Associate Professor - Tisch School of the Arts/New York University
BARBARA BROWNING is the author of two academic books ("Samba: Resistance in Motion and Infectious Rhythm: Metaphors of Contagion and the Spread of African Culture") and two ficto-critical novels ("The Correspondence Artist" and "I'm Trying to Reach You"). She teaches in the Department of Performance Studies at Tisch School of the Arts, NYU.
Suzanne Thorpe *
Co-Founder - TECHNE
Suzanne Thorpeis a musician/composer who works in a spectrum of modalities, fixed and improvised, installed and recorded. She plays electro-acoustic flute through an ever-evolving array of analog and digital effects, incorporating laptop upon whim. As an improvisor she has enjoyed performing with Pauline Oliveros, Zeena Parkins, Gino Robair, Chris Brown, Zbigniew Karkowski, Anit-matter, Ulrich Krieger, Miguel Frasconi, Jenny Walsh, Miya Masaoka, and Mazen Karbaj among others. She also has recurring collaborations with Philip White, Stephan Moore, and Bonnie Jones. She has released over 20 recordings on labels such as Sony, V2, Beggars Banquet, Geffen, Specific Recordings, and Tape Drift, and was a founding member of critically acclaimed Mercury Rev, with whom she performed, recorded and toured from 1989 - 2001, earning a gold record for 1998's Deserter's Songs. She can more recently be heard on J Mascis' solo record Several Shades of Why (Sub Pop) and Pauline Oliveros’ Primordial Lift (Lovely Records). Thorpe has been the recipient of residencies and fellowships from Harvestworks Digital Media Foundation, Meet the Composer, NYFA and was awarded the Frog Peak Collective Award for innovative research in the electronic music field. Currently, she is pursuing a PhD in Music/Integrative Studies at University of California San Diego.
Bonnie Jones *
Co-Founder - TECHNE
Bonnie Jones is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised by dairy farmers in New Jersey, and currently resides in Baltimore, MD. Bonnie creates improvised and composed text-sound performances that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken, visual). She is interested in how people perceive, “read” and interact with these sounds and texts given our current technological moment. Bonnie has received commissions from the London ICA and has presented her work in the US, Europe, and Asia and collaborates frequently with writers and musicians including Ric Royer, Carla Harryman, Andy Hayleck, Joe Foster, Andrea Neumann, Liz Tonne, and Chris Cogburn. She received her MFA at the Milton Avery School of the Arts at Bard College.
Joshua D. Pilzer
Assistant Professor- University of Toronto
Joshua D. Pilzer is a scholar of Korean and Japanese music. He is interested in the place of music in the texture of post-colonial Korean life, in music?s social utility and social poetics, in music as alternative history, and in women?s music. He is the author of Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese "Comfort Women" (Oxford, 2012) and is currently conducting fieldwork for his next book project, an ethnography of music and song among Korean victims of the atomic bombing of Japan and their children.
Laetitia Sonami *
Visiting Faculty - San Francisco Art Institute, Mills College, Bard College MFA Summer program
Laetitia Sonami was born in France and settled in the United States in 1975 to pursue her interest in live electronic music. Recent projects include the "Lady’s Spring Spyre"– an uncontrollable controller for live performance, "Sound Gates," a public sound installation on a 2.5 km pier in Rijeka, Croatia, and "Sheepwoman," a live film in collaboration with SUE-C, based on a Murakami novel. Sonami has received numerous awards, including the Herb Alpert Awards in the Arts and the Foundation for Contemporary Performance Award.
Tara Rodgers *
Visiting Assistant Professor of Music - Digital Musics program/ Dartmouth College; Assistant Professor of Women’s Studies and Distinguished Faculty Fellow in Digital Cultures & Creativity - University of Maryland
Tara Rodgers (aka Analog Tara) is a composer and scholar based in the Washington, DC area. She has been making electronic music and writing about sound and audio technologies for over a decade. Her music and sound art has been presented at venues such as Eyebeam (NYC), the Museum of Contemporary Canadian Art (Toronto), the Le Tigre Remix 12″, and in a solo exhibition, “Patterns of Movement: Data and Sound Works, 2005-12,” at Stamp Gallery (Maryland). She is the author of numerous essays on music, technologies, and culture; and founder of the Pink Noises project, a book and former website that document and encourage work by women and girls in electronic music. Pinknoises.com launched in 2000, was updated for a few years, and is partially archived here; it was nominated Best Music Web Site at the 2003 Webby Awards. Pink Noises(Duke University Press, 2010), a related collection of 24 interviews with women DJs, electronic musicians, and sound artists, received the 2011 Pauline Alderman Book Award from the International Alliance for Women in Music. Tara has recently been a Visiting Assistant Professor of Music in the Digital Musics program at Dartmouth College, and an Assistant Professor of Women’s Studies and Distinguished Faculty Fellow in Digital Cultures & Creativity at the University of Maryland, where she founded and coordinated the Women’s Studies Multimedia Studio. She also serves on the editorial board of Leonardo Music Journal and the advisory boards of Sounding Out! and Punctum Records. She regularly gives lectures and workshops in connection with the Pink Noises project, at venues ranging from the Tate Modern (London) and the Winter Music Conference (Miami), to various universities and community organizations.
Associate Professor - Federale Universidade de Rio de Janeiro
Currently working as a Tinker Visiting Professor at the School of Music, University of Chicago, Samuel Araújo has been coordinating joint applied research projects with local organizations at Maré, Rio’s second largest favela. Forming music research groups among local residents, these projects have resulted in multiple outcomes, including public policy interventions, theses and dissertations, individual or collective publications and oral presentations in Brazil and abroad. His publications include the books Música em Debate; Perspectivas Interdisciplinares, a collection of articles by academics and non-academics co-edited with his former students Vincenzo Cambria and Gaspar Paz (Rio de Janeiro, Mauad Editora, 2008) and Guerra-Peixe: Estudos de Folclore Musical e Música Popular Urbana (Belo Horizonte, Ed. UFMG, 2007), a critical edition of the eminent Brazilian composer’s musicological work, besides a number of articles in academic periodicals, the latest of which being “Sound Praxis, Poverty, and Social Participation:Perspectives from a Collaborative Study in Rio de Janeiro”, Yearbook for Traditional Music, Vol. 45, 2013, in co-authorship with Vincenzo Cambria. He is also a co-founder and former president of the Brazilian Association for Ethnomusicology and has served in the SEM’s Council and ICTM’s Executive Board.
Bevin Kelley *
Experimental electronic musician/performance artist
Bevin is an electronic music / multimedia composer and sound designer, violinist and veterinary nurse. Her work can be heard in radio plays, electronic toys, theater spaces, film and television scores, advertisements, clubs, concert halls, headphones, and art spaces. Working solo and in collaboration (with Kristin Grace Erickson as Blectum from Blechdom), she has released a dozen or so records since 1998, on labels such as Tigerbeat6, Orthlorng, Phthalo, and Aagoo. Her fifth solo album (as Blevin Blectum) will be released December 4th 2013, on the Aagoo label. She plans to complete her Ph.D in MEME / Computer Music and Multimedia from Brown University in May of 2014.http://blevinblectum.com
Kristin Erickson *
Experimental electronic musician/performance artist
Kevin Blechdom (born Kristin Erickson, 1978) is an American experimental electronic musician/performance artist from San Francisco, California. She attended Mills College in Oakland, California, where she founded Blectum from Blechdom with Blevin Blectum, an experimental electronic group. In 2001, Blectum From Blechdom won an Award of Distinction for digital music at the Prix Ars Electronica. Blechdom also played in an art-rock band, Adult Rodeo, with her brother lumberob, a.k.a. Rob Erickson, and his wife mephany stankins. They released records on Shimmy Disc and Four States Fair. Kevin Blechdom's solo release Eat My Heart Out features a 13-minute "musical movie" called Countdown to Nothing, a collaboration with Lucile Desamory. Blechdom produced two albums for New York City anti-folk/cabaret group Ching Chong Song; their debut album, Little Naked Gay Adventure, and their second album, Everything is for Babies. Blechdom also performs with Christopher Fleeger as the computer-country band Barnwave. She collaborated with Chicks on Speed on the song "Wordy Rappinghood" from their album 99 Cents in 2003 along with other female musicians such as Miss Kittin, Le Tigre, Adult.'s Nicola Kuperus, and Tina Weymouth of the Tom Tom Club."Wordy Rappinghood" became a moderate dance hit in Europe, peaking at number five on the Belgian Dance Chart, and at number sixty-six on the UK Singles Chart.In 2011 she was artist in residence at WORM, a Rotterdam based institute for avant garde music and art.
Maria Chavez *
Improviser, sound artist and curator
Born in Lima, Peru, Maria Chavez is mainly recognized in the art community as an improviser, sound artist and curator. Her sound installations, visual objects and live turntable performances focus on the values of accidents and it’s unique, complicated possibilities with sound emitting machinery like the turntable. Influenced by improvisation in contemporary art, her work expands outside of the sound world straddling different disciplines of interest. This year, Chavez wrote and illustrated her first book object entitled, Of Technique: Chance Procedures on Turntable. The book serves as a how-to manual for those interested in learning the abstract turntablism techniques that she developed with the turntable. “While the contents of the book serve a practical means, the book as a whole is intended to be an interactive art piece.” This book is considered the first sound related release by Chavez since her solo album release on Pitchphase in 2004. Chavez also works as an independent sound art curator in NYC, collaborating with various organizations and art spaces, helping to produce events and festivals that present the latest of what is being shown in the sound art world. Being an independent curator helps to expand Maria’s artistic research when developing new projects for her own practice. She was awarded the Jerome Foundation’s Emerging Artist Grant by New York’s Roulette Intermedium in 2008, and in 2009 she became a recipient of the Van Lier Fellowship by The Edward and Sally Van Lier Fund of the New York Community Trust. Maria was an artist in residence with the Merce Cunningham Dance Company, the Clocktower and the DIA:Beacon Museum. She has worked with Christian Marclay and the Whitney Museum of American Art in NYC as part of Christian Marclay: FESTIVAL and has shared the stage with renowned artists such as: Pauline Oliveros; Thurston Moore; Lydia Lunch; Phill Niblock and Otomo Yoshihide. Currently, Chavez has been awarded the St. Luke’s Chamber Ensemble commission to present a new sound piece in 2015 at the Brooklyn Museum of Art. She has recently returned from a 3 month solo European tour, presenting her work in different museums, arts spaces and performance venues in Germany, Switzerland, Spain, Austria and the U.K. Check out the December issue of the Wire magazine where she is the “Invisible Jukebox” interviewee with writer Kurt Gottschalk.
Participants marked (*) are featured in our OPENSIGNAL artist collective series. See link to the right for more details.