A special moment—conducting my score for Stephen McCauley's film, performed by Hard Rain SoloistEnsemble. Last week I had the pleasure of taking part in DIALOGUES, a residency and creative exchange programme for composers and moving-image makers organised by Dumbworld in partnership with the Regional Cultural Centre Letterkenny, Ulster University and Hard Rain SoloistEnsemble. The residency brought together twelve composers and twelve filmmakers from across the island of Irel

The development of controllers in interactive electroacoustic music reflects a broader shift in how composers understand the relationship between gesture, instrument, and sound production. Unlike traditional acoustic instruments, whose physical interfaces evolved gradually over centuries, controllers for electronic and computer-based music emerged through rapid technological transitions during the twentieth century. Each stage in this evolution reshaped how performers interac

One of the central challenges in interactive electroacoustic music concerns the role of gesture in performance. In acoustic instrumental practice, gesture is inseparable from sound production: the physical actions required to generate sound are visible, legible, and structurally meaningful. In contrast, computer-based music performance often obscures the relationship between movement and sonic outcome. This raises an important question: How can gesture remain musically meanin

It’s More Fun To Sink Them (2026) is an interactive media installation that establishes a real-time audiovisual relationship between spectators and archival speech footage of Donald Trump through webcam-based facial tracking. The work explores how authority operates through mediated speech and instruction by transforming political rhetoric into responsive audiovisual material shaped directly by the viewer’s bodily presence. Rather than treating speech as a stable carrier of