The first performance of “Vermilion Sands” was at the London Contemporary Music Festival 2015. The “Vermillion Sands” project has been in development for many years and has partially inspired my experiments with modified sitars and electronics and influenced the artist-led space, Usurp Art, that I run in West Harrow, a neglected suburb of London. It is inspired by the rich and symbolic short stories by J.G. Ballard, that are imbued with sound, written and published over a number of years and in the anthology, Vermillion Sands. I am also researching Ballard’s manuscripts at the British Library, and specifically his notes and marks on an abandoned manuscript for Vermillion Sands for a series of graphic scores for new compositions and performances. The first score is primarily inspired by the Prima Belladonna and Venus Smiles stories that conjure up singing plants, “choro-flora,” a glowing “mutant diva,” and music that becomes optical. The performance is based upon interacting with four light reactive instruments that I created and named the “senso-stamens,” which are covered in unstable reactive flowers. I am also seeking to resist the destructive, female archetypes personified by Ballard. In 2016–17, I will be developing this project further in India, thanks to support by the Arts Council England and the British Council. A link to the excerpt from the first live performance is here, along with other links to my work: youtube.com/watch?v=QPK-xyvkiD8