Eleni Ikoniadou is Reader in Digital Culture and Sonic Arts at the Royal College of Art. Her current research sits at the intersection of sound practice, media art and voice studies. The outcome of her latest research project, funded by the EPSRC Human-Data Interaction Network Plus, is “Future Chorus” – a vinyl album based on a collection of lamentations combined with machine learning processes and featuring a compilation of sound works by electronic musicians such as AGF, Chino Amobi, and Savvas Metaxas. Recent art projects include: in-situ installation and performance “Lament” (Eleusis 2023); sound installation “Passing” (“Plásmata,” Onassis Stegi, Ioannina 2023), music album “Future Chorus” (MAENADS/ Hypermedium 2023); spoken word and cello performance with Viki Steiri, “The Lamenters” (Sound Quests, Turin 2022); audio essay with Viki Steiri (“Wake Words” exhibition, Kunstraum Niederosterreich Vienna 2021); sound installation “Hydrapolivocals” (MAENADS “Weaving Worlds” Deree exhibition, Athens 2022); and film-performance “Red Chorus” (Theatrum Mundi, London 2020). Eleni runs Fugitive Voices, a series of conversations with guest artists and theorists such as Nina Eidsheim, Season Butler, Lee Gamble, and Jenna Sutela, for the RCA MA Visual Communication and is resident host on Movement Radio (https://movement.radio/artist/eleni-ikon). As member of the art group AUDINT (http://www.audint.net/www/), with Steve Goodman (kode9) and Toby Heys, she co-edited the anthology “Unsound: Undead” (Urbanomic 2019) and produced a series of exhibitions, under the same name, funded by the Arts Council of England (2018-2020). She is founder and co-editor of the “Media Philosophy Series” (Rowman & Littlefield) and author of the monograph “The Rhythmic Event: Art, Media and the Sonic” (The MIT Press, 2014).
Aliki Leftherioti is an Athens-based producer, composer, performer, and DJ focusing on plunderphonics, free improvisation, and electroacoustic composition, working with film, mixed media, and dance artists. She studied composition and piano in Athens and London, as well as Brazilian percussion and music for film, having also served as the manager of UK jazz label F-IRE Collective in the previous years. In 2022, she composed music for Sophia Danai Vorvila’s “Never Ending Sunday” (Kaaitheater, February 2022), Fotini Stamatelopoulou’s “Optimal Soft” (Onassis Stegi, March 2022), and Elettra Giunta’s “To Hold My Love” (The Place, London, May 2022), supervised the music and audio postproduction for “Dance Time” (National Greek Television, March – July 2022), and live-scored a silent film for Syros International Film Festival and Ios Festival (July – August 2022). Currently, she is composing music and performing on stage with Iro Vasalou’s “Symposium” (Megaron-Athens Music Hall, March 2023) and Despoina Sanida-Crezia’s “However” (Keiv, May 2023), hosting radio shows (
Movement Radio, Fade Radio), writing and performing with her personal project Saber Rider (Just Gazing Records, Submersion Records), and collaborating with other artists and musicians with a focus on improvisation. As a composer and sound designer, she has had her work showcased at Athens International Film Festival, the BBC, Drama Film Festival, Greek Film Archive, National Greek Television, ReWorks Festival, SNFCC, Athens Video Dance Project, London Graduate Fashion Week, City University London, and Goldsmiths University of London, among others. As a live artist, she has performed with collective and personal projects at various venues, including Lovebox Festival, Café Oto, Brixton Academy, Brecon Jazz Festival, Olympic Park, TripSpace London, Kaai Theatre, London Pride, Goldsmiths University of London, Romantso, Gazette, Bageion Theatre, Megaron-Athens Music Hall, Temple Athens, Six Dogs, KET, and many more.
Afroditi Psarra, PhD is a multidisciplinary artist and an Associate Professor of Digital Arts and Experimental Media (DXARTS) at the University of Washington where she runs the DXARTS Softlab. Her research focuses on the art and science interaction with a critical discourse in the creation of artifacts. She is interested in the use of the body as an interface of control, and the revitalization of tradition as a methodology of hacking existing norms about technical objects. She uses cyber crafts and other gendered practices as speculative strings, and open-source technologies as educational models of diffusing knowledge. Sound plays an extremely important role in her practice. She adheres to its use as a verbal and gestural language to analyze the ever-changing technological environment that we inhabit. Her work has been presented at international media art festivals such as Ars Electronica, Transmediale and CTM, Eyeo, Amber, Piksel, Athens and Epidaurus Festival, and WRO Biennale between others, museums and cultural centers such the National Museum of Contemporary Arts, Athens, Bozar,
Onassis Stegi, Walker Art Center etc., and published at conferences like Siggraph, ISWC (International Symposium of Wearable Computers), DIS (Designing Interactive Systems), C&C (Creativity and Cognition), and EVA (Electronic Visualization and the Arts). In the past three years she has been cultivating her curatorial practice through the radio show Transmission Ecologies at Movement Radio Athens where she features every month different artists exploring the world of radio art and electromagnetic interference. Afroditi is based in Seattle, WA, USA.
