21.06 / interview at the University of Strasbourg

pavlos studio

On the occasion of the Day of Music on the 21.06, here is an interview with Baptiste Cogitore on my research at the University of Strasbourg.



09.06 / The ties that bond contemporary music and political action @ ExRotaprint by the Berliner Künstlerprogramm des DAAD


In the context of Turgut Erçetin’s DAAD residency in Berlin, an open discussion with statements by Pavlos Antoniadis, Turgut Erçetin, Antye Greie and Turgay Ulu, moderated by Andrew Noble, took place on the 09.06.2016 at ExRotaprint in Berlin.

Statements on Political activism and New Music:

video  and text by Pavlos Antoniadis

Pavlos has been active in recent years in response to the refugee crisis (Watch the Med Alarmphone), as well as in antifascist & anti-austerity demonstrations in Greece, while remaining vigilant of the technological transformations of globalised capitalism. He hopes to contribute by stressing the tension between the observed degrees of political engagement or alienation in the professionalised new music scene and the urgency of an “anti-politics of dignity” (John Holloway). He is particularly sensitive to issues of appropriation of the refugee crisis by the art world and of residual racism in European music institutions.

text by Turgut Erçetin

As being one of the most significant outputs of the current social media environments, so-called selfies have displayed important roles in documenting some of the recent social movements that are intentionally disregarded by the mainstream media in the countries such as Turkey and the US. With their focus centered on selfhood, however, this trendy self-portrait photography has yielded a new imagery narrative, of which the spatial entities are conceived to saturate the self-oriented aspect of the composition. Accordingly, social struggle spaces such as streets or street barricades, started to have substantial imports for the digital-self as long as they are able to pass through this self-oriented filter. Selfies as such continue to shift our notion of social spaces and the political struggles pertaining to them, as the spatial reproduction and documentation stemming from political actions become commodity forms that are distributed through digital technologies. Most of the recent works coming from the contemporary music scene, which claim to engage with political issues, seem to follow a similar pattern with the selfies of this kind. While they are integral for documenting the neglected political agencies, such works constitute a “buffer zone” between the politicized social spaces and the audience, for they highlight a counteracting self-narrative that re-constructs the given political output as their content.

text and projects by Antye Greie

CURATION: Music, Awareness & Solidarity with #Rojava powered by female:pressure (background infos)
NTS LIVE: women producers for women


I cannot make a clear distinction between my work and activism, work follows different rules than activism but my life and actions are informed by social political reality. Activism takes place close to one’s own identity and realities, as a musician or artist the source of the activism is often filtered through art, but sometimes activism also requires to forget your own identity and just act along everybody else and identity matters but should take second order. As an artist I enjoy to work alone and find the core of my personal expression which can be an egocentric practice. As an activist I collaborate with others such as the international network: female:pressure and others, the more powerful your collaborators or the network is, the more the activism succeeds.

text by Turgay Ulu

Turgay Ulu, 42, is a journalist, writer and comunist. He spent 15 years in prison in Turkey due to his political work, during which time he was also tortured. After his release in 2011 he flied to Germany via Greece. In autumn 2012, Turgay was one of the organisers of the Refugee March from Würzburg to Berlin and he also lived in the protest camp on Oranienplatz in Kreuzberg. Since then he has been engaged in refugee protests in Berlin.


text by Andrew Noble

I come to this discussion as someone who has somehow given up on the idea that “New Music” as it exists structurally today (in Germany, Europe, or the US at least) can constructively contribute towards any kind of society that I would hope to be a part of. That said, I also believe very strongly in our collective capacities to redefine structures and in the agencies that might become available to us when we open ourselves up to the idea that the skills, abilities, and creative approaches – or ‘tools’ – at our disposal might be reconsidered in terms of how and why we exercise them.



27-29.05 / TENOR2016 @ Anglia Ruskin University, Cambridge

tenor image

The second International Conference on Technologies for Music Notation and Representation is dedicated to issues in theoretical and applied research and development in Music Notation and Representation, with a focus on computer tools and applications, music creation and cognition.


I presented the paper PROCESSING OF SYMBOLIC MUSIC NOTATION VIA MULTIMODAL PERFORMANCE DATA: BRIAN FERNEYHOUGH’S LEMMA-ICON-EPIGRAM FOR SOLO PIANO, PHASE 1, co-authored with the head of the Interaction-Son-Musique-Mouvement team at IRCAM, Frédéric Bevilacqua.

So much inspiring work there, on REAL-TIME CORPUS-BASED CONCATENATIVE SYNTHESIS FOR SYMBOLIC NOTATION by Daniele Ghisi, HYBRID REAL/MIMETIC SOUND WORKS by Lindsay Vickery, DIGITAL NOTATION OF TXALAPARTA PRACTICE by Enrike Hurtado and Thor Magnusson, the S-NOTATION by Alexander Sonnenfeld, MUSICAL INSTRUMENTS AS SCORES by Enrique Tomas, MUSICKING THE BODY ELECTRIC by Sandeep Bhagwati, the OMLILI by Karim Haddad, Jonathan Impett’s keynote “NOTATION AS HYBRID TECHNOLOGY”, the performances by Cat Hope and Lindsay Vickery with the Decibel ScorePlayer as well as the animated scores by Ryan Ross Smith.


23-26.05 / residency @ Dias de Música Electroacústica, Lisbon


After an invitation by composer and technologist Jeff Treviño, friend and former colleague at University of California, San Diego, I had the chance to spend three stimulating days of work at  Dias de Música Electroacústica in Lisbon and enjoy the rare hospitality of the mastermind behind this project, Jaime Reis.

Jeff introduced me to his recent work, including:

His idiosyncratic use (via Python) of the concatenative synthesis program AudioGuide, developed by our former colleague at UCSD Ben Hackbarth;

a fast introduction to Abjad, a Python extension for music notation, in the development of which Jeff has been a main collaborator;

his work on performance analysis, with a comparative analysis of 30 (!) recordings of Webern’s Variations op. 27. This work materialised as an installation in a summer exhibition at MIT Museum (here the original visualisation). A relevant publication on automated notation for Webern can be found in the Journal of Computing and Cultural Heritage;

and his latest composition for orchestra with electronic sound, How to Build Fences and Gates.

Jaime has been introducing me to his tireless work as a composer, curator and teacher, as well as to the work of his mentor Emmanuel Nunes. Dias de Música Electroacústica  is his creation, a dynamic multifaceted festival for electronic music in Portugal and abroad.

On my part, I had the chance to share my latest research on the concept of “embodied navigation of complex notation” and the relevant tools developed at IRCAM, as well as some of my recordings for piano with electronics (notably Nicolas Tzortzis’ Incompatible(s) V , Alistair Zaldua’s Contrejours and Luis Antunes Pena’s K-U-L-T).

Jeff expressed interest in developing custom abjad objects relevant to my typology of embodied layers of notation, which could hopefully be employed in a new work for piano and live electronics.