919. These famous lines emphasised the vital link of art with materials and process techniques. Mind, body, and imagination were indispensable elements. However, in con- temporary computer music, this link has become weaker because new technologies have dematerialised the inter- action between the performer and the sound object. Engraving – Hammering – Casting is a music piece com- posed for two haptic digital instruments designed and developed by the composers, who aim to bring materiality back to computer music. The piece uses a minimalist language and has been conceived and composed for live interpretation using commercially available haptic interfaces. It has three parts, each of which refers metaphorically and sonically to a process technique used in a workshop environment by artists and craftspeople. The interest of the piece lies in the fact that a rich soundscape and music composition can be devised by the use of the most pure and simple musical means: interacting by energy exchange with mechanical resonators – virtual in our case. The piece celebrates the hand, the gesture, and force-feedback interaction in computer music making.