Bios

James Annett

James Annett is a multi-instrumentalist and composer currently based in Montreal. His music explores the intersections between diverse styles of music including jazz, contemporary and experimental rock music. His artistic practice is based in improvisation and also incorporates dance and interactivity. He has performed alongside Roscoe Mitchell, Malcolm Goldstein, as a member of the Ratchet Orchestra and in his trio Say Spirit with Colin Fisher and Josh Cole. He performs regularly at events and festivals in Canada including FIMAV, Suoni Per Il Popolo and the Off Jazz Festival.

Scott Carver

Scott Carver (they/them) is a sound artist, composer, and software developer, specialising in synthesis, spatialisation, and control systems for music performances and installations in their own music work and in collaboration with artists like Ebb Bayley, Christopher Kulenduran Thomas, Lauryn Youden, and Nicolas Varchausky. They have worked as software developer for 15 years, specializing in audio and video render engines, and scripting language design and runtimes for artistic tools. Most recently, they collaborated with Ebb Bayley on the show Bog Bodies, where they designed and built a portable 24 channel sound system, and used machine learning and granular feedback networks in SuperCollider to create an immersive installation and a live sound performance of a hyperstitional folkloric vocal choir. They acted as the lead programmer and co-director of Christopher Kulenduran Thomas’s Safe Zone - a 26-channel video installation built with SuperCollider and TouchDesigner, that generatively edits an archive of over 20,000 video clips together into a continuous video stream over the course of the day (https://www.wiels.org/en/exhibitions/safe-zone).

Alberto de Campo

Alberto de Campo is a musician, composer, and artist, and since 2009, Professor for Computational Art at the University for the Arts Berlin (UdK). He studied composition, jazz guitar, and computer music, and is giving talks, workshops and concerts internationally at universities, conferences and festivals. At UdK Berlin and with the Society for Nontrivial Pursuits, he explores the possibility spaces of programming as an artistic practice, often by creating systems with complex behavior that can be influenced by performers. He still has a floppy disk with SuperCollider 1.0.

Dustin Donahue

Dustin Donahue is a percussionist dedicated to contemporary chamber music. He regularly performs with the Partch Ensemble, Wasteland, and ECHOI, and frequently appears with the International Contemporary Ensemble. He has performed for many of North America’s top presenters of chamber music, such as the Los Angeles Philharmonic’s Green Umbrella series, Lincoln Center’s Mostly Mozart Festival, the Ojai Music Festival, the Festival Internacional Cervantino, and the Park Avenue Armory. He appears on releases for Mode, Decca, Stradivarius, and Populist Records. As an advocate for contemporary music, he frequently collaborates with living composers, such as recent projects with Carolyn Chen, Laure Hiendl, Bruno Ruviaro, Steven Takasugi, and Yiheng Yvonne Wu. He is currently Assistant Professor of Percussion at the University of Maryland - Baltimore County.

Rohan Drape

Rohan Drape (b. 1975) lives in a northern suburb of Melbourne. He studied composition and computer music with John McCaughey. His work has been commissioned, collected, installed and performed by the National Galleries of Australia & New Zealand & Victoria, the Melbourne International Arts Festival & the Biennale of Sydney, the Astra Chamber Music Society and Speak Percussion, the Neuer Aachener Kunstverein & the Kunstlerhaus Bethanien, and the Universities of Melbourne, Ballarat & Wellington.

Drew Farrar

Drew Farrar is a composer, guitarist, and educator from St. Louis, Missouri, currently based in Baton Rouge, Louisiana. Farrar’s music often incorporates physical movement, quotation, and spectral techniques to explore concepts of agency and otherness. His works have been performed by the RE:duo, Confluss Duo, the Illinois Modern Ensemble, and New Music Mosaic. Farrar also performs regularly as a guitarist with performances at CHIMEfest, New Music on the Point, and the 21st Century Guitar Festival. An avid improviser, he has performed with Renee Baker, Adam Shead’s Adiaphora Orchestra, the Avant-Gardians and Illinois Improvisors Exchange. Farrar received his M.M. in composition at the University of Illinois at Urbana-Champaign, where he studied with Dr.s Rick Taube, Erik Lund, Kerrith Livengood, and Carlos Carrillo. He received his M.M. in Guitar Performance from the University of Illinois at Urbana-Champaign where he studied with Dr. Guido Sanchez-Portuguez. He is currently pursuing a Ph.D. in Composition at Louisiana State University where he studies with Dr.s Mara Gibson, Jesse Allison, D.J. Sparr, and Christopher Trapani. Current research interests include effects pedals, spectralism, computer assisted composition, and interactive sound installation.

Eli Fieldsteel

Eli Fieldsteel is a composer, sound artist and creative coder. He is Associate Professor of Composition-Theory at the University of Illinois, where he also serves as Director of the Experimental Music Studios. His music and research engage with the intersection between technology and live performance, focusing on human-computer improvisation, musically interactive systems, and sensor-driven music. He has a rich history of interdisciplinary collaboration, working closely with dancers, choreographers, lighting designers, architects, and visual media artists, resulting in a variety of unique instruments and site-specific installations and performances. He is the recipient of a 2018 Klingler Electro-Acoustic Residency at Bowling Green State University, the 2014 James E. Croft Grant for Young and Emerging Wind Band Composers, and first prize in the 2012 ASCAP/SEAMUS Student Commission Competition. His music has been performed nationally and internationally by ensembles such as the Dallas Wind Symphony, the North Texas Symphony Orchestra, the Kawagoe Sohwa Wind Ensemble of Tokyo, and the University of North Carolina Chapel Hill Wind Ensemble. He maintains an active teaching presence on YouTube through a well-trafficked series of SuperCollider tutorial videos and has also written a comprehensive tutorial and reference book titled SuperCollider for the Creative Musician: A Practical Guide (2024), published under Oxford University Press.

Kosmas Giannoutakis

Kosmas Giannoutakis is a composer, media artist, computer musician, and researcher. He holds a PhD in Electronic Arts from the Rennselaer Polytechnic Institute (RPI) and a Master of Arts in computer music at the Institute for Electronic Music and Acoustics (IEM). His artistic and scholarly work explores alternative modes of musicking, intra-acting with contemporary advancements in technology, including Artificial Intelligence and Distributed Ledger Technology, as well as theoretical frameworks, such as critical posthumanities and speculative materialisms.

Bruno Gola

Bruno Gola is a Brazilian computer artist, sound artist and musician based in Berlin. he worked as a programmer in São Paulo before moving to Berlin in 2015, where he studied Art and Media, developing his practice in building and programming systems for live audio-visual improvisation and interactive installations. Since 2023 he works as assistant professor in the context of the Generative Kunst / Computational Arts class at the Berlin University of the Arts.

Maxwell Gong

Max Gong is an improviser, pianist, and electronic musician based in Baltimore. The primary focus of his work revolves around the design, implementation, and performance of a custom software-based electronic instrument that he interacts with via various hardware controllers. Drawing on his experiences as a pianist and trumpeter, he seeks to combine digital sound synthesis and signal processing with an intuitive, interactive, and integrated live performance practice. While pursuing his master’s degree in Computer Music at Peabody, he founded the Peabody Improvisers Collective, a student-led experimental improvising ensemble of students from various departments and performance backgrounds. He is also a member of Baltimore’s experimental music collective HighZero Foundation.

Tom Hall

Tom Hall is a UK-based Australian composer, performer and writer on music with a particular interest in combing live and fixed electronics with instrumental ‘acoustic’ music. A veteran worker with SuperCollider, his projects and music have been presented at several past SuperCollider conferences. His writing on SuperCollider is represented in the MIT Press ‘The SuperCollider Book’, including a new co-authored ‘Notations’ chapter in the forthcoming 2nd edition. Much of Hall’s music combines composed, algorithmic and improvisatory elements often using multichannel sound or individually experienced immersive mobile sound. Collaborative and practice-based work tends to share some form of digital musical notation with audiences. Fixed musical works often centre around the human voice and text, including those of author Gerald Murnane. Tom Hall’s musicological work is centred on aspects of early tape, electronic and UK computer music. He has written on the collaborations between Harrison Birtwistle and Peter Zinovieff and is responsible for the Peter Zinovieff Archive housed at the University of Surrey. Other research interests encompass the music of John Cage and Morton Feldman, including works involving technology. Tom is Programme Director for the BMus (Hons) degree in Creative Music Technology in Music and Media at the University of Surrey. www.ludions.com

James Harkins

Dr. H. James Harkins, Associate Professor in the Modern Music and Theater Academy of Xinghai Conservatory of Music in Guangzhou, China, composes and performs electronic music, writes software for computer music performance, and teaches electronic music production, interactive media and sound design. His recent electronic music activity focuses on an ongoing live-coding improvisation project, /Process Prototype/, most recently heard at the Guangzhou International Outdoor Performance Festival, December 2018 and 2019 and January 2024, in Xinghai Conservatory in June 2019, Enlightening performance space (Guangzhou, May 2024), Synap Lab (Bangkok, July 2024), Jodo Space (Shanghai, July 2024), and Haktang performance space (Guangzhou, August 2024). Dr. Harkins studied composition at Butler University with Michael Schelle, and Duke University with Scott Lindroth, Stephen Jaffe and Sidney Corbett. He has performed and lectured in Washington DC (USA), Birmingham (UK), Guangzhou, Beijing, Shanghai and Nanning (China), Seoul, S. Korea and Tokyo, Japan, and joined the faculty of Xinghai Conservatory in 2010.

Bonnie Lander

Bonnie Lander is a vocalist and violinist specializing in improvisation, experimental music. With a “signature ability to embody a seemingly endless supply of vocal timbres and personalities” she uses the full palette of the voice for extreme sonic and emotional expression.

Bonnie is an organizer and performer with the High Zero Foundation in Baltimore, MD. She has performed across the US and abroad at the High Zero Festival for Experimental Improvised Music, the Big Ears Festival in Knoxville (Spring 2025), Now Now Festival (Sydney, AUS), NMASS Festival (Austin), Omaha Under the Radar, SEAMUS, ICMC, and the Darmstadt International New Music Festival. She was cofounder and performer with Rhymes With Opera for 14 years, commissioning and premiering more than 25 new works for chamber opera.

Lander holds a DMA in Contemporary Vocal Performance from UC San Diego where she studied improvisational performance and composition with Pulitzer Prize winning composer Anthony Davis, with whom she premiered several operas.

She is a frequent collaborator with artists Ruby Fulton, Sam Pluta, Shelly Purdy, John Dierker, Paul Pinto, and Kayleigh Butcher.

Sarah Lecompte-Bergeron

Sarah Lecompte-Bergeron is a Montreal based sound artist. Their creations draw from percussion music, traditional animation and digital music. Through audiovisual installations and performances, Sarah creates customized systems, sounds and spaces to explore relationships to technology, human and non-human communities, and death. As an active performing musician in Balinese Gamelan, Scottish Pipes and Drums, and metal bands; group interaction in musical contexts is a core concern in their creation process. Their work explores interactions with virtual bandmates and improvising agents. They are affiliated with the music research groups Laboratoire Formes • Ondes (LFO), Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Observatoire intedisciplinaire OICRM and involved in contemporary Balinese Gamelan communities in Canada as well as abroad (Giri Kedaton, Insitu Recordings, Sanggar Seni Naradha Gita). Sarah is currently undergoing graduate studies at Université de Montréal in Musique: Composition et création sonore with Dominic Thibault and Nicolas Bernier.

Christophe Lengelé

I am a spatial sound designer and performer for electronic and experimental music. I particularly focus on the development of live experimental audio tools and interfaces built from open source softwares like SuperCollider. After studying law and economics and working as a marketing and market analyst in international companies for a few years, I trained and worked from 2008 to 2012 at the Municipal Conservatory Georges Bizet of the 20th district of Paris and obtained a Master of Arts in computer music at Université Paris-Est Marne-la-Vallée in 2014 and a Doctorate in music (composition and sound design) at Université de Montréal in 2022. Then, I followed a postdoctoral research/creation in spatial improvisation at Université du Québec à Montréal until august 2024. I seek to bring together the spheres of composition and improvisation and focus on performing variable spatio-temporal pieces with a global custom live tool. I have been regularly developing this tool since 2011, in order to “play the place and the music at the same time”. My spatial research, which questions ways of associating rhythmic and spatial parameters, is based on the concept of free and open works, both from the point of view of form and in the diffusion of open source code (https://github.com/Xon77/Live4Life). My works have been presented and performed internationally, particularly at the International Computer Music Conference (2018, 2021, 2024), during the Journées d’Informatique Musicale in France (2017, 2019), at Akousma Festival 2021 (Montréal, Canada), as well as at Cube Fest 2022 (Virginia Tech, Blacksburg, USA), at Gala Hexagram 2023 (Montréal, Canada), and more recently at Ateliers Belleville (Montréal, Canada) in 2024. I am the recipient of several research-creation grants.

Kerrith Livengood

Kerrith Livengood’s works have been performed at the Australasian Computer Music Conference, NYCEMF, SEAMUS, KISS 2018, ACO’s SONiC Festival, June in Buffalo, Bargemusic, CCM’s MusicX festivals, the North American Saxophone Alliance annual conference, the Atlantic Music Festival, the Contemporary Undercurrent of Song series, the Cortona Sessions, and Alia Musica Pittsburgh’s Conductors Festival. She has composed works for the JACK Quartet, Third Angle Ensemble, Dana Jessen, Duo Cortona, Altered Sound Duo, mezzo-soprano Jennifer Beattie and pianist Adam Marks, soprano Amy Petrongelli, and the h2 Quartet. Her works feature unexpected musical forms, controlled randomness, lyricism, noise, and humor. Her string quartet This Is My Scary Robot Voice, recorded by the Beo Quartet for their album Heart Sleeve Triptych features speech rhythms intoning an anxious inner monologue, which the New York Times described as “sketchy seeming.” Kerrith’s set of Four Jennifer L. Knox Songs including “Hot Ass Poem” for mezzo-soprano, flute, and piano features shouting, theatrical ogling, and pretty bird-like flute chirps. Her recent ambient album In The Name Of the MOON was released last January by Neuma Records. Kerrith is also a flutist, drummer, and improviser. She has premiered many new works by young composers with members of the JACK Quartet, eighth blackbird and the American Modern Ensemble, and once played a wild duet in concert with Anthony Braxton. She previously taught composition and music theory at the University of Illinois (Urbana-Champaign). Kerrith is Managing Director of the New Music On The Point Festival, an annual summer festival for contemporary and experimental music and collaboration.

Fellipe M. Martins

Fellipe Miranda Martins is a PhD candidate in Sonology at the School of Music at the Federal University of Minas Gerais (UFMG), with an exchange period at the Institut für Elektronische Musik und Akustik (IEM) in Graz, Austria. He holds an MSc in Music from UFMG and graduated in Electrical Engineering from the same institution, also completing an exchange period at the Sonology Institute of the Royal Conservatoire in The Hague, Netherlands. His research and artistic production intersect the boundaries between art and science, encompassing algorithmic composition, audiovisual installations, automata development, visual music, generative animations, glitch, spatial audio, and live electronics, among other fields.

Thor Madsen

Thor Madsen is a versatile musician and technologist based in Copenhagen, known for his innovative approach to integrating digital tools with live performance. With a rich background in jazz, experimental music, and composition, Thor has performed internationally and collaborated with a wide array of artists. His work bridges the gap between traditional musicianship and technology, focusing on real-time interaction and improvisation. As the creator of Thormulator, a real-time interactive performance system, Thor continues to explore the possibilities of technology in music. He is also an experienced educator, sharing his knowledge of music technology and improvisation with the next generation of musicians and technologists. Thor’s work is driven by a passion for experimentation and a commitment to pushing the boundaries of what is possible in live music performance.

James McCartney

James McCartney studied computer science and electronic music at the University of Texas at Austin. He wrote music for various dance and drama productions in Austin, and later created the SuperCollider programming language for audio synthesis and algorithmic composition. For a few years he worked on the Hubble Space Telescope project on software for observation planning and data analysis. He worked for 16 years at Apple in the CoreAudio group. Now he is retired and pursuing further interests in possibilities for audio synthesis environments.

Mike McCormick

Mike McCormick (he/him) is an artist and programmer working with sound, text, and visual media. Equally inspired by the constrained writing techniques of the Oulipo and the technomaterialism espoused by Xenofeminism, his work combines human performers and autobiographical material with machine learning techniques and tailor-made algorithms to explore human intimacy, vulnerability, and our relationship with emerging technologies. He grew up in Canada’s subarctic, lived nomadically for a decade, and has been based in Oslo, Norway since 2017.

Maxwell Miller

Maxwell Miller’s art blends elements of performance art, video art, and experimental music to create chaotic listening spaces. He is often involved with performances of his works, either taking to the stage as an electronics operator or as a performer. He has presented works at Electronic Music Midwest, Performing Media Festival, and the SPLICE Institute, and was the recipient of the 2023 Franklin G. Fisk Composition Award. He is currently the Program Coordinator for the SPLICE Institute, a weeklong summer program which takes place in Kalamazoo, MI. He will begin study as a doctoral student at the University of Illinois Urbana-Champaign in Fall 2024. He received a Master’s of Music Composition from Western Michigan University, and a Bachelor’s of Music Composition from Central Washington University. His composition instructors include Lisa Coons, Christopher Biggs, Jiyoun Chung, and Martin Kennedy.

Ted Moore

Ted Moore (he / him) is a composer, improviser, and intermedia artist whose work fuses sonic, visual, physical, and acoustic elements, often incorporating technology to create immersive, multidimensional experiences.

Ted’s music has been presented by leading cultural institutions such as MassMoCA, South by Southwest, Lucerne Forward Festival, The Walker Art Center, and National Sawdust and presented by ensembles such as Talea Ensemble, International Contemporary Ensemble, the [Switch~ Ensemble], and the JACK Quartet. Ted has held artist residences with the Phonos Foundation in Barcelona, the Arts, Sciences, & Culture Initiative at the University of Chicago, and the Studio for Electro-Instrumental Music (STEIM) in Amsterdam. His sound art installations combine DIY electronics, embedded technologies, and spatial sound have been featured around the world including at the American Academy in Rome and New York University.

Ranging from concert stages to dirty basements, Ted is a frequent improviser on electronics and has appeared with dozens of instrumental collaborators across Europe and North America including on releases for Carrier Records, Mother Brain Records, Noise Pelican Records, and Avid Sound Records. Described as “frankly unsafe” by icareifyoulisten.com, performances on his custom, large-scale software instrument for live sound processing and synthesis, enables an improvisational voice rooted in free jazz, noise music, and musique concrète.

Gaël Moriceau

Gaël Moriceau is currently a Master’s student in Music, specializing in composition and sound creation, at Université de Montréal (UdeM). With several years of experience in aerospace and mechanical engineering in France, the United Kingdom, and Canada, Gaël underwent a career transition in 2019, shifting towards sound design and electroacoustic composition. Having obtained a Bachelor’s degree in Digital Music from UdeM in 2022, Gaël primarily explores the acousmatic genre in his compositions, aiming to immerse listeners in abstract and unknown sonic spaces. He employs both field recording and computer synthesis (Max/MSP, SuperCollider), as well as various spatialization techniques, to craft unique sound objects and textures. Gaël’s research focuses on composing electroacoustic pieces specifically designed for digital musical instruments (DMI). He places particular emphasis on exploring the relationship between gesture and sound for the T-Stick and developing new playing techniques for this instrument. The principal objective is to expand the repertoire of DMIs, encourage their adoption among composers and performers, and ensure their enduring relevance and longevity within the music community.

Mason Moy

Mason Moy is a tubist, bass trombonist, and composer currently in Los Angeles, CA. He frequently makes music using extended just intonation, and free improvisation, though he is not very picky. As a composer, Mason has worked with the Los Angeles Brass Alliance, Matt LeVeque, theBABAOrchestra, and the James Madison University Wind Ensemble. Mason has performed the music of living composers such as Ellen Arkbro, Sarah Davachi, Wolfgang von Schweinitz, Carolyn Chen, and Wilfredo Terrazas. He has commissioned pieces for solo tuba by Wolfgang von Schweinitz and Jack Herscowitz. Mason regularly performs in Diapason, a brass quartet dedicated to extremely new and extremely old music.

Evan Murray

Evan Murray is a sixth-year M.S. Music Technology student specializing in Machine Learning, Signal Processing, and Audio Engineering. His research on spatial auditory feedback aims to discover how ambisonics and pose tracking can foster natural computer-human interactions. Outside of his studies, he enjoys collaborating with other musicians, producers, and programmers to bring their ideas to life. He has helped several companies create audio software–including small businesses, startups, and billion-dollar corporations. His future plans are to continue contributing to open-source software and connecting with other artists/contributors in the field.

Lucile Nihlen

Lucile Nihlen has worked as a professional software developer for over 25 years, working across a broad variety of domains largely in the interactive and digital media spaces. She currently is focused on compilers, toolchains, and programming languages. She is a Senior Staff Software Developer at Google where she is the Technical Lead for Google’s production compiler toolchain. In her spare time she is the author of Hadron, a re-implementation of the SuperCollider interpreter and synthesis server written in Rust and based on LLVM. Lucile lives in Toronto.

Doug O’Connor

Saxophonist Doug O’Connor is passionate about sharing music that challenges audiences to explore, connect, and grow. His athletic performances feature music from all eras and in many styles, including classical, contemporary, jazz, and electronic. He strives to champion new works, present adventurous and innovative chamber music, and perform with an improvisatory command of music from Bach to Coltrane. O’Connor honed his artistic mission while performing on the Astral Artists roster from 2003 to 2013 and completing his training at the Eastman School of Music, where he earned his MM and DMA degrees in 2008 and 2012, and eventually went on to serve as Adjunct Assistant Professor of Saxophone in the fall of 2017. In addition, he served as Associate Lecturer of Saxophone at the University of Wisconsin in Eau Claire, as a saxophonist with the United States Naval Academy Band, and since 2016 as a saxophonist with the United States Army Band “Pershing’s Own” (TUSAB). He is proud to be a co-founder of the Global Premiere Consortium Commissioning Project, an online platform for instigating the composition, dissemination, and performance of new music worldwide, the Non-Commissioned Officer in Charge of Chamber Music at TUSAB, and alto saxophonist with acclaimed chamber music ensemble, Project Fusion Saxophone Quartet.

Starting in the Fall of 2023, he is thrilled to be joining the faculty at the Peabody Institute of the Johns Hopkins University.

Praised for his “seamless technique” and “sumptuous lyricism” (The Philadelphia Inquirer), Doug O’Connor has performed as soloist across Asia, Europe, and the U.S., including appearances at the Kennedy Center for the Performing Arts, Merkin Hall, Carnegie Hall, and Philadelphia’s Kimmel Center for the Performing Arts. He holds DMA and MM degrees from the Eastman School of Music, and a BM in Saxophone Performance from the University of Maryland. O’Connor recently served as Adjunct Assistant Professor of Saxophone at the Eastman School of Music, as Associate Lecturer of Saxophone at the University of Wisconsin in Eau Claire, as saxophonist with the United States Naval Academy Band, and is currently employed as ceremonial saxophonist with the United States Army Band “Pershing’s Own”.

O’Connor recently released a collaborative album on the Innova label with composer Dr. Baljinder Sekhon, “Alchemy”, a compendium of a decade of output from their composer-performer partnership. He has performed as a concerto soloist at the 2014 and 2018 North American Saxophone Alliance Biennial Conferences, at the World Saxophone Congress XV in Bangkok, where he gave the world-première performance of Christian Lauba’s 15th etude, Worksong, and has been featured with the National Symphony Orchestra, Symphony in C, Musica Nova, the Eastman and University of Wisconsin Eau Claire Jazz Ensembles, as well as various college percussion ensembles. He was the 2nd Prize winner of the 2008 International Jean-Marie Londeix Saxophone Competition in Bangkok. He has won top prizes in many other solo competitions, including the NASA Classical Solo Competition, the MTNA Young Artist Woodwind Competition, the 2004 National Symphony Orchestra Young Soloists Competition, and the Alexandria Symphony Orchestra’s Mary Graham Lasley competition. Finally, he was a winner of Astral Artists’ 2003 National Auditions and was a finalist for the Concert Artists Guild competition in 2009.

Cultivating a passion for chamber music, O’Connor was a founding member of the Red Line Saxophone Quartet. While playing soprano saxophone in Red Line, the group won grand prizes at the Chesapeake, Coleman, NASA, and MTNA chamber music competitions, as well as gold medals at the Fischoff and Plowman chamber competitions. Red Line premiered five new works for sax quartet and electronics on MATA’s Interval Series in NYC and released a CD on iTunes, “Back Burner”. Today, he continues his passion for chamber music achievement with the Project Fusion Saxophone Quartet. As a jazz artist, O’Connor freelances throughout the Baltimore-Washington metropolitan area and recently toured with the Airmen of Note at the Lionel Hampton and Missouri State Jazz festivals on baritone saxophone and bass clarinet.

Steph OHara

Steph O’Hara is an interactive sound designer, composer, and researcher based in Melbourne (Naarm), Australia. With over two decades of experience at the forefront of interactive audio innovation, Steph’s work has been presented and acclaimed around the world. Steph’s installations and interfaces have captivated audiences at renowned cultural institutions, such as the Melbourne Museum, with his work for the Pauline Gandel Children’s Gallery winning the Victorian Premier’s Design Award. His large-scale sound art has been featured at international events, including the Melbourne Zoo After Dark Festival and OzAsia Festival. As a coder and inventor, Steph harnesses technologies like SuperCollider, OpenFrameworks, and Touch Designer to craft immersive, gesture-driven experiences. His cutting-edge musical interfaces, including the m-ball, Sound Shadows, and tome, along with open-source tools like KinectExplorer and SCBounce, empower artists to explore new frontiers in collaborative music-making. Currently, Steph is pursuing a PhD at SensiLab, Monash University, where his research focuses on “The Future of Creative Interactions: Adaptive Sensor Technologies for Inclusive Immersive Experiences.” This work builds upon his extensive practice-based research and aims to push the boundaries of human-computer interaction in the context of accessible, expressive audio experiences. A sought-after collaborator, Steph has worked extensively with international theatre companies and arts organisations. His long-standing partnership with Polyglot Theatre has yielded award-winning interactive sound designs for productions that have toured globally. Steph’s immersive audio works have been presented at prestigious venues such as the Arts Centre Melbourne, the State Library of Victoria, and festivals in Europe, Asia, and the Americas. Through his boundary-pushing designs, research, and international collaborations, Steph O’Hara continues to redefine the possibilities of interactive sound, seamlessly blending art, technology, and inclusive design.

Joséphine Oberholtzer

Joséphine Wolf Oberholtzer (1984) is a software developer and occasional composer. She holds a PhD from Harvard University in music composition, where she focused her attentions on toolkits for symbolic composition via LilyPond and Python, massively-multichannel electro-acoustic music, and live-performance environments. Her doctoral thesis “A Computational Model of Music Composition” detailed increasingly-abstract nesting layers of symbolic composition frameworks, composition-through-configuration, and the practicalities of musical document preparation pipelines. Since leaving academia, she has spent nearly a decade professionally writing and maintaining software at companies like Discogs, Capital One, and Cortico, where she has tackled problems around distributed systems, authentication, CQRS, and the migration of legacy mainframes systems to modern cloud hosting platforms. In her spare time, she maintains Supriya, a Python API for SuperCollider. She lives in Kingston NY with her husband, her German shepherd, a pile of eurorack modules, and a dozen-odd crates of dance records.

Joel Ong

Joel Ong (PhD, MSc.Bioart) @arkfrqs is a media artist whose works connect scientific and artistic approaches to the environment, developed from more than a decade of explorations in contemporary ecological thought expressed through sound, installation and socially conscious art. His most recent works explore the visibility and audibility of ambient phenomena with a particular focus on elemental metaphors of the wind and the atmosphere. As an artist, he has presented work in places like the Gregg Museum of Art and Design (NC, USA), Ectopia Gallery (Lisboa,Portugal), Stamps Gallery (Michigan, USA), El Museo Cultural de Santa Fe (NM, USA), Times Square (NY, USA), Centro de Cultura Digital, Mexico, the Substation Gallery, Singapore and at UCLA’s Art|Sci Centre as part of Getty’s PST Art: Art&Science Collide program. Joel is an alumni of SymbioticA, the Centre of Excellence in Biological Arts in Perth, Western Australia, and holds a PhD from DXARTS at the University of Washington. He was a recipient of the Petro-Canada Young Innovators Award in 2020 and in 2021 was awarded a residency with the Biofrictions Creative Europe research project and UCLA’s Atmospheres of Sound. Joel is Associate Professor in Computational Arts and Helen Carswell Chair in Community Engaged Research in the Arts at York University, Toronto, Canada. From 2018-23, he was the Director of Sensorium: Centre for Digital Arts and Technology.

Joo Won Park

Joo Won Park (joowonpark.net) makes music with electronics, toys, and other sources that he can record or synthesize. He is the recipient of the Knight Arts Challenge Detroit (2019) and the Kresge Arts Fellowship (2020). His music and writings are available on ICMC DVD, Spectrum Press, MIT Press, PARMA, Visceral Media, MCSD, SEAMUS, and No Remixes labels. He currently teaches Music Technology at Wayne State University.

Marcin Pietruszewski

Marcin Pietruszewski (1984, Poland) is a composer and researcher. He is engaged in sound synthesis and composition with computers, exploring specific formal developments in the tradition of electroacoustic music and contemporary sound art. He works across composition, pluriphonic installations, and radio productions. Recurring interests of his practice include synthetic sound, algorithmic systems, and the integration of scientific formalisms as compositional materials. Works exhibited at Remote Viewing (Philadelphia, 2019) and the Institute of Contemporary Arts (London, 2017). Commissions by Sonic Acts (2024), CTM Festival (2021), ZKM Karlsruhe (2018) and Deutschlandradio Kultur (2016). Collaborations include a sound installation, ‘Auditory Scene Resynthesis as Cochlear Wavepackets’ (HKW, Berlin, 2021) with Jan St. Werner; NORMIFICATION (Presto!?, 2024) with Florian Hecker. A recent sound installation - ‘Love Numbers’ - with Anthea Caddy, premiered at Venice Music Biennale 2023. Marcin holds the position of Associate Lecturer and Researcher at Bauhaus University in Weimar, Germany. LINKS: https://soundcloud.com/marcin_pietruszewski www.marcinpietruszewski.com https://www.thewire.co.uk/audio/tracks/marcin-pietruszewski-shares-an-unreleased-track

Marcin Pączkowski

Marcin Pączkowski (pronounced marr-cheen pawnch-koav-skee) is a composer, conductor, digital artist, and performer, working with both traditional and electronic media. As a composer, he is focused on developing new ways of creating and performing computer music. His pieces involving real-time gestural control using accelerometers have been performed worldwide, including International Computer Music Conference in Daegu, Korea, Music of Today concert series in Seattle, Washington, Northwest Percussion Festival in Ashland, Oregon, Toronto International Electroacoustic Symposium in Toronto, Canada, and the Audio Art festival in Kraków, Poland. As the Music Director of Evergreen Community Orchestra, he presents concerts of diverse repertoire to local communities. He is also involved in performing new music and has led premieres of numerous works in Poland and the United States. His conducting performances with Inverted Space ensemble include Anahit by Giacinto Scelsi, featuring Luke Fitzpatrick on violin, Flurries by Brian Ferneyhough, and Hermetic Definition by Joël-François Durand. With an affinity for playing music with others, Marcin actively participates in the Seattle-area improvised music community, performing on various instruments. He received grants and commissions from the Seattle Symphony, eScience Institute, Adam Mickiewicz Institute, and from Polish Institute of Music and Dance. He received his Ph.D. in Digital Arts and Experimental Media (DXARTS) from the University of Washington in Seattle, Washington. He also holds Masters’ degrees from the Academy of Music in Kraków, Poland, and from the University of Washington.

Sam Pluta

Dr. Sam Pluta is a Baltimore-based composer, laptop improviser, electronics performer, and sound artist. Though his work has a wide breadth, his central focus is on using the laptop as a performance instrument capable of sharing the stage with groups ranging from new music ensembles to world-class improvisers. By creating unique interactions of electronics, instruments, and sonic spaces, Pluta’s vibrant musical universe fuses the traditionally separate sound worlds of acoustic instruments and electronics, creating sonic spaces which envelop the audience and resulting in a music focused on visceral interaction of instrumental performers with reactive computerized sound worlds.

As a composer of instrumental music, Sam has written works for Wet Ink Ensemble, the New York Philharmonic, International Contemporary Ensemble, the Warsaw Autumn Festival, Yarn/Wire, Timetable Percussion, Mivos Quartet, Spektral Quartet, Ensemble Dal Niente, Mantra Percussion, TAK, Rage Thormbones, and Prism Saxophone Quartet. His compositions range from solo instrumental works to pieces for ensemble with electronics to compositions for large ensemble and orchestra. In addition to acoustic and electro-acoustic works, Pluta has written extensive solo electronic repertoire ranging from multi-channel acousmatic compositions to solo laptop works with video to laptop ensemble compositions for up to 15 players.

Sam is the Technical Director for the Wet Ink Ensemble, a group for whom he is a member composer as well as principal electronics performer. As a performer of chamber music with Wet Ink and other groups, in addition to his own works, Sam has performed and premiered works by Peter Ablinger, Karlheinz Stockhausen, Katharina Rosenberger, George Lewis, Ben Hackbarth, Alvin Lucier, Chiyoko Szlavnics, Alex Mincek, Kate Soper, and Eric Wubbels among others.

As an improviser, Sam has collaborated with some of the finest creative musicians in the world, including Peter Evans, Evan Parker, Ikue Mori, Craig Taborn, Ingrid Laubrock, Anne La Berge, and George Lewis. Sam is a member of multiple improvisation-based ensembles, the jazz influenced Peter Evans Ensemble, the free improvisation-based Rocket Science (with Evan Parker, Craig Taborn and Peter Evans), the analog synth and laptop duo exclusiveOr (with Jeff Snyder), and his longstanding duo with Peter Evans. Sam has also performed with the Evan Parker Electro-Acoustic Ensemble. With these various groups he has toured Europe and America and performed at major festivals and venues, such as the Lucerne Festival in Switzerland, the Moers and Donaueshingen Festivals in Germany, Bimhuis in Amsterdam, and The Vortex in London.

Dr Pluta studied composition and electronic music at Columbia University, where he received his DMA in 2012. He received Masters degrees from the University of Birmingham in the UK and the University of Texas at Austin, and completed his undergraduate work at Santa Clara University. His principal teachers include George Lewis, Brad Garton, Tristan Murail, Fabien Levy, Scott Wilson, Jonty Harrison, Russell Pinkston, Lynn Shurtleff, and Bruce Pennycook.

Sam is Associate Professor of Computer Music and Music Engineering Technology at the Peabody Institute of the Johns Hopkins University, where he directs the Peabody Computer Music Studios. From 2011-15 he directed the Electronic Music Studio at Manhattan School of Music and from 2015-2020 he directed the CHIME Studio at the University of Chicago. For 16 years he taught composition, musicianship, electronic music, and an assortment of specialty courses at the Walden School, where he also served as Director of Electronic Music and Academic Dean. He now teaches at the Walden School Creative Musicians Retreat, a summer program for adult sonic artists.

Christof Ressi

Christof Ressi is an Austrian composer, arranger, media artist and software developer. He studied composition and music theory, jazz composition and computer music and currently lives in Vienna. His artistic work spans various genres including contemporary classical art music, jazz, experimental electronics, and media art. He produces music, sound design and video for theater and dance productions and arranges music for all kinds of ensembles and instruments, including big band and orchestra.

Gerard Roma

Gerard Roma is a musician, researcher and educator currently based in London, UK. His musical work has explored live coding, corpus-based music and participatory performance, often chasing some fragile balance between minimalism and chaos. https://g-roma.github.io

Afonso Felipe Romagna

Felipe Romagna is a music professor at the Federal Institute of Rondônia - IFRO (Brazil) and a current doctoral student in Music at the Federal University of Minas Gerais - UFMG (Brazil). He works as an instrumentalist, composer, teacher, and researcher, focusing on studies related to interactive music systems, computer music, electroacoustic music, audiovisual, and improvisation. www.feliperomagna.net

Rachel Devorah Rome

I am an improvising electronic musician, digital luthier, educator, and labor organizer trained as an archivist who transparently resignifies archaic tools and materials to reveal how gendered technologies mediate gendered labors. I often focus on memory as a site of critical agency and accountability. I value machines as musical instruments for their patience and their capacity to remember. In my creative practice, I challenge how ‘authenticity’ is performed in the creation of electronic musical instruments; how ‘virtuosity’ is performed on electronic musical instruments; and how ‘genius’ is performed in institutional histories. I am employed as an Assistant Professor of Electronic Production and Design | Creative Coding at the Berklee College of Music in Boston, Massachusetts, U.S., and Councilor with MS1140 American Federation of Teachers Massachusetts.

Bruno Ruviaro

Bruno Tucunduva Ruviaro is a Brazilian composer and performer based in Oakland, California. He composes both acoustic and electronic music, much of it heavily based on musical borrowing and sampling. In 2014, he published “A Gentle Introduction to SuperCollider”, which became a popular resource for SuperCollider beginners. He taught the annual SuperCollider Summer Workshop at CCRMA / Stanford between 2012-2022. Bruno has a DMA in Music Composition from Stanford University (2010), and is currently an Associate Professor of Music at Santa Clara University in the San Francisco Bay Area. At SCU, he created SCLOrk - the Santa Clara Laptop Orchestra. The ensemble is mostly devoted to live coding improvisation and composition in SuperCollider, and has been inspired by Deep Listening practices developed by Pauline Oliveros.

Dennis Scheiba

Dennis Scheiba (*1991) is a research assistant in experimental software development at Robert Schumann Hochschule Düsseldorf, Germany. His work and research evolves around the distribution and connection of sound through the internet for new sonic encounters as well as a critical reflection on the use of AI in the artistic and generative domain. His artistic work is located in the audio-visual domain in which the construction of light and sound is entangled with the topics of expectations, hopes and abuse embedded in technology and society in relation to an ephemeral presence of oneself and others.

Kyle Shaw

Composer Kyle Shaw writes colorful, energetic music, in acoustic and electro-acoustic mediums, tailored to the people and circumstances of their occasions and informed by his performance experience as a pianist and organist. He has presented his work at the Intellectual Worlds of Johannes Brahms International Conference, the West Coast Conference for Music Theory and Analysis, the Grawemeyer Award’s 30th Anniversary Conference, the University of Nebraska’s Chamber Music Institute, Electronic Music Midwest, the Studio 300 Digital Arts Festival, the New York City Electroacoustic Music Festival, Electronic Music Eastern, the SEAMUS conference, the International Computer Music Conference, and the College Music Society Conference. He is a recent winner of the Catherine M. Urner Composer Discovery Project and has been a finalist for the ASCAP Morton Gould Young Composer Award, a prize winner of the Belvedere Chamber Music Festival, the American Guild of Organists Composition Competition, and 1st-prize winner of the Iowa State University Carillon Composition Competition and the Vera Hinckley Mayhew Creative Arts Contest. He has been commissioned by the Barlow Endowment, the 17th-annual 21st-Century Piano Competition, and has been a resident fellow at the Osage Arts Community’s Mid-Missouri Composers Symposium. He earned his DMA from the University of Illinois and is currently associate professor of music theory and composition at California State University, Bakersfield.

Hyunkyung Shin

Hyunkyung Shin is a composer, bassist, and researcher in music technology, currently pursuing a master’s degree at the Georgia Institute of Technology. Her research focuses on sonic interaction in virtual reality, specializing in spatial audio, creative interface design, and user experience enhancement. Evolving into a music technology scientist, Shin is dedicated to advancing perceptual and immersive experiences through augmented and virtual reality, developing responsive spatial audio systems and interfaces that add new dimensions to user interaction. As an artist, Shin’s works have been featured at international conferences and festivals such as ICMC, NYCEMF, and OHBM. A contemporary and classically trained bassist, she has performed widely in Korea and has been recognized with sponsorships from Chunchu magazine and the CJ Cultural Foundation.

Luis Alfonso Tamagnini

Luis Tamagnini (Argentina) Audiovisual artist and programmer. Initiated in the late 90s in the composition of electronic and concrete music. His work is deeply intertwined with algorithmic processes and concepts. In the mid-2000s, he began researching programming languages and applying algorithmic techniques in musical and graphic computational processes. His work is linked to a number of concepts - not only computational ones such as generativity, noise, machines, fractals, and algebraic processes; but also other meta-structural ones such as modularity and hybridization in complex systems (digital-analog, human-machine, etc.) and networks. He is also interested in ’live coding’ and improvisation. His works include musical compositions, electronic audiovisuals, video art, and digital drawings, among others. He is a teacher and researcher at the National University of Rosario - UNR. In addition, he has taught classes, courses, conferences, and seminars in Argentina and abroad. He is also co-founder of the Civil Association Humedal and participates in the management of the Humedal Festival, International Biennial of Musical Improvisation and Sound Art, and the All Free Musical Improvisation concerts in Rosario. He has participated in numerous concerts and festivals in Argentina, Spain, France, Germany and the Netherlands. He has also given talks, conferences and workshops in numerous educational institutions in Argentina and abroad.

Monte Taylor

Monte Taylor (b. 1991) is a composer, guitarist, improviser, and sound engineer based in West Lafayette, IN, where he is a Clinical Assistant Professor of Music Technology at Purdue University’s Rueff School of Design, Art, and Performance. Monte’s compositions have been recognized though the KLANG! International Electroacoustic Composition Competition and the American Prize. In November of 2024, he will serve as a Fulbright Specialist on the project ‘Artificial Intelligence in Sound Design and Editing’ in collaboration with the High Cinema Institute in Giza, Egypt. His works have been presented on conferences and festivals including Electronic Music Midwest, Matera Intermedia Festival, Novalis Festival, NYCEMF, SCI, SEAMUS, Seoul International Computer Music Festival, SPLICE Institute, TUTTI Festival, and Web Audio Conference by ensembles including Bent Frequency, Duo Tudor-Reži?, Line Upon Line Percussion, [Switch~ Ensemble], and the University of Texas New Music Ensemble. He also creates interdisciplinary collaborative works involving disciplines including dance, theater, sculpture, and interactive video. Recent intermedia installations have been exhibited at Mid-America Theatre Conference and Purdue University’s Ringel Gallery. As an improvisor, Monte works primarily with the electric guitar, as well as live signal processing and generative electronics. He has worked with Brian Horton, Anne Lanzilotti, Paul Rudy, Mark Southerland, The Tipping Point Ensemble, Unbound Ensemble, and the UMKC IMP Ensemble, and been featured on Subtropics Marathon, Miami Buskerfest, Stanford CCRMA Teleconcert, UTEMS Electro-Acoustic Recital Series, and International Workshop Struer. Monte holds a B.M. in Composition from the University of Missouri - Kansas City Conservatory of Music and Dance, an M.M. in Composition from the University of Miami Frost School of Music, and a D.M.A in Composition at the University of Texas at Austin, where he was a staff member for the Experimental and Electronic Music Studios.

Henrik von Coler

Henrik von Coler is a composer/performer of electronic music and researcher. From 2015-2023 he was director of the TU Studio (TU Berlin). He is now an Assistant Professor at Georgia Tech’s School of Music. His research encompasses spatial audio, human-computer - and human-human interaction and live electronics. In his performances and compositions, he combines state of the art digital systems with analog and simple sound generators to create immersive experiences with digital to organic textures and timbres.

Michael Webster

Michael Webster (semiquaver on the SC Forum) is a Los Angeles based composer, conductor and installation artist with a special interest in the rhythms of speech. In addition to opera and concert music, which have received performances in the US, Mexico and Europe, he has made scores for many visual artists work. He has also worked by or for diverse musicians including Van Dyke Parks, Tracy Chapman and Winnie the Pooh. In recent years he has concentrated on producing works with code.

Matt Wellins

I am broadly occupied with the way objects resist control, the snafus of live performance, and how difficult it is to do very simple things. Insomuch as any of this can be heard, I generally work with analog circuitry, field recording, notated music and computer programming. I have released music on What the…? Records and presented work at Anthology Film Archives (with Sarah Halpern) and the Experimental Media and Performing Arts Center in Troy, NY.

Derek Worthington

Composer/laptop performer Derek Worthington is an experimental musician whose work integrates elements of jazz, electronic music, art music, and free and directed improvisation. As a 2023 Composer in Residence at the Zurich University for the Arts, Worthington composed a suite of 15 polytempic miniatures for jazz sextet, merging creative improvised music with intricate temporal structures. His “Lossy Codecs” system for directed improvisation uses a program built in SuperCollider to mediate communication between director and ensemble, applying methods and aesthetics of electronic music to collective improvisation. His focus on collaborative projects has led to the creation of numerous leaderless ensembles, including the electroacoustic glitch-jazz duo Says Things, experimental chamber trio Wugtest, and free jazz/grunge/Americana quartet The Great Collapsing Hrung. He works to subvert familiar approaches to groove, melody, harmony, and orchestration, by placing them into unexpected relationships with each other. Worthington has presented original work around the United States and internationally, in cities including New York, Chicago, Detroit, Rio de Janeiro, Zurich, and Berlin.

Alexander Wu

Alexander Wu is a composer, pianist, electronic producer, improviser, and programmer based in Baltimore, MD. His music is a constant negotiation between what is possible or present and what is not. In physical, logical, and perceptual extremities, he reconstructs memories, and with these sonic alterations, he captures emotional subtleties that are difficult to access through other mediums. After graduating summa cum laude from Berklee College of Music with a bachelor’s degree in Composition and Electronic Production and Design in 2023, Alexander is currently pursuing a master’s degree in Composition at the Peabody Institute, studying with Dr. Sky Macklay.

Anna Xambó

Anna Xambó is an experimental electronic music producer and researcher. Biased for being passionate about extreme digital minimalism and a past performer on bass guitar, she likes to explore the boundaries of digital sound focusing on low frequencies, compulsive rhythms, and noisy textures. Her research and practice concentrate on creating sound and music computing systems looking at novel approaches to collaborative, participatory, and live coding experiences. She is currently a Senior Lecturer in Sound and Music Computing at the Centre for Digital Music (C4DM), School of Electronic Engineering and Computer Science, Queen Mary University of London. She is the principal investigator of the AHRC-funded project “Sensing the Forest: Let the Forest Speak using the Internet of Things, Acoustic Ecology and Creative AI" (2023-2025) and has also led the EPSRC HDI Network Plus funded project “MIRLCAuto: A Virtual Agent for Music Information Retrieval in Live Coding” (2020-2021). https://annaxambo.me

Victor Zheng

Victor Zheng (b. 1994) was born in Beijing, China and raised in Portland, Oregon. He holds degrees from Oberlin Conservatory (BM ‘16), the University of Massachusetts Amherst (MM ‘18), and the University of Illinois Urbana-Champaign (DMA ‘23).

Victor explores the intersection between acoustic and electronic composition in his work, including such topics as algorithmically assisted composition, interactive electronics, and building custom hardware interfaces to control electronic sound. His notable performances have included collaborations with the Opus One Chamber Orchestra, TaiHei Ensemble, Composers of Oregon Chamber Orchestra, New Music Mosaic, and Illinois Modern Ensemble. He has had his music and research featured at events including ICMC, MOXSonic, Electronic Music Midwest, SEAMUS, NYCEMF, and the SCI National Conference, as well as in publications including Art On My Sleeve, Willamette Week, and Oregon Arts Watch.

Victor currently serves on the faculties at North Central College in Naperville, IL and the University of Illinois Springfield in Springfield, IL, teaching composition, music theory, and music technology.