Program notes
You are invited to participate with your senses, entering a state of active listening—a mindset that fluctuates between fleeting moments of everyday life and an eternal, spaceless existence within the cosmos.

A kitchen of a bustling restaurant
Walking across a large parking lot
A summer morning, waiting at the bus station 

Floating among planetary satellites
Experiencing weightless stasis in outer space
Moving fearlessly towards a burning star at the speed of light

All sound in this performance is created through Ephemeron, an adaptive, non-linear feedback network. Ephemeron acts as an ‘intelligent’ instrument that continuously reacts to actions and gestures, analyzing the perceptual features of sound in real-time. As a listener-performer, your active listening engagement with these sounds directly shapes the construction of your sonic landscape.

Premiered at the  Australasian Computer Music Conference 2022 (New Zealand).

Cosmodemonia (2022 - Binaural Version)

** Binaural Sound - Please Wear Headphones **

Live performance with multichannel spatialisation.
First performed at World Stage Design 2022, Calgary via remote stream as part of Sound Kitchen

Rat’s Nest is a Sonic Ghosting work that explores the idea of performance spaces as resonant chambers for fractured, multi-layered, sonic temporalities reflecting the work they house, the people who make, perform, design and experience it, and the communities and histories they are connected to as peopled places.

Having worked across a broad range of performance projects as a sound designer, composer and artist, and in particular on a number of site-specific, immersive and experimental pieces, I have often found myself working in spaces that are reconfigured or co-opted as ‘performance spaces’ – warehouses, museums, industrial buildings – as well as more typical theatres, studios, galleries and concert halls. In some cases, the work engages or resonates deliberately with an obvious history of the space/place in question, but in others the design ethos of the project sees the space as a ‘black box’. However, much as we might try to ignore, or engage directly with, the ‘history’ of a performance space, these spaces resonate with the multi-layered experiences of different people – performers, crew, audience, factory workers, museum staff, local communities. Where some of this can be ‘seen’ in the fabric of the building, the sonic resonances of these multiple histories/perspectives/memories are harder to hear.

Rat’s Nest engages with these ideas through the practice I have developed called Sonic Ghosting – a practice that offers a way to interrogate the relationship between space/place/memory and sound/music/noise by fracturing the soundscape of the present with the echoes, phantoms and potentialities of the soundscapes of the past/future.

This new composition explores my own experiences of ‘performance’ spaces, disrupting these to seak out the ghosts of the spaces/places themselves through an act of creative conjury. The sonic materials used in the piece are gleaned from recordings and sections of my own previous composition and design work, recordings made in and around various performance spaces including the peripheral spaces of the control rooms/areas, scene docks and store rooms. These materials are fractured, processed and manipulated to create a new samplescapes and sounds that reflect my own memories of these spaces, and the multi-layered, multi-temporal perspectives inherent in the concept of spaces as resonant chambers.

Rat's Nest live at World Stage Design 2022 (Binaural)

https://www.cunicode.com/works/vr-terroir

//VR TERROIR explores the virtual representations of users. in collaboration with the High Performance Computing Center in Stuttgart (HLRS), who have a solution to explore scientific data in Virtual or Augmented Reality settings, allowing for remote and multiple users to be present.

It is an amazing tool, but there is a missing piece of the puzzle: how do we represent users there, in a non uncanny valley way, supporting non-verbal communication and with a right degree of realism and abstraction?

The proposal, in a nutshell is: building from the existing rich and cultural background of hyperlocal particularities found in popular culture, heritage, nature and space, physical and digital

//The soundscape: Alongside photos and visual materials, I also did field recordings of HLRS and its urban environment, capturing sounds of the place and infrastructure, the servers and the devices that power the visualization tools along with sounds from the city and the environment around the HLRS.

Some initial experimentations with Granular Synthesis pointed the direction to build a soundtrack for the video.

With the help of sound designer and musician Gerard Valverde, we composed a texture rich background sound that accompanies the character as it walks through the environment. 

The final audio is a crafted and reactive composition of field recordings and synthetic sounds.


VR_Terroir

Had 30 minutes for an opening DJ set and decided to go with four decks to compress all that good music into this tiny time frame. 
Due to the complex nature of the mix a set list would make no sense, so here's the artists in order of appearance. Make sure to check them out:

Elizaveta Trukhanova 
Julia Bünnagel
Sequences
Feronia Wenborg & Lucy Duncombe
GRIFF (Ingrig Schmoliner, Adam Pultz Melbye, Emilio Gordoa)
Walter Tilgner 
Denise Schindele 
Jens Vetter
Anne-F Jacques
Andi Stecher
Stefan Voglsinger
Ronce (feat. Hajj)
Anton Köther
Asemix
Angélica Castelló
Ani Zakareishvili
Laurén Maria
Sonae
Dimitra Maria Pavlou
Maja Osojnik
dieb13
Thomas Neulinger
Georg Zichy
Black Burst Sound Generator
Daphne X
Robert Schwarz

Labels: Inexhaustible Editions, Rock Is Hell, Grünrekorder, Smallforms, Trost, Comfort Zone, Moozak, Dawn, Heart of Noise, lissa:schu collective, Test Tone, Warm Winters, Audio Visuals Atmosphere, Molt Fluid, Venalism, Paralaxe Editions

https://www.wienmodern.at/2025-party-modern-de-4335

Wien Modern DJ-Set 01.11.2025

"Crossed Shadows" is a piece for live saxophone quartet, live or recorded drummer, and tape commissioned by the Red Clay Saxophone Quartet (www.redclaysaxophonequartet.weebly.com). The drum track was developed and performed by Jake Richter (www.jakerichterdrums.com). Andrew McKenna Lee (www.stillsoundmusic.com) edited, mixed, and produced this recording.

Crossed Shadows

Música Eletroacústica Acusmática

Nova Coletânea SBME – vol. 01/2025
Comemorativos do Trintenário da SBME


https://sbme2.bandcamp.com/album/nova-colet-nea-sbme-vol-01
https://sbme2.bandcamp.com/track/eco-queen-vs-marks-2025

"Um grito pode perturbar um ambiente, mesmo que seja em uma intensidade bem baixa? E um amontoado de gritos? E se esses gritos não existissem? Seria um absurdo?". Esta composição é um experimento sonoro que utiliza técnicas de sequenciamento e e diversas técnicas de processamento em um conjunto de arquivos de áudio diversos. Motivado pelas perguntas iniciais, tento, com essa composição tornar sonoro as coisas que tenho pensado.

eco queen vs marks

01/2025 Exercise done for a class during my Audio Recording Technology program at Vanier // Exercice accompli pour un cours durant mon séjour à Vanier dans le programme Audio Recording Technology

01/2025 RUBBER WATER

WHAT'S UNDER ME

06/2025-08/2025 Picked some of my favourite bits and moments over a couple months worth of exercises. // J'ai choisi mes moments préférés des exercices que j'ai fait durant une period de 2 mois.

Compilation of short exercises Juin - August 2025

METRO FACES PETALS

Interactive music composer / researcher / technologist, Phivos-Angelos Kollias is focusing his creative interest in applying innovative music technologies into music projects performed by musicians and algorithms for Interactive Music Performances, Virtual Reality Installations or Video Games. 

His music background is rooted in instrumental classical studies, including a PhD in interactive music composition (University Paris VIII), yet his music taste ranges from electronic music, rock/metal to noise and experimental music. He has studied composition in Cambridge (BA), London (MA) and Paris (PhD & DEA & MA) with the economic support of four foundations, and he currently lives and composes in Berlin. 

His music has received seven awards and nine nominations in international competitions, while the group projects he has participated in have won ten awards and distinctions.

[ominous tonalities]

find more original music on 
https://nicolussi.bandcamp.com
____________________________________

NEXT:

Oct. 5th: phonoECHOES Finale @ esc medienkunstlabor, Graz
/
Oct. 17th: composition premiere w/ Jakob Schauer @ Erlöserkirche, Vienna
/
Nov. 1st: DJ-Set @ Wien Modern, Vienna
/
Dec. 19/20th: DSD live @ SGZHN Festival, Vienna

Danny Bright is a sound designer, composer, recordist, and sonic manipulator working across the fields of music, performance, installation, theatre and media. He has lived, studied and worked in Sheffield, England; Burlington, Vermont, USA; and Brighton and Hove, England where he is currently based. His practice explores the boundaries between sound/music/noise and space/place/memory; he is currently developing multi-modal compositional, performance, critical and installation work investigating sonic temporalities and auditory ‘ghostings’. Danny performs on guitar, samplescapes, tape, text/voice, and electronics as an ensemble member/leader, solo artist and free improviser. He also works as a sound designer and composer for internationally recognised arts, theatre and media companies, and as a producer, recordist, sound technologist and engineer.

Danny’s work has appeared on Channel 4, at the Hatton Gallery, Brighton Digital Festival, Victoria & Albert Museum, Prague Quadrennial, New York City Electroacoustic Music Festival, MAGNA Science Adventure Centre, World Soundscape Conference, Summerhall Edinburgh, British Science Festival, Manchester, Newcastle & Brighton Science Festivals, Edinburgh, Bedford & Brighton Fringe Festivals, and toured the UK, Europe, Australia and the USA. Commissions and supporting organisations include: Catalyst Arts, Arts Council England & Heritage Lottery Fund, Dept. for Culture, Media and Sport, New Music Players, Octopus Collective, MAGNA Trust, and the Arts and Humanities Research Council as funder of his ongoing doctoral research in Music at the University of Sussex.

Composer of acoustic & electronic music.  Sometimes I combine the two.  Also music faculty & co-director of The Emergence Lab at Duke University.

New tracks tagged #ELECTROACOUSTIC