experimental music compositions and audiovisual works
fractions (2021) aspires to create a subtle immersive audiovisual experience through a dialogue between fragments of music and fragments of filmed spaces. It takes the shape of an experimental Dj - Vj performance where photographic slides, photographs, audio recordings and music are interwoven and entangled.
fragments (2020) is an ongoing series of of approximately one minute musical compositions for videos and still images. The original visual and sonic content consolidate in single audiovisual experience.
AirOfRhythms-HandSeries (2016): A study based on the customary designed Skin of Air instrument, an air based sonic-tactile instrument for haptic rhythm sensing. The hand gestures are manipulating and sculpt sonically a constant rhythmic stream of air pulses.
talandon (2015) 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.
cells (2015) is an interactive audiovisual composition for the Cardiff Gamelan Ensemble generated from a real laboratory protocol. The visual component of the piece comes from real footage filmed in a biology laboratory at Cardiff University. The short films are projected interactively in the performance during the performance using a series of projectors and 3D mapping techniques.
metronom (2013), which stands for metronome in Welsh, is a live audiovisual composition for a custom designed haptic interface. The performer interacts hapticaly with the moving faders, which behave like metronomes, at various tempi and rhythmic motifs.
s0'32''/9'06'' (2011) is a piece composed for live electronics and interactive visuals performed by a keyboardist/pianist. It uses a minimalist language and has been conceived and composed for live interpretation. It is based on two almost identical short samples extracted from Arvo Part’s famous piece Spiegel im Spiegel written in the composer's characteristic tintinnabular style. The two samples have a duration of approximately 10 seconds. The first sample appears at 0'32'' and the second one at 9'24'' in the recording where have been extracted from.
sonate (mod n) (2020) is a spatial piano composition based on the 32 Beethoven sonatas. It was originally conceived for 32 pianist and 32 speakers, each playing a phrase from a piano sonata that he/she selects. The phrases get projectected spatially in the perfromance space according precomposed trajectories.
mechanical entanglement (2016) is a musical composition-improvisation for three performers. Three haptic devices each containing two haptic faders are mutually coupled between them using virtual linear springs and dampers. During the composition, the performers feel each other's gestures and collaboratively process the music material.
quantum music #001 (2015) is an algorithmic composition based on controlled quantum dynamical systems. Music and Quantum Dynamics share a wave-like nature. Many analogies and surprising connections between the two fields exists, which can be illustrated and explored through sonification techniques.
Equal= (2014)is an electroacoustic composition for D-Box, a hackable digital musical instrument. The novel instrument was developed by two researchers at the Centre for Digital Music at Queen Mary University of London. The piece was composed for a live performance related to the hackable instruments research project that took place in London. It aims to explore and enhance the subtle idiosyncrasies of the instrument due the characteristics limitation of its sensing circuitry.
engraving/hammering/casting (2012): "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 contemporary 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 composed for two haptic digital instruments designed and developed by the composers, who aim to bring materiality back to computer music.
points (2012) is composition for acoustic guitar and live electronics. Motion-tracking technology transforms the space into an interactive sonic environment. A performer improvises with the guitar while walking around the space and the music is altered and played back according to their position in space.
ebgdae (2010) 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 sequenced using a digital audio workstation. The notated sound treatment parts of the composition for a type of timbral counterpoint.
cubes (untitled) is an interactive dance project under development. Light and sound are entangled with the choreography. The dancer is interacting with fragmented light cubes placed in space and with the sonic environment.