- Eleni-Ira Panourgia. 2019. "Gaps as interface: Navigating the edges of artistic media", in Documentation of the 10th SAR International Conference on Artistic Research, Zurich University of the Arts, March 21-23, 2019. Research Catalogue 2019. https://www.researchcatalogue.net/view/641989/641990/0/0 [accessed 20/12/2019].
- Contributor in: Pablo Jimenez-Moreno. 2018. "Moldes de concreto: passado e futuro", 14 Ago 2018. ArchDaily Brasil. Acessado 17 Ago 2018. https://www.archdaily.com.br/br/900102/moldes-de-concreto-passado-e-futuro. ISSN 0719-8906.
- Katerina Talianni, Eleni Ira Panourgia, Jack Walker and Roxana Karam. 2018. "Editorial", Airea: Arts and Interdisciplinary Research, issue 1, 1-2. doi: 10.2218/airea.2748.
- Eleni-Ira Panourgia, Finbar Wheelaghan and Xue Yang. 2018. "Digital interactions: Sound and three-dimensional forms", Airea: Arts and Interdisciplinary Research, issue 1, 3-10, doi: 10.2218/airea.2732.
Abstract Full article
This article discusses a prototype that explores the simultaneous manipulation of three-dimensional digital forms and sound. Our multi-media study examines the aesthetic affordances of tight parameter couplings between digital three-dimensional objects and sound objects based on notions of process and user-machine interaction. It investigates how effective cohesion between visual, spatial and sonic might be established through changes perceived in parallel; what Michel Chion refers to as 'synchresis'. Drawing from Mike Blow's work On the Simultaneous Perception of Sound and Three-Dimensional Objects and processual art, this prototype uses computer technology for forming and mediating a creative practice involving 3D animation, sound synthesis, digital signal processing and programming. Our practice-based approach entails the rendering of a three-dimensional digital object in Processing whose form changes over time according to specific actions. Spatial data is sent via Open Sound Control (OSC) to Max MSP in real time, where sound is synthesized and then manipulated. Sonic parameters such as amplitude, spectral density/width and timbre are controlled by select spatial parameters from the three-dimensional object. Sound processing is realized based on the changing of the three-dimensional object in time through basic actions such as splitting, distorting, cutting, shattering and rotating. We use digital technology to look beyond basic synchronisation of sound and vision to a more complex cohesion of percepts, based on changes to myriad sonic and visual parameters experienced concurrently.
- Contributor in: Asad Ullah Khan. 2018. “Atomic Autographs”, in Proceedings of TransImage 2018, THE LATENT IMAGE 5th International Conference on Transdisciplinary Imaging at the Intersections of Art, Science and Culture (pp.295-301), Edinburgh, UK. fishgare, doi: 10.6084/m9.figshare.6104546.v1.
- Eleni-Ira Panourgia and Jing Zhao. 2018. "SoundMapp - Participatory design in museum space", The International Journal of the Inclusive Museum 11 (1): 27-35, doi:10.18848/1835-2014/CGP/v11i01/27-35.
Abstract Full article
This article explores the possibility of creating alternative user experience in exhibition spaces while using audience interactivity as medium for generating sonic material. We are investigating participatory art in museum space, ways for redefining audiences, and how artistic logic can be articulated through an encounter with the public. Inspired by the “ArtLens” mobile application developed by The Cleveland Museum of Art, our research adopted an interdisciplinary approach engaging museum visitors with an interactive app. The app maps the exhibition space with sound frequencies and then tracks the journey of each visitor as they go through the exhibition. It was developed as a prototype and applied in a mock exhibition space in Edinburgh College of Art with student volunteers. The unique combination of sounds derived from the user’s journey not only allowed the forming of sound sequences but also put the users in an active position to enhance their involvement in otherwise neglected spatial experience. The next step of our research will apply the prototype in museum spaces and explore how the characteristics of different architectural spaces could influence the result.
- Eleni-Ira Panourgia and Jing Zhao, "A Participatory Music Journey in Museum Space", Program booklet of the Twelfth International Conference on the Arts in Society 14–16 June 2017 at the American University of Paris, France. Common Ground Research Networks, Champaign, Illinois, 2017, p.107.
- Eleni-Ira Panourgia, Katerina Talianni and Roxana Karam (Eds.), "Book of abstracts: sIREN Conference Arts and Digital Practices 2017", Program booklet of the International Conference sIREN: Arts and Digital Practices 30-31 May 2017 at Edinburgh College of Art, University of Edinburgh, UK. doi: 10.13140/RG.2.2.21140.35208.
- Contributor in: Remo Pedreschi and Hedda Bjordal. 2017. "Edinburgh Gateway", doi: 10.13140/RG.2.2.14418.56007. Available from: Remo F Pedreschi [https://www.researchgate.net/profile/Remo_Pedreschi], May 22, 2017.
Abstract Full article
Edinburgh Gateway is a new station on the outskirts of Edinburgh connecting the Fife railway line with the tram network.‘The new station, in the west of the city, will help to transform travel options for passengers from Fife and the north giving them easy access to the Edinburgh tram network and the city’s airport. Edinburgh Gateway is part of the Scottish Government-funded Edinburgh Glasgow Improvement Programme (EGIP)which, along with a rolling programme of electrification across the central belt, will deliver reduced journey times and increased capacity and allow the introduction of new faster and greener trains.’ The e station was commissioned by Network Rail (NR)and constructed by Balfour Beatty (BB).Work on the station commenced in April 2015 and was completed in December 2016. The Edinburgh School of Architecture and Landscape Architecture (ESALA) was invited to propose ideas to inaugurate the station and formed a partnership with Concrete Scotland (CS) and Royal Botanic Gardens (RBGE), who were advising on the planting and landscape strategy. ESALA is renowned for research into innovative construction, including research into the use of flexible fabric for concrete formwork. Seeking to contribute to Network Rail’s forward-looking vision for Edinburgh Gateway, ESALA, RBGE and CS developed a proposal for artworks and landscaping that would combine ideas on urban biodiversity, sense of place, innovative construction and community engagement. The final outcome consisted of two main parts - a series of concrete wall panels designed by local school children and a landscaping proposal including abstracted concrete ‘tree’ forms at the entrance to the station. All the concrete pieces used various fabric forming techniques and were produced in the ESALA workshops, Edinburgh College of Art, the University of Edinburgh.
- Eleni-Ira Panourgia. 2016. "Spectrogram Data as System for Making Sculpture", in Proceedings of the GA2016 19th Generative Art Conference (pp. 179-199), Florence, Italy. ISBN 9788896610312.
Abstract Full article
This paper proposes a method for making generative art in the form of a system based on an interdisciplinary approach combining sculpture and sound. I will explore the possibility of using data from the spectral analysis of sounds as instructions for making sculpture. Inspired by Sol LeWitt's principles and ideas for the creation of generative art as system and Francis Halsall’s definition of a ‘system’s identity’ (Halsall, 2008, p. 27), I am investigating ways for creating a new system that will allow the articulation of the above idea. Furthermore, combining Tom Johnson’s (2015) system for composing music after LeWitt’s sculpture Incomplete Open Cubes and Oscar Wiggli’s sculptural and musical work, I will focus on how sequences of sound material could be related to a sculpture. Based on Denis Smalley’s spectromorphology as ‘a descriptive tool based on aural perception’ (Smalley, 1997, p. 107), I will analyze sound samples recorded in the sculpture workshop during the making process and I will focus on their connection to the gestures of the sculptor. In this paper, Smalley’s ‘ideas of onset (how something starts), continuant (how it continues) and termination (how it ends)’ (Smalley, 1997, p. 115) will be reconsidered from a sculptural perspective. Through the realization of a series of practical experiments, I will discuss: a) how actions of making sculpture could be reflected through sound, b) what kind of variations of spectra could inform different actions, c) how different materials could affect the sound samples and d) how the actions of making sculpture could be predefined as sequences through sound material in a systematized way, producing generative outcomes.
- Eleni-Ira Panourgia. 2019. Co-composition processes: form, structure and time across sculpture and sound, Ph.D. Thesis, University of Edinburgh.
Abstract Full thesis
This practice-based research employs sculptural and sound practices, and their mediation through representation, notation, technologies and performance, to develop an innovative compositional process named co-composition, in which physical and sonic material can be concurrently produced, rearranged and transformed. At the core of this thesis is a multi-layered mode of thinking, informed by an understanding of emerging morphologies and the relationships formed between and across the two modalities of sound and sculpture. Taking as starting point materials and their qualities, while engaging with aesthetics and theories of minimalism and sound studies, this research seeks to introduce a co-compositional mode of creative and critical engagement, as the main research tool. Central themes are action, process, trace and time. Moving beyond an approach of forming analogies between modalities, this research explores a mode of navigating across dimensions of sculpture and sound through a dialogue between theory and practice. The methodological approach is reflective and generative, borrowing from both traditions to develop new methods through practical exploration which emerge as part of the research process. Furthermore, analytical tools and technological mediation are employed to inform and expand how co-composition takes place in a solo environment and how this process is experienced by both the artist-performer and audience. The thesis comprises a series of practical works and experimentations on co-composition, and a written text, which is critically engaging with the concepts and the progression of the research.
- 'Sound Thought: Explorathon', Explorathon 2019 European Researchers’ Night, Riverside Museum, Glasgow UK.
- Nautilus vol.3 Festival of Arts, ‘Golden Ratio’ Cultural Association, Keratea of Attica, Greece.
- 'Innovation in Housing' Exhibition of work and research produced in and around the University of Edinburgh, Lang Gallery Minto House, Edinburgh, UK.
- 'Material Fluidity' Exhibition by members of RAFT research group at Edinburgh College of Art and the Craft Cultures research group at Birmingham City University, Tent Gallery, Edinburgh, UK.
- 'Cascade' Exhibition by academic staff at the Centre for Open Learning. Centre for Open Learning, University of Edinburgh, UK.
- Sound Thought Festival: Signal 2019, Centre for Contemporary Arts, Glasgow, UK.
- Critical/Fictional Investigations: Site, Sound and Listening, Edinburgh Sculpture Workshop, UK.
- Sound installation for Maro Bargilli's exhibition 'Futuring the Past', House of Cyprus, Embassy of Cyprus, Athens, Greece.
- Graduates 2014-2017 Exhibition, Athens School of Fine Arts, Greece.
- 30 Video Performances of Athens School of Fine Arts Graduates, Athens School of Fine Arts Theatre, Greece.
- Robert Callender International Residency for Young Artists, Sealoft, Fife, UK.
- Cinetopia: Plastic Man & Grey to Blue, Gallery 23 - Film Sessions, Edinburgh, UK.
- Hidden Door Festival, as part of The Hidden Door Festival presents The Jesus and Mary Chain, Leith Theatre, Edinburgh International Festival, Edinburgh, UK.
- Nautilus vol.2 Festival of Arts, ‘Golden Ratio’ Cultural Association, Keratea of Attica, Greece.
- Group Exhibition 'RSA Open Exhibition of Art 2018', The Royal Scottish Academy of Art and Architecture, Edinburgh, UK.
- Group Exhibition 'Materiality', RAFT Research Group, Tent Gallery, Edinburgh, UK.
- Group Exhibition 'Trading Zone', Talbot Rice Gallery, Edinburgh, UK.
- Group Exhibition ‘Impact through Design 2018’, M.F. Husain Art Gallery, Jamia Millia Islamia, New Delhi, India.
- Nautilus Festival of Arts, ‘Golden Ratio’ Cultural Association, Keratea of Attica, Greece.
- Group Exhibition ‘Impact through Design 2017’, M.F. Husain Art Gallery, Jamia Millia Islamia, New Delhi, India.
- Group Exhibition ‘Impact through Design - An Exhibition’, M.F. Husain Art Gallery, Jamia Millia Islamia, New Delhi, India.
- Group Exhibition ‘Leave No Trace’, Tent Gallery, Edinburgh, UK.
- Group Exhibition 'Research-in-progress' during Edinburgh Festival, Sculpture Court, Edinburgh College of Art, University of Edinburgh.
- Group Exhibition, Syn Festival, Edinburgh, UK.
- Mosaic Group Retrospective Exhibition of the years 2012-2015, Athens School of Fine Arts, Greece.
- Group Exhibition ‘En Méditerranée’, Porto Rafti of Attica, Greece.
- Solo Exhibition, Athens School of Fine Arts Degree Show, Greece.
- Group Exhibition ‘12+1 in action’ in Athens Cultural Centre ‘Melina’, Greece.
- Group Exhibition ‘Atelier Dominique Belloir’, Ecole Nationale Superieure des Beaux-Arts de Paris, France.
- European Group Drawing Exhibition in Bari, Italy.
- Group exhibition ‘City Link: Art and the City’, Athens, Greece.
- Group exhibition of Athens School of Fine Arts students, in Lavrio of Attica, Greece.
- Eleni-Ira Panourgia, "Process / Procedure: performance-installation", Research Workshop of Minto House, ESALA, University of Edinburgh.
- Eleni-Ira Panourgia and Asad Khan, “29.9511° N, 90.0715° W”, Creative Industries Interdisciplinary Conference, Sonic Spaces, Edinburgh Futures Institute, Reid Concert Hall, Edinburgh.
- Eleni-Ira Panourgia, "Process / Procedure: durational", Research Workshop of Minto House, ESALA, University of Edinburgh.
- Eleni-Ira Panourgia, "Enclosure", acousmatic composition, Celebrating Women in Sound at Goldsmiths, the Great Hall of Goldsmiths, University of London
- Eleni-Ira Panourgia, "Process / Procedure", Prokalo seminar series, Research Workshop of Minto House, ESALA, University of Edinburgh.
- Yoann Mylonakis (composer, piano), Eleni-Ira Panourgia (cello) and Pete Furniss (clarinet), "I am the voice of the one crying in the wilderness", electroacoustic composition by Yoann Mylonakis, Reid Concert Hall, Edinburgh.
- Eleni-Ira Panourgia, "Fantasia", composition for small orchestra, Edinburgh Composers' Orchestra, Reid Concert Hall, Edinburgh.
- Eleni-Ira Panourgia (composition for solo cello, guitar and voice and performance, shadow theater production and performance) and Natassa Chelioti (shadow theater production and performance) "Dream within a dream", 8th International Theatre Universiade in Serres, Greece.
- Eleni-Ira Panourgia (composition for solo cello, guitar and voice and performance, shadow theater production and performance) and Natassa Chelioti (shadow theater production and performance) "Dream within a dream", Athens School of Fine Arts, Greece.
- Eleni-Ira Panourgia (composition for guitar and voice and performance, shadow theater production and performance) and Pantazis Tselios (shadow theater performance) "Demeter", Festival of Aeschylus in Eleusis, Greece.
- Eleni-Ira Panourgia (compositions for solo cello and performance) "Open air concert II", Municipality of Saronis, Attica, Greece.
- Olga Drugaleva (piano and cello performance) and Eleni-Ira Panourgia (piano and cello performance and composition for solo piano), "Open air concert", Municipality of Kouvaras, Attica, Greece.
- Martin Parker & Eleni-Ira Panourgia "Crafting a Digital Object", Catalogue of RAFT 'Material Fluidities' Published by Edinburgh College of Art, 2019, pp.42-43, 45. ISBN: 978-1-904443-85-8.
- Eleni-Ira Panourgia "Process/Procedure", Catalogue of RAFT 'Material Fluidities' Published by Edinburgh College of Art, 2019, pp.32-33. ISBN: 978-1-904443-85-8.
- Eleni-Ira Panourgia "sfy", Catalogue of Graduates 14-17 Exhibition Published by Athens School of Fine Arts, February 2019, p.104.
- Editor and translator of exhibition catalogue "Maro Bargilli - Futuring the Past", November 2018. House of Cyprus, Cultural Office - Cyprus Embassy, Athens. ISBN: 978-618-00-0604-9.
- Asad Khan & Eleni-Ira Panourgia “29.9511° N, 90.0715° W”, Trading Zone Catalogue Published by Talbot Rice Gallery, University of Edinburgh, May 2018, p. 9, ISBN 978-0-9955287-5-8.
- Eleni-Ira Panourgia, "Topos", Impact through Design 2017 Catalogue Published by the Department of Applied Art, Faculty of Fine Arts, Jamia Milia Islamia, New Delhi, India. Printcode: 110025.
- Eleni-Ira Panourgia, "Monotype", Impact through Design 2016 Catalogue Published by the Department of Applied Art, Faculty of Fine Arts, Jamia Milia Islamia, New Delhi, India. Printcode: 110025.
- Eleni-Ira Panourgia, "Mural", "K" magazine of the Greek newspaper 'Kathimerini', April 2012, issue 462, p. 60.
- "Galleries: A student show with a difference", The Herald, 25 May 2018.
- "Trading Zone: A public testing ground for exploratory student practice”, Edinburgh College of Art, University of Edinburgh, 21 May 2018.
- "Trading Zone”, University of Edinburgh, 15 May 2018.
- "Students and young learners collaborate on public artwork for Edinburgh Gateway”, Edinburgh College of Art, University of Edinburgh, November 2016.
- "Rethinking concrete formwork”, Edinburgh College of Art, University of Edinburgh, 2016.
- Artwork for the cover of the book "Από μια σταγόνα γάλα [From a drop of milk]", Author Liza Dionisiadou, Publibook editions 2011, 85 p. ISBN 978-2-7483-6265-7.