Penelope Bekiari is an artist-researcher, sound artist, and Creative Technologist specialising in human-centred AI for music, embodied interaction, and adaptive creative systems. She is a PhD student exploring the dynamic relationship between sound, technology, and the human body. She holds a Master’s degree in Electroacoustic Composition from the University of Manchester and a degree from the National and Kapodistrian University of Athens (NKUA).

Her work has been presented at international festivals, conferences, and institutions, including Ultima – Oslo Contemporary Music Festival, EASTN-DC (Cardiff), MANTIS (Manchester), CIME/ICEM (Montpellier), Spatial Audio Gathering (Leicester), SMC (Porto), MA/IN Festival (Rome), BEAST Festival (UK), the Institute for Data Science (Manchester), the Greek National Opera, and the Athens Concert Hall.

Recent projects and distinctions include the Art of Neuroscience 2025 Prize, awarded by the Netherlands Institute for Neuroscience for Rustle, an immersive electroacoustic performance integrating real-time EEG and heart-rate data with Python-based machine learning to dynamically shape audio-visual processes. Her recent work also includes Permeable Signal, presented at Sonorities Festival and PROCESSES Festival (2025–2026), and Rhoē No. 1 for piano and live bio-electronics, presented at BEAST and the Athens Contemporary Music Festival (2024–2025). She was also Artist in Residence at the Greek National Opera (2024–2025), in a programme funded by the European Commission.

Her practice examines how physiological data, adaptive artificial intelligence, and sound can function as compositional and performative agents within contemporary artistic practice. Her research engages with EEG-based musical interaction, neuroaesthetics, electroacoustic composition, physiological computing, embodied cognition, and human–machine interaction. Through the integration of biosignals including EEG, heart rate, galvanic skin response (GSR), breath, movement, and gesture, she develops adaptive sonic systems that investigate distributed musical agency, accessibility, performability, and the relationship between cognition, embodiment, and sound. Her current interests extend to music and wellbeing, ageing, accessibility, and inclusive creative technologies, with a particular focus on developing human-centred musical systems that support agency, engagement, and quality of life across diverse populations.