Trained in electroacoustics, music and a little evolutionary robotics, Sarah Angliss specialises in creating original sound installations, exhibits and live performances that mix cutting-edge science with vintage sound technology and little-known stories from the history of science.

Sarah has been mixing her interests in engineering, music and making exhibits since her childhood in the 70s.  In the long summer holidays, Sarah used to build mini cable-cars across the garden and put together soundtracks about futuristic trips to the moon.

Regularly featured in the national press, Sarah's solo and collaborative work exploring infrasonic music, Category 4 diseases, cyborgs, the uncanny valley, genetic privacy, extreme reverb, evolutionary music, dogs in space, hurdy gurdies, Swinging London and a host of other topics has been seen and heard at venues throughout the UK.

Sarah is a regular performer, particularly known for her skills on the theremin and musical saw.  Most recently, she has been seen performing alongside the 'polite robot thereminist' Clara 2.0.  She has put together many sound installations and exhibitions, teaming up with, amongst others, Tim Hunkin, Colin Uttley and Richard Wiseman.

In 2002, Sarah initiated and led Infrasonic, a research project funded by the Sciart Consortium that explored the curious emotional effects of extreme bass sound.  Culminating in a live experiment during a concert in London's Purcell Room, Infrasonic sought to explain why some people feel a sense of awe when they listen to cathedral organ music or a sense of unease in ostensibly haunted sites.

Two of Sarah's recent interactive sound shows, Senster (funded by the Wellcome Trust) and The Haunt, were shortlisted as 'standout shows' of Brighton Festival 2006.  Science reporter Roger Highfield described Sarah's electroacoustic cabaret act as 'tremendous fun - eerie, evocative and hilarious'.

Sarah took part in Death@Dana in November 2006, and in Be Afraid, Be Very Afraid at the Dana Centre in November 2007.