I am an Assistant Professor of Performing Arts Technology at the University of Michigan. My work investigates new tools and theories for multimodal worldmaking using a variety of media ranging from electronic music to virtual reality. Previously, I was a postdoctoral research associate at the University of Illinois at Chicago's Electronic Visualization Laboratory, where I led research projects on human-computer interaction and immersive audio in virtual reality contexts. Prior to this appointment, I worked as a faculty member of the Istanbul Technical University, Center for Advanced Studies in Music, where I founded the Sonic Arts program. I completed my PhD at Leiden University in affiliation with the Institute of Sonology in The Hague, and the Industrial Design Department at Delft University of Technology. I hold an MSc degree in Multimedia Engineering from the Media Arts and Technology Department at the University of California, Santa Barbara. My work has been presented throughout the world in leading journals, conferences, concerts and exhibitions. I have been granted several awards and scholarships, including the Audio Engineering Society Fellowship, and the ACM CHI Artist Grant.
Synthcity is an upcoming generative audiovisual installation. By computationally blending everyday figures and textures, it synthesizes extremely unrealistic versions of a city using its real landscapes, objects, sounds and people. Synthcity will be premiered at ISEA 2017 in Manzales, Colombia.
Distractions: a kinetic sculpture that utilizes inaudible frequencies to visualize invisible electromagnetic signals that surround us in daily life. It highlights some of our routine sources of distraction in their raw forms using a single physical artifact that brings together together data sonification and visualization.
Node Kara is a mixed-reality installation, which brings together body-based human-computer interaction, live video processing, and stochastic audio synthesis. By adopting the process of blurring both as a theme, and a technique, Node Kara obfuscates the causal link between an interactive artwork and its audience. The deblurring of the audiovisual scene through the visitor's embodied presence becomes an attracting force that invites the viewer to unravel the underlying world of Node Kara.
Birdfish is the second piece of a tetralogy on evolutionary phenomena. In two movements, it explores organic forms that transcend the surface of the ocean.
Temas is a stochastic audiovisual performance. The software underlying Temas integrates the artist into a generative system as a module of analysis. Temas stochastically traverses the fine line between the organic and the synthesized, forming contacts with representationality. Each of the work's five sections utilizes a different layer of audiovisual worldmaking that situate the audience and the performer at various points inside the implied universe of the narrative. As the perspective shifts, abstract forms take on representational duties, and alter the nature of immersion.
"Diegesis is utilized as a paradigm to explain the tension/interaction between near and far while questioning the extents to which the listener is inside or outside the musical material." (Çamcı 2013). With an homage to Roads' homage to Subotnick, and a citation of Beethoven.
A Christmas song for a world that no longer exists, as crooned by the Anti-Santa strolling a wasteland formerly known as Earth: A repurposing of Tin Men and The Telephone's celebrated Christmas album.
I.N.T.O.: Series of still images and videos. This work was repurposed as a visual language for the Istanbul band Fakap.
Diegesis as a Semantic Paradigm for Electronic Music [Canadian Electroacoustic Community eContact! Journal 15.2]
The opening speech to the piece is from a broadcasting of the 2006 solar eclipse, which was viewed in its totality at various locations in Turkey. As an out-of-place experiencing of this bewildering event, not through the eyes of the man but the machine, the piece depicts "a phenomenon impossible to photograph".
Element Yon explores the spectral and the spatial domains to animate a narrative between the abstract to the non-non-representational.
Traversing a voice recording of the composer introducing himself, this work depicts an acquaintance process in a foreign land, in 3 movements, each observed from a different perspective (third, first and second person respectively).
Miniature SF: Series of still images of a minituarized San Francisco.
Insectarium: Interactive multimedia work that explores the user-driven formation of insect visual-forms and sounds. This work is a part of the artist's tetralogy on evolutionary phenomena.
A Cognitive Approach to Electronic Music: Theoretical and Experiment-based Perspectives [Proceedings of the International Computer Music Conference 2012]
Rorscach Network: Generative visuals.
A work in 5 movements which are ordered as V-I-II-III with the fourth movement yet to be discovered; an unreconstructed aftermath.
Gibs Auf!: Audiovisual piece based on a generative scrambling of Franz Kafka's short story Gibs Auf!
An unresolved mistery in two movements that mimick one another. In 2008, Do you remember Rob Nolasco? was used for the short film A Case of Stairs, in collaboration with Aydintug and Wikstol.
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