FIXED MEDIA WORKS
Elxes | Έλξεις Surround 6.0 fixed media (2020)
This study has been constructed by combining synthetic sounds which originate from a computer model describing the behaviour of a bouncing object on a surface, and recordings of a Cretan instrument (named Boulgari) which belongs to the lute family. I set out to investigate different ways to juxtapose the artificial sounds with transformations of the plucked string instrument, trying to create a unified soundworld within which moments of attraction (elxes) are created and resolved.
Toys Surround 24-chanels fixed media (2011)
In this work most of the sounds originate from toys’ recordings and any treatment has been accomplished by means of a programming language named SuperCollider. I have tried to come up with a piece that would rely more on an internal pulse than on the transformation of sonic material. I somewhat got tired with the kind of pre-recorded music which is characterised by the desire to explore timbre and space above all, often at the expense of other qualities. “Toys” has been constructed by making use of rhythmic patterns. Starting from large collections of soundfiles I work within a programming language in order to describe a higher-level representation of musical structure and then become a listener to the result. In a way I am more interested in the aggregate sonic outcome than in isolated musical gestures.
The piece was commissioned by ZKM | Institute for Music & Acoustics and was premiered within November 2011 in Karlsruhe (Germany). It received the Prix du Public at 2012 Metamorphoses Acousmatic Competition (Belgium), First Prize at 2012 Musica Nova International Electroacoustic Music Competition (Czech Republic), the Medal of the Camera dei Deputati della Repubblica Italiana at the IX International Composition Competition Città di Udine and has been publicly released on CD by Musiques & Recherches.
Στέρφος [Sterfos] Surround 8.0 fixed media (2009)
Sterfos reflects my emotions about a small coastal village somewhere in the Aegean Sea. It encloses my memories for the place and its people, developing linearly by combining ambient recordings and spoken stories from the village with folk music and abstract elements. Here, I am primarily interested in the dramaturgical structure in the long scale. The main concern is to move away from a non-differential abstract soundworld and to retain a cultural identity by guiding the listener through a journey of experiences to catharsis, though without having any metaphysical allusions.
The piece received the 2010 Giga Hertz Award for Electronic Music at ZKM | Institute for Music & Acoustics in Germany.
Acqua Alta Surround 5.0 fixed media (2009)
Acqua Alta uses sounds from a custom-built instrument made of steel along with some ambient recordings from Venice. In most cases SuperCollider was used to manipulate the sonic material. This little piece was finalist at the 36e Concours Internationaux de Musique et d’Art Sonore Electroacoustiques de Bourges (France), at the VII Electroacoustic Miniatures International Contest, Junta de Andalucia (Spain), and it has been released by the Dublin Electronic Arts Festival (DEAF) and also VII Electroacoustic Miniatures International Contest.
Kardaş Stereo fixed media (2008)
The word -Kardaş- in Turkish means brother, but we use it in Greek as well to denote a brotherly friend. The piece was finalist at the 36e Concours Internationaux de Musique et d’Art Sonore Electroacoustiques de Bourges.
Transduction Stereo fixed media (2008)
Transduction was finalist at 35e Concours Internationaux de Musique et d’Art Sonore Electroacoustiques de Bourges.
Swarm Stereo fixed media (2007)
This is one of my very first tape pieces. It was written according to the idea of composing with families of sound objects (which is actually fairly ancient within the acousmatic tradition), but taking into account the notion of ‘grouped sound objects’; sound objects that behave like one entity –and maybe in this piece- in an organic way. Almost the entire sonic material derives from a single recording which was initially processed to create different timbral categories of sounds, and then processed further with the Sonic Swarm Controller, a physical controller that allowed the user to manipulate and diffuse a swarm of sounds, taking also into account the polyphonic structure of the sound objects and their transformation through time.
32.4 channels for a mono piece
Acousmatic work for the Sonic Lab at SARC (2007).