Composer, intermedia artist and performer. The focus of his artistic work lies in the composition of performative electronic music, mostly in audiovisual contexts. Interactive video, light design and laser graphics often play an integral part in his compositions, just as well as elements of ergodic or transmedia storytelling and speculative fabulation. 

Ciciliani is a Professor for Computer Music Composition and Sound Design at the Institute for Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts in Graz. He conceived and led the artistic research project GAPPP from 2016–21, in which with a team of artists/researchers he investigated the artistic potential of elements from computer games. In 2014, 2016 and 2018 Ciciliani taught composition at the Darmstadt Summer Courses for Contemporary Music. He was also the artistic director of TimeCanvas@DeSingel festival in Antwerp. 

His music has been performed in more than 45 countries across Eurasia, Oceania and the Americas. The interdisciplinary character of his practice is reflected in his works’ presence at festivals and in concert series representing different artistic profiles, such as Experimental Intermedia (New York), Club Transmediale (Berlin), SuperDeluxe (Tokyo), Ibrasotope (São Paulo), and Findars (Kuala Lumpur), as well as post-avantgarde music festivals such as Donaueschinger Musiktage, Wien Modern, Ultraschall Berlin, Huddersfield, and Maerzmusik (Berlin), as well as media art events: Ars Electronica (Linz), Glowing Globe (Rijeka), and iMAL (Brussels). 

Ciciliani was the selected artist of the European Art – Science – Technology Network for Digital Creativity in 2020–22. 

Selected works (since 2000): Fabric Reverie for chamber orchestra, CD and reciting conductor (2000), Pavillion for string ensemble / string orchestra (2000), Voor het Hooren geboren for soprano and four instruments (2000), Homerun for alto and eight instruments (2001), Matrosen, Lepkranke, Opiumraucher for viola (2001), O. for ten pianos (2001), Dindon for accordion, electric double bass, electric guitar and electronics (2002), Travelogues for three musicians and soundtrack (2001), Mask for no-input mixer (2002), Just because you are not paranoid... for violin, large ensemble, live electronics and lighting (2003), Singboard-Billboard for tenor saxophone and three percussionists (2004), Sequenced Seizure for string quartet (2004), Spice Melange for nine musicians and comedian (2005), Refract-Reflux for flute and live electronics (2005), 81 Matters in elemental Order for no-input mixer (2006), Quartz Stalagnat, performance for recorder and electronics (2006), Crash for singing percussionist and soundtrack (2007), Going to Hell for voice, electric violin, percussion and live electronics (2009), Black Horizon for two table-top guitars and four players (2009), muzArt, version for chamber orchestra with live electronics (2010), Screaming my Simian Line for voice, electronic violin, percussion and live electronics (2010), My Little Vegas for electronics (with G.K. Sharma, 2013), LipsEarsAssNoseBoobs for electronic violin, percussion, keyboard, live electronics and video (2014), Points of Audition, soundtrack (2017). 

Installations and sound art (since 2013): Homo Ludens for a motion-tracked dancer, string quartet and game system (2013–14), Intersection for live video, live electronics and lighting (2013), Formula minus One for e-violin, live electronics and live video (2014), PopWall Alphabet, transmedia work in 26 parts (2011–15), STEINA for violin, live-generated electronics, video and laser graphics (2015), Via for electronics and lighting (2015), Audiodromo for four percussionists, live electronics, live video and lighting (2016), Timpanic Touch, multisensory piece for two performers and game system (2017), Chemical Etudes for Monome 256 interface and live electronics (2018), Kilgore’s Resort, interactive installation: navigating avatars through virtual landscape with a joystick (2018), Anna & Maria, audiovisual intermedia work (interactive installation and a series of performances based on ergodic storytelling) for electric violin, baroque violin, real-time generated sound synthesis, video projections and light design (2018–19), Rave Séance, audiovisual installation (2020), Gunned Down for video and electronics, commentary on R. Kjartansson’s Tod einer Dame (2020), Why Frets?, a series of three works—aspects of a fictional history of the electric guitar: Requiem for the Electric Guitar – performance-lecture, Tombstone, installation (2021), Downtown 1983 – audiovisual performance (2020–22), SkylAR for two performers with triple projection, multidirectional spherical speakers, live-streaming and live electronics; intermedia show accessed through five comic posters (2020–23).