Reembodied Sound 2024 Presenters
Alexis Story Crawshaw, PhD is a transdisciplinary composer, new media artist, vocalist, researcher, technologist, cognitive scientist, entrepreneur, pedagogue, and educator. She has realized a variety of music-themed art installations and compositional projects across the US and France, particularly in the area of somatic sound and XR, including several collaborations with the restaurant Barbareño as well as site-specific installations for the Fridman Gallery in New York; the Santa Barbara Center for Art, Science, and Technology; and the Maison des Sciences de l’Homme Paris Nord. She holds two doctorates: one from UCSB in Media Arts and Technology, and the other from Université Paris 8 in Music within “Aesthetics, Sciences and Technologies of Arts.” Her second dissertation introduces and outlines the subfield of somatic computer music. Recently, she helped co-launch the ASU California Center’s Haptics for Inclusion Lab and currently consults with the haptic chair company ShiftWave. She has lectured for digital arts courses at Cal Poly, San Luis Obispo and UCSB, and she has helped develop two original transdisciplinary pedagogical models at the university level. Currently, she is writing a new compositional handbook from transdisciplinary perspectives.
Japanese composer Keita Matsumiya was a resident artist at Casa de Velazquez in Madrid, sponsored by the French government. Currently, he is pursuing a PhD in sound design at Kyushu University while also serving as a Lecturer of Composition at Oita Prefectural College of Arts and Culture. Previously, he participated in the Cursus de composition program at IRCAM. He earned his Master's degree in composition at the Conservatoire National Supérieur de Musique et de Danse de Paris. He has been presenting mixed music works, predominantly featuring electronic acoustics and instruments.
William David Fastenow is a composer, performer, and arts technology entrepreneur based in San Juan Capistrano, CA and Brooklyn, NY. He is a husband, father of three, and dog-father of three more; the principal and founder of Park Boulevard Productions; strategic director for MorrowSoundⓇ; and is the Founding Director of Performance Technology for the Center for Innovation in the Arts at The Juilliard School. He enjoys figuring out how to make broken things work, and make complex things simple. His work often involves spatial sound, transdisciplinary arts, and interactivity. Recent projects include: Unfolding, commissioned by Mari Kimura for solo violin and electronics; Wave Music XII: 1001 Charlies, for conch horn and 1001-virtual node spatial music system, commissioned for Charlie Morrow’s Waves Music series; and Chiaroscuro-19, for telematic string quartet, modular synthesizer, and interactive dance.
Julian Day is an artist, composer, writer and broadcaster whose work addresses the sociopolitics of group formation and civic space. They have presented work at Asia Pacific Triennial, Bang On A Can Marathon, MATA, Spitalfields Music Festival, Huddersfield Contemporary Music Festival, California-Pacific Triennial, Museum of Contemporary Art Australia, Artspace and Australian Centre for Contemporary Art. Day has worked extensively in new music journalism, interviewing Pauline Oliveros, Christian Wolff and Janet Cardiff among others for BBC and ABC radio. They have studied at University of Oxford, Columbia University and University of Sydney and are currently undertaking a PhD at Yale University.
Kazuhiro Jo is a practitioner with a background in acoustics and interactive design. He has been presenting his practices in a form of artwork at museums and festivals, as well as papers at international journals and conferences with his projects such as The SINE WAVE ORCHESTRA, phono/graph, and Life in the groove. After working at IBM Japan, Newcastle University, Tokyo University of the Arts, and IAMAS, he became an associate professor at the Department of Acoustic Design at Kyushu University, Fukuoka, Japan and advisor (part-time) at the Yamaguchi Center for Arts and Media [YCAM].
Justin Boyd is an artist and educator working in San Antonio, TX. He graduated from the University of Texas in San Antonio with a BFA in Ceramics and finished his MFA in Integrated Media at The California Institute of the Arts. He is an Assistant Professor of New Media and Sculpture at the University of Texas at San Antonio, plays music in a space country band and continues his long-standing radio show each week on KRTU 91.7 FM. Justin Boyd’s sound and video work focuses on transforming familiar environments and landscapes through audio and video processing. Recordings taken from the interstitial zone between the urban and the natural are altered and reconstructed to awaken the listener and viewers senses. This sensorial shift opens up a chance to experience something familiar, anew.
seah is the artist name for Chelsea Heikes, an artist and writer whose work focuses on Critical Feminist Posthumanism, the body, and reimagining relational ecologies. Having trained in somatic movement practices such as Butoh, Body Weather Laboratory, and Noguchi Taiso, seah uses the cultivated awareness of sensation to explore the posthuman body as a conduit within the myriad of ecologies on this planet.
These movement practices embody Deleuze and Guattari’s nomadology, the shifting terrain of the psyche - a beingness that is fluid, always in transition, becoming. As opposed to the static subject of Humanism. This nomadic subjectivity is necessary for becoming-imperceptible, a state which seah describes as a de-centering of recognizable humanness that allows for somatic, phenomenological experiences of what it means to be posthuman.
My work evolves at the intersection of the human body, environmental bodies, and technology. I am deeply invested in examining intra-actions amongst these three entities in the scope of Critical Feminist Posthumanism and New Materialisms. My practice begins at the human body, through somatic movement practices and spirals out from there. These practices open the practitioner to experiencing their human body as other-than-human. It is through these movement practices that I investigate the terrain, using field recording technologies that I then bring back into the studio. I am less interested in pure field recordings. Rather, the final audio-visual compositions reach toward evoking the felt experience of place, porosity, and being a body.
Moon Ha is a creative practitioner and performer-researcher who leverages both new and obsolete technology to address sustainability challenges in his music-making. His research involves physical computing and the engineering of handmade sound objects, culminating in the creation of Music Interaction (MI) interfaces crafted from repurposed items, with a focus on emphasizing long-term sustainability as a creative endeavor. Currently, he teaches music at New York University and serves as the Artistic Director/CEO of ensemble mise-en.
Kristin Norderval has had a dual career as a professional singer focusing on contemporary music, particularly American composers, and as a composer-performer working with technology. Norderval´s solo recording of her music for voice and electronics, Aural Histories, was listed by music critic Alex Ross as one of Ten Notable Classical Music Recordings of 2012. Her opera The Trials of Patricia Isasa (2016) won Quebec´s OPUS prize in two categories: best contemporary music and best production. Kristin recently completed a PhD in Artistic Research at the Oslo National Academy of Arts, Academy of Opera where she developed a performer-controlled interactive audio system for vocal processing and improvisation.
Colin Tucker is an artist and curator who investigates intersections between experimental music, contemporary art, anti-racism, and anti-colonial practice. As an artist, Colin makes critical investigations of sensory politics in the concert hall, and of (settler) colonial grammars of territorial possession, through scores/instructions, videos, installations, and artist books. As a curator, Colin is founding artistic director of Null Point, an artist-run initiative focused on interchanges between music and contemporary art.
Stuart Jackson is a percussionist and uilleann piper from Virginia, now living in Montreal, Canada. He has presented solo percussion concerts at the Musée d'art contemporain de Montréal (MAC) and Ausgang Plaza in Montréal, and performed as an uilleann pipe soloist with the Soho Rep Theatre and the Wordless Music Orchestra. His current research project which focuses on an elusive vibraphone solo by Pierre Boulez has received support from the Fonds de recherche du Quèbec and the Paul Sacher Stiftung. He is currently pursuing a doctorate at McGill University under the supervision of Fabrice Marandola and Robert Hasegawa.
Sasha Leitman is a sound artist, composer, inventor and creative technologist from California, currently living in Aotearoa New Zealand. She has been making musical instruments, new interfaces for musical expression and sound art installations for the last 20 years. Her work is rooted in the belief that music is a fundamentally physical activity and often features elements of DIY craftsmanship, materiality, underwater sound, field recordings and found objects. After spending over a decade teaching courses and managing the Max La—an Interface Prototyping Lab, at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA), she decided it was time to try out the other side of the Pacific. She is currently finishing up a PhD program in Engineering and Computer Science at Victoria University of Wellington, New Zealand where she is exploring the design of computer music controllers inspired by auditory resonance and the nuanced control of acoustic instruments. In 2024, she will begin lecturing at CCRMA again, remotely and in person.
Lauren Knight is a media producer and PhD student at the University of Toronto in the Faculty of Information. She has produced numerous podcasts, radio shows, and documentary media within the past 8 years. Some of her work has been featured on CBC for national broadcast and hosted on CBC Gem for streaming distribution. Her current research interests are in acoustic ecology, cultural sound studies, and sensory ethnography.
Ted Krueger is an Associate Professor of Architecture at Rensselaer Polytechnic Institute. He holds an undergraduate degree in Social Psychology from the University of Wisconsin-Madison, a professional architecture degree from Columbia University, and a practice-based doctorate in architecture from the Royal Melbourne Institute of Technology. He has exhibited or presented his work in 21 countries, so far. He is not a musician, and not likely to become one.
Teerath Majumder is a Bangladeshi composer, designer, technologist, and educator who works in interactive and immersive media, computer music, and sound design. He is interested in how sound facilitates and mediates social relationships among people, spaces, and objects. His 2022 project Space Within engaged audience members and featured musicians in a collaborative creation of electronic music. He frequently collaborates with dancers, filmmakers, visual artists, and writers in various capacities.Teerath holds a PhD in Integrated Composition, Improvisation and Technology from the University of California, Irvine and is currently an Assistant Professor of Sound Design at Columbia College Chicago.
Bassist/composer James Ilgenfritz has performed around the US, Europe, and Asia, and has composed for Ghost Ensemble, the New Thread saxophone quartet, HUB New Music, The Momenta Quartet, Hypercube, and baritone Thomas Buckner. Recent albums include Altamirage (featuring Pauline Oliveros), and #entrainments (featuring drummer Gerry Hemingway). His solo albums, Origami Cosmos and Compositions (Braxton) 2011, feature music by Annie Gosfield, Miya Masaoka, Elliott Sharp, JG Thirlwell, and Anthony Braxton. Ilgenfritz holds a PhD from the University of California Irvine, and degrees from UC San Diego and University of Michigan. Ilgenfritz had two residencies at John Zorn’s The Stone in 2015 and 2018, and has composed two operas: The Ticket That Exploded (with text by William Burroughs) and I Looked At The Eclipse. Recent works involving mechanical instruments, electronic media, and Just Intonation reflect on his experiences with Aphasia and other complications from two surgeries to remove benign brain tumors.
Alex Cohen is an antidisciplinary musician, instrument designer, performance artist, and researcher. His current work explores theological underpinnings behind technological narratives and raising public awareness of issues around data collection for large scale Artificial Intelligence models in public and virtual spaces through performance art, installation art, and participatory design workshops. He designs and instruments for technologically mediated performances both as a solo artist and with Driven Arts Collective, Sunk Nameless, and the Atlanta Improvisers Orchestra. Alex is currently a PhD student in Electronic Arts at Rensselaer Polytechnic Institute.
Christophe Preissing is a sound composer, intermedia artist, improvisor, producer, and artistic instigator whose work engages the contradictions of liminality, memory and decay, perception and projection, preservation and loss using archives, mapping, and taxonomies to connect artist and audience through clouds of meaning. His work—both intentional and indeterminate—relies on paradox and ambiguity, found and built objects, individual and embodied memory, and the happy accident. In 2012 he founded the creative collective NON:op Open Opera Works to further the development and production of intermedia, immersive, site-adaptive opera and stage works. Since 2020 in response to the political, cultural, and social shifts taking place globally, his social practice work responds to the pandemic, to systemic oppression and racism, and to economic hardship and political division. Recent projects include Memoria de Memoria, a work for twelve voices that remembers Chicago’s homicide victims and Blood Lines, an installation that remembers victims of the 1919 Chicago uprising.
Amanda Love lives and works in Granville, Ohio. Love is an interdisciplinary artist with a background in bookbinding, typography, and book conservation. In two decades in Chicago, she regularly exhibited sculpture and artist books, collaborated with artist/musicians on numerous creative projects, founded LoveLeaf Press, fine bookbinding, letterpress and design studio. Love’s work ranges from small intimate works to large scale installations. As a former bookbinder, I am deeply connected to the book. I am well versed in how a book is made and how materials, content, typography and images can alter the book experience. I see the book as a performative vehicle to express different concepts as a maker, reader, and even destroyer. I have made and dismantled thousands of books and reorganized them in response to current book banning, assaults on fact-based journalism, retelling history, and misrepresentation of truth.
David Bobier is a hard of hearing and disabled media artist whose creative practice is researching and developing vibrotactile technology as a creative medium and language of expression. This ongoing work led to his establishment of VibraFusionLab in 2014, a creative multimedia, multisensory center in Hamilton, Ontario, Canada that has gained a reputation as a leader in accessibility for the Deaf and Disability Arts movement internationally. He has served in advisory roles in developing Deaf and Disability Arts Equity programs for both Canada Council for the Arts and the Ontario Arts Council and was an invited presenter at the Global Disability Summit in London, UK. Bobier’s exhibition career includes 18 solo and over 30 group exhibitions.
