"Crystallum" is a journey into the depth of the sounds by investigating the internal and invisible relationships of their inner components and the complex network of their nature. 
The piece is structured on the relationship and the mapping of all the possible natural harmonic nodes on the strings of each independent instrument of a string quartet. 

"Crystallum" is a compositional kaleidoscope of networks, organized with sounds in several levels and categories and pictured from different angles.

"Crystallum" is the thin thread between the past and the present, orient and occident, Maqam/Adwar system and Just Intonation music and inspired by the nomadology concept of Gilles Deleuze.

Commissioned by NeoQuartet. World premiere on 29th October 2021, at 10. NeoArte Synthesizer of Arts Festival Gdansk, Poland.

Crystallum for string quartet and electronics - 2021

The Cure (Shifā)2022
commissioned by CNZ Zurich
for Trumpet, Flute, Oboe, Horn, Clarinet, Baritone Saxophone, Viola, Violin, Cello and 3 speakers

Collegium Novum Zürich
Yalda Zamani, Conductor

Konzert vom 8. April 2022, Kirche St. Peter Zürich

The Cure (Shifā) - Collegium Novum Zurich 2022

PATHOS / ELLIPSE IV - Homage A Xenakis, 2024

Thrène

Binaural mix of one of the second phase of the sound installation's broadcasts at Rencontres d'ArTec 15&16 November 2023
[best listened to with headphones]:

MYCELIUM GARDEN project - winner of EUR ArTec's Symbiosis call for projects

The objects and installations developed in this project are built as a basis for rethinking the question of inter-species communication, conceived not as a process based on shared culture and intentionality, but as a form of co-production of meaning by « adjusting differences », according to Dominique Guillo’s concept (Guillo, 2019).
In this project, the rhythm of the mycelium (its development, its growth cycle, the signal we were able to extract) guided each of our actions. This required adaptation and the ability to adapt, to readjust our expectations, to readjust the project itself. The result of this research is the uncovering of a process rather than the production of an object. Isolating the mycelium’s electrical activity from the recorded signal would require new resources and new experiments in controlled environments.
The multispecific assemblages built during these experiments have led us to develop a methodology of attention that tends towards the search for objective knowledge, built up over the course of experimentation. This research-creation experience led us to reflect on the notions of interface, translation, transduction and scaling of data between different systems/ecosystems: between living humans, non-humans, machines and AI. In this work, we wanted to highlight all the stages in this translation that enable us to access an auditory dimension of a mycelium/human relationship. Uncovering these processes and sharing this approach with the public has enabled us to communicate about mycelium and engage in a critical dialogue about interfaces. In this way, the study of the notion of symbiosis and its application to this project served as a tool to shed light on the notion of complexity, and to produce mediations on this notion for different audiences.
This installation also invites us to question the aesthetic stakes of forms generated automatically or, in this case, guided by non-human processes, by showing the fragmentation and dissolution of intentionality in this type of production, which synthesizes and explores unexplored niches in our cultural spaces.

///Acknowledgements///
We would like to thank the funding organizations for the "Mycelium Garden" research project: EUR ArTec and MSH Paris Nord, as well as the team working on this project: Anne Sèdes, Alain Bonardi, David Fierro from CICM; Charlotte Janis and Roberto Dell'Orco from Spora; Guillaume Peureux and Julien Schuh from CSLF Nanterre; Stephen Whitmarsh from ICM; Hugo Scurto from ArTec; Salim Mohamed Aissi from the MLIA Team - ISIR - CNRS - INSERM - Sorbonne University.
Institute for Intelligent Systems and Robotics (ISIR) - CNRS - INSERM - Sorbonne University. We would also like to thank Adrien Zanni (CICM - MUSIDANSE/Paris 8) for the design of the 2d/WFS ambisonic device and Paul Goutmann (ArTec - CICM - MUSIDANSE/Paris 8) for the design of the 3d ambisonic device. 
This project was designed using ANR BBDMI tools.

Photos (c) Université Paris 8 / Service création audiovisuelle - Patrick Masclaux

Mycelium Garden - One iteration of the sound installation - phase 2 (2023-25)

Recording from Berlin Konzerthaus 31.08.2016

Performed by Orchestra of Estonian Academy of Music and Theater, conducted by Paul Mägi.

Based on a single shape, the piece consists of two different natural harmonic rows ( first part following the natural harmonics available on cello strings and second part being a combination of harmonics of other string instruments). Every natural string harmonic has its unique character, depending on the string it is produced on. Touching the string lightly can produce icy high tones or warm, flute like, lower resonances. It is an attempt to bring out the poetry of the microtonal landscape of these particular rows and observe the constant change of tone combinations that mostly occur only once. Other instruments extend the harmonies and give breathe to the structure. To add immediacy, some freedom to make intuitive choices is given to the musicians. While studying the material, I had a picture stuck in my mind as making one of the gigantic wind driven and self moving sculptures of the dutch artist Theo Jansen, hoping that if I get the calculations right, the piece will also catch a wind and reveal something in the sound, that I was unaware of.

Mechanics Of Flying (2016)

Rubaʿi
is a type of short poem consisting of four lines, popular especially in classical Persian poetry. In this composition, I have used four different types of voices, reciting Rubaiyat by Persian poet Omar Khayyam, and transformed the original material into a certain musical odyssey of sounds.

This composition is a part of the "Timbral Microperspectives" project, realized thanks to the scholarship of the Minister for Culture and National Heritage of the Republic of Poland.

Ruba'i (2020) for fixed media

Seul reste le désert -  for flute, cello and piano by Sina Fallahzadeh - world premiere 19/11/20 Tallinn - festival Sound Plasma by Ensemble Itinéraire
Flute: Julie BrunetJailly
Cello: Myrtille Hetzel
Piano: Fuminori Tanada

Seul reste le désert for flute, cello and piano (2020)

"Beyond The Autonomous Sensory Meridian Response" for Solo Violin and Fixed Media.
Performed and Premiered by Darragh Morgan
Huddersfield Contemporary Music Festival 2020

Youtube Link: https://youtu.be/Ob68_Iqy3e8

Beyond The Autonomous Sensory Meridian Response (2020) - Huddersalied Contemporary Music Festival

Messy lattice is a work composed in such an uncertain epoch. The year 2020 is different for the  whole of humanity as for me. We see how people are impatient for getting back to “normal.”  Therefore, I felt the spirit of Autumn and its grief more than every year. The only thing that I could  be definite about is that there will be Winter that can be more chirpy. Another hand, chaos is  always interesting to me. Chaos is something that entangled by order. However, here I attempted  to get closer to being “messy.”

(This piece premiered on 21st December 2020 in Spectro Centre for New Music's event: Yalda Electroacoustic Music Marathon Vol.1)

Messy Lattice

"The more precisely you know the position of a particle, the less precisely you can simultaneously know the momentum of that same particle." - Werner Heisenberg

Thibault Blanchard Dubois, Cello

ATOM for cello and live sampling - studio version

Parsa Hadavi, born in 1995, Gorgan Iran. He is a composer–researcher mainly focusing on the field of ecologies and its approaches to musical creation and composition. He is an interdisciplinary artist with a background in architecture and astrophysics. His interest in science led him to develop a compositional method called the Multi-dimensional composition system by evolving the perception manners in composition both in the author’s and auditor’s part. 
He has studied architecture and urbanism at the Tehran University of Art and has pursued his education in instrumental and électroacoustique composition under the supervision of Claude Ledoux, Geoffrey François, and Gilles Gobert at the Royal Conservatory of Mons, Belgium, and later in Paris under the supervision of Jean Luc Hervé and Roque Rivas and currently he is a student in Musicology at University Paris 8. 
His research contains political-social concerns with ecology and ecofeminism approaches and his compositions mainly involve accessible technology.