I am a composer of acoustic and electronic music, including works for orchestra, chamber music, and non-traditional line-ups, which also include dance and theater, vary from short durations to entire performances, require extreme performance specialization, deliberately challenge the structures and boundaries of traditional performances, and advance inter-disciplinary approaches and collaborations.

The tension that emerges once historical forms of art combine either with each other or with new media points out an unexplored territory of possibilities: on one side, the bodies and the voices of the musicians, the dancers, and the actors; on the other side, new software of electronic music and algorithmic composition, which are not simply juxtaposed but, rather, creatively interact with the performers, expand their technical skills, enhance their expressive means, and aim to re-articulate older materials from a post-humanist perspective.

My works embrace fragile sounds, not fully notatable by the composer and fully controllable by the performers, inherently unstable and constantly moving, which come with their own logic of unfolding, presuppose a particular body-instrument relationship, and call for a new kind of listening attention, one that is disentangled from the traditional compositional parameters, points to an encapsulation of timbre, and pulls us toward the interior space of sound. Beyond these sounds, which are the result of my expanded research on idiosyncratic aspects of the mechanism of acoustic instruments, involving the physicality of the instrument design and the embodiment of sound, I am also deeply interested in their genuine combinations or, to put it differently, in orchestration, insofar as the latter is the form of the whole, and insofar as the whole un-conceals something more and different than the sum of all sounds, that is, a new lived-space and new listening awareness.

Despite that the form of the whole does not always provide “meaning” according to traditional practices, sound is not absolutely open to any interpretation. A main concern in my work is to shed new light on the logic of dream and trauma, human conditions that both break from the content, texture, and structure of realist experience and the meanings that the latter entail, pull us, just like the unconscious, beyond the transcendental structures of time, space, and causality, and put forward their own logic of unfolding, which is inconsistent, absurd, weird, and eerie, enriches our means of expression, and stimulates the free play of our imagination. It is not me, the composer, or the performers who dream or reveal their trauma in a new work. We are all parts of a fragmented, disintegrated spirit of an invisible subject. My works are dreams without a dreamer, traumas without one traumatized, and a call for reflection on the ontology of the dream and the trauma, on the ruptures of human experience.

Working on the logic of dream and trauma forges a metaphor with the fragility of the world, the traumatizing processes that we undergo, individually and collectively, and the radical changes in the form of life. In my work the bluntness of the voices and the human bodies, the raw use of the instruments and of the electronic sounds, and the brutality of the form onto the raw materials are not simply sound events, but also demarcate violence as a political concept, which, in turn, gives prominence to our fragility and vulnerability. I believe that our new form of life comes to terms with and celebrates our contingency rather than deliberately hiding it, and, in my opinion, sound-making can play a leading-part in this project as the art that so inherently embodies this fragility.