Kami follows a sequence of migrations through the twentieth century to the present day, one movement for each. Every migration leaves a residue: in the circumstances it creates, in emotional qualities, in the way a person comes to see the world. The piece is concerned with that psychological experience rather than with the history itself.

Each movement takes a behaviour of wind on the planet as its metaphor: air that rises, gathers into pressure belts, cuts across, drifts and finally settles. Wind is movement from one place to another, a force that carries people, objects and feeling across distance.

Utility: Arrival of Light in Dispersed Localities is an audiovisual performance piece that explores digital communication as a means of access to individuals, places, and varying points of time. Localities express the idea of light as a point of arrival and the initial formation of a bond between two people. The piece explores the textural quality of many such points of arrival and new bonds over time. It was developed in collaboration with composer Sebastian Sack.

The work approaches digital communication through sample processing, voice manipulation, and the creation of algorithmic performance environments. Generative performance systems and human-computer interactivity are at the heart of the project and its execution. Throughout the performance, Krajian and Sack each play their own computer, and the two computers communicate with one another by passing audio signals between them. Generative, bell-like sounds represent the transfer of data, which travels from one source to various destinations over the course of the piece.

ENERGIA is an EP written and produced by Samvel Krajian under the alias SÆMOSAMO. Across five electronic narrative pieces, it traces growth as it takes place both online and IRL. Its conceptual framework draws on storytelling, identity multiplicity and an organic-digital hybrid existence.

Writing the EP meant venturing deep into intimate cavities of the self. Krajian took every opportunity to insert himself into the work, so that his hand, personality and essence sit within its seams. The project explores genre fluidity, maximalism, web sampling and instrument creation in pursuit of a sound true to his aesthetic aspirations and technological interests.

Each of the five tracks holds its own world of references, sonic environments, memories and musical language. That diversity — the many multitudes within one person and one life — stems from a continued departure from the physical world toward environments and relationships online.

Histories Nevermade, for cello and live electronics, addresses communities whose histories were erased from national memory. It premiered with cellist and composer Dylan Tyree at the USC Fisher Museum of Art as part of the Visions and Voices series.

Linden is a four-voice generative MIDI device for Ableton Live built on Lindenmayer systems, the mathematical models originally developed to simulate the branching growth of plants. You play a seed phrase into the device; Linden rewrites it according to botanical growth rules, evolves it over time, and sends the result back as MIDI, without recording a single note.

Each of the four voices runs its own L-system engine, with its own loop sequencer, scale quantizer, rhythm quantizer, playback transform and evolution system. Voices can be linked or decoupled at every stage, so Linden works as a single generative line or as a four-part living composition.

Notes played into Linden are stored as a seed sequence: a short phrase of pitches, velocities and durations. On each loop cycle the engine applies a rewrite rule drawn from botanical growth models. Each symbol in the sequence expands, branches or transforms according to the rule, producing a longer or altered phrase, and the process repeats each generation.

The evolution system goes further. On a schedule the player sets, it selects a single note from the current sequence and nudges its pitch, velocity and duration according to the active rule's biases. Over many cycles the sequence drifts and mutates while remaining musically coherent.

The Drum Instrument Suite is a ten-voice techno drum machine in the classic layout: bass drum, snare, low and high tom, rim shot, hand clap, closed and open hi-hat, crash and ride. Every voice is synthesized from scratch as a Max/MSP gen~ engine and packaged as a Max for Live device. Nothing is sampled. Each hit is computed in real time from a bank of musical parameters, so the sounds are not recordings of drums but models of them: tunable, deterministic and alive.

The ten voices run on eight engines. The two toms share one engine and differ only in tuning, and the closed and open hats are two playing modes of a single hi-hat. The intent across the kit is a modern, tight, controlled sound in which every element is deliberate and editable.

APAKI explores the nexus between art, technology and human expression. The project uses AI and generative algorithms to orchestrate digital artworks and live audiovisual performances, with Krajian, the artist, and AI as integral participants. It generates a dynamic canvas that combines sound, visuals and human gesture, in which each component influences and alters the others.

The core of APAKI is a "brain" that traces and responds to live physical movement, and keeps learning. It builds its understanding of the artist's own associations between sound, image and gesture through saved states: each state captures the position of the hands together with the audio and video parameters of that moment, so a gesture, a sound and an image are stored as one. Computer vision follows the performer's hands, from the subtlest nuance of a gesture to the full weight of the music feed.

The interaction runs in both directions. APAKI treats sound as a physical phenomenon, changing the visual properties of an image according to the system's reading of the audio. In turn, the visuals act on the sound, producing a fluid, evolving audiovisual result in which every layer is connected.

AI is often presented as an opaque box: misunderstood and seemingly impenetrable. APAKI takes the opposite image, a clear pane of glass that lets light through. Krajian's aim is to make the technology legible, and to show it as an instrument that extends human creativity rather than an enigma that replaces it.