doubt V / Keros (2026)
Keros, an uninhabited Cycladic island, revealed a stunning prehistoric mystery linked to presumed ritual practices that took place over 4,500 years ago. Excavations have unearthed a sanctuary of thousands of marble vessel fragments and hundreds of figurine body parts, deliberately smashed and buried in shallow pits, none of which fit together. It is believed that the objects were made elsewhere, intentionally broken – probably in a respectful manner, and brought to the island for burial, a religious practice which established Keros as the earliest maritime religious sanctuary in the world. Such was the fame of the sanctuary that along with it, a well sophisticated settlement was founded at the now nearby rocky-steep islet of Dhaskalio, once connected to Keros: buildings supported on marble terraces created using tonnes of stone imported by sea, a highly-developed drainage system as well as an extended practice of metallurgy allowing the fabrication of metals into weapons and tools. This marginal site, sustained by supply networks and the technology of prehistoric era, is believed to mark the very dawn of European urbanism.
In today’s world obsessed with cutting communication times and securing natural resources, doubt V / Keros wishes to convey an imagined sonic representation of a long forgotten echoing urban environment of the past: fragments of hidden sonic projections, long lost sonic images of human practices, all contributing to the shaping of an ethereal soundscape that reflects the unconscious beliefs and doctrines of a very old civilization.
Presented at: Évora_27 – Capital Europeia da Cultura.
Pnoe (2025)
Pnoe – from the Greek word “πνοή” (‘breath’, ‘respiration’, also implying ‘to reinvigorate’) – is a composition based on the 4 criteria model, developed as part of my doctoral/research project on Sound Space: Isomorphism (the degree to which a spatial system exhibits homogenous features), Heterodefinition (ways of interactions between isomorphisms resulting to the shaping of spatial awareness), Distribution (topologies of spatial morphologies both as part of the compositional process and as a performance practice) and Temporal Inertia (qualifiers contributing to our sense of spatial expansion vs temporal evolution). Material used combine a variety of unrelated sound sources, signifiers of already acquired sound spaces: domestic appliances, industrial machinery, short electronic and instrumental phrases as well as soundscape recordings. Cut from their original cause and context, processed or in their original state, are then reconstructed to an act of a playful reinvention of new sound spaces.
Presented at: Electronic Nights No.5, Electroacoustic Music Days 2025, Sound + Environment Symposium 2025.
CityScape 3.0 (2024)
CityScape III belongs to the CityScape cycle of urban-scape works, commencing at the end of the 2010s. Following a post-concrete approach, sources (found and recorded) derived mostly from domestic appliances, light equipment as well as industrial machinery -either processed or on their own-, compose imaginary landscapes, emerging urban sound spaces.
Presented in various formats at: Sonic Nomads, New York City Electroacoustic Music Festival 2025, Ignite the Arts Festival 2025, Immersive Festival 2025, Electroacoustic Music Days 2024.
9 Small Sketches (2020)
Fascinated by the musical expressiveness exhibited by machines, these nine small studies (of 1 min in length – or less) explore their tonal and rhythmic possibilities. Machines of all sorts (industrial, domestic or light) pulsate in rhythmic and tonal patterns, thus forming nine short musical phrases.
Presented at the collective exhibition “Resides and Works in Athens”, 02 – 13. 03 2020.
Sailing to Agistri (tsitsipicollo) (2020)
This soundscape recording was made back in May 2018 during a sailing-boat trip to Agistri, at a point when wind was strong enough to turn the engines off. I immediately grabbed my zoom, stepped inside the galley along the boat’s hull and recorded every creaking sound I could hear.
Somewhere at the end of the recording you can hear my then 7 yrs old daughter whispering playfully over the recorder’s mics the incomprehensible made-up word ‘tsitsipicollo’.
Presented at the collective exhibition “Resides and Works in Athens”, 02 – 13. 03 2020.
CityScape 2.0 (parts i – iii) (2020)
A three-parts piece comprising of material already presented in “Nine Small Sketches” and “Sailing to Agistri (tsitsipicollo)”. Material from the second part is also used in CityScape 3.0 closure.
Presented at the collective exhibition “Resides and Works in Athens”, 02 – 13. 03 2020.
CityScape (parts i – vi) (2019)
Music for videoart installation by Vicky Betsou. Material comprises mainly of processed field recordings made in Corfu city, Vovousa and Tsepelovo soundscape project 2018.
Presented at the 13th Audiovisual Arts Festival, May 6 – May 12 2019, Corfu.
(photo: video still by Vicky Betsou)
Later Aphrodites – Swarming Stars (2018)
Music for Demeter Stavropoulos “Later Aphrodites” film.
Film awards:
Best Greek Short Film award at the 2019 Cyprus International Film Festival (CYIFF) and the Goldcrest Post Production Award at the Pitching Forum Fest.
Later Aphrodites – Aphrodites (2018)
Music for Demeter Stavropoulos “Later Aphrodites” film.
Film awards:
Best Greek Short Film award at the 2019 Cyprus International Film Festival (CYIFF) and the Goldcrest Post Production Award at the Pitching Forum Fest.
70.31 S 8.13 W (2017)
Originally set to an 8-chnls format, this composition consists of algorithmic unit generators as well as field recordings by Neumayer research station on Ekström ice shelf in Antarctica.
Presented at the Athens School of Fine Arts 2017 tenure exhibition.
Signals (2017)
Re-interpreting auditory signifiers from a vast range of sound sources, be it the technological (machines), human (human-speech) or natural environment (humming bees).
Presented at the Athens School of Fine Arts 2017 tenure exhibition, originally as an 8-channel composition.
