is a sound/radio and media artist. Her radiophonic works have been commissioned and broadcast in Australia and internationally. She collaborates with media artist Maria Miranda as Out-of-Sync. Their media art works have been exhibited in Australia and internationally. She has given papers about sound and new media at numerous international conferences and symposia. Neumark coedited and wrote the introduction to At a Distance: Precursors to Art and Activism on the Internet (The MIT Press, 2005). Her published works include articles in Convergence, Scan, Essays in Sound, Leonardo and books, such as Writing Aloud: The Sonics of Language. Her co-edited volume (Norie Neumark, Ross Gibson, and Theo Van Leeuwen) Voice: Vocal Aesthetics in Digital Arts and Media is due out from MIT Press early in 2010. http://www.out-of-sync.com
born 1961 (Australia) is a Sydney based independent film, video and sound artist who has been practicing since 1981. Beginning with experimental audio collage, Andrews gradually moved into the production of film and video, and film and video soundtracks, and then to electronic music, digital animation and interactive net art. Much of Andrews? work consists of video/sound collage, ?cut-up,? and agit-prop culture jamming utilising a diverse range of visual styles ? from animation to ?found? footage. In the early 80s he produced a number of 16mm ?cut-up? films which were shown in conjunction with live audio performances, In the early nineties he formed a video (VJ ?visuals) group with long term colleges John Jacobs and Marco Fante. The group, Subvertigo, performed using a diverse collection of video equipment including cameras, video mixers, VCRs, effects devices, computers, oscilloscopes and specialised home built equipment. Subvertigo performed from 1992 till 1997 during which they did over fifty performances at techno dance parties and other events. Andrews has also produced electronic dance music of which much can be heard on CDs and records released in Australia and overseas. Over the last couple of years he has returned his focus to the production of experimental music and video. His latest work consists of a series of sound interactives (and aleatory and permutative works) for delivery over the net. Using Macromedia Flash with action script he has developed techniques to deliver interesting and reasonably high fidelity sound using minimal bandwidth and small file sizes. Andrews has exhibited his works in various international film and video festivals including festivals in Edinburgh, Helsinki, Rotterdam, Hong Kong, Naples, Catania, Amsterdam, Berlin, Sao Paolo, and Wellington, in addition to numerous events throughout Australia, including a retrospective of his work, from 1983 to 2000, as part of the Sydney Film Festival 2001. Ian Andrews is currently completing a DCA and teaching cultural theories of sound at the University of Technology Sydney. http://ian-andrews.org/
is a sonification researcher, digital designer and sound artist. His thesis on Auditory Information Design was the first doctoral degree on data sonification in Australia. In 2001 he designed the interactive multimedia Welcome Space in the Gallery of First Australians at the National Museum of Australia. In 2004 he chaired the International Conference on Auditory Display in Sydney, and was Creative Director for the Listening to the Mind Listening Concert at the Sydney Opera House. He is the Sound Artist for ZiZi the Affectionate Couch, now in the collection of the Museum of Old and New Art after many national and international exhibitions. From 2002-2005 he was the Senior Researcher leading a project on Advanced Audio Interfaces in the CSIRO ICT Centre. Since 2005 he has been an Associate Professor in the Faculty of Arts and Design at the University of Canberra.
lectures in Sound within the School of Art, RMIT University, where in 2004 he completed doctoral research into surround sound in installation art. He has performed and exhibited widely in Australia, Asia, Europe and the United States including presentations at the Andy Warhol Museum, Pittsburgh; The National Center for Contemporary Art, Moscow; and the Mori Arts Centre, Tokyo. Samartzis uses field recordings of natural and constructed environments as his primary material to render densities of space and discrete zones of aural experience, which are arranged and mixed to reflect the acoustic and spatial complexities of everyday sound fields.
is a freelance composer/sound designer for theatre, dance, computer games, installation and screen. He records and tours his dark orchestral soundscapes under the pseudonym ?Shinjuku Thief?, his noise assaults under ?EPA?, and delicate electronica under his own name. From 1992-2005 he curated and managed the Dorobo, DLE and Iridium record labels, showcasing Australian experimental music. His current PhD research examines the extent to which neurological research can offset the writings of critical theorists with a more successful understanding of the experience of Noise Music. He is currently the treasurer of the Liquid Architecture Sound Festival, and lectures in Technology, Composition & Perception, and Sound Design at RMIT Sound, School of Art.
is an artist, performance maker and design researcher. She has an MA in Interaction Design from the Royal College of Art in London, and is completing a PhD at Monash University, and CSIRO in Australia, investigating how interactive technology in, on and around the body might be used to poeticise experience. She is Visiting Research Fellow in Technical Textiles and Wearable Technologies in the Department of Architecture, Design and the Built Environment at Nottingham Trent University in the UK and Visiting Research Associate in the Pervasive Interaction Lab at the Open University in the UK, in the Department of Maths and Computing. Wilde?s work blurs boundaries between a number of disciplines including performance, fine art, fashion, critical (technology) and interaction design. Through her work she examines the technical, conceptual and ethical development of body-worn technologies, with a particular focus on how body-centric interfaces might afford new insights into language, communication, idiosyncrasy, interaction and the fundamental experience of our embodied-ness. Over the years Wilde?s work has garnered many awards. Most recent exhibitions and performances have been at the Netherlands Institute for Media Art (NIMK) and the Five Days Off Festival in Amsterdam, as well as at the Dana Centre for public engagement with science at the London Science Museum. Further information is available at http://daniellewilde.com.
An emphasis on spontaneity, site-specific work and collaboration has been central to his work. He sees no clear distinctions between his roles as instrumentalist, improviser and composer. Collaborations, his radio feature for the Australian Broadcasting Corporation won the Prix Italia in 1989. His interest in radio has continued with the ABC over 17 years. In May 06 he recorded a program for the ABC in the Budawang Mountains, South West of Sydney, now been made into an CD, Through Fire, Crevice and the Hidden Valley. "This is music at it's most primal, enhancing the beauty of creation." John Shand - Sydney Morning Herald. The CD received an Honorary Mention in the Digital Musics category of the Prix Ars Electronica 2008. He co-founded with the electro-acoustic text/music group Machine for Making Sense. In 2006 and 2007 he received a Fellowship from the Australia Council for the Arts to research and develop his concept of Meta instrument.
is a composer and sound artist based in Berlin. She creates experimental music for electronics and instruments, audiovisual installations, and performative works with electronic media. She studied flute, electroacoustic music and composition in Berlin (Hochschule der Künste, 1988-1996) and New York (1992/93). Her works were presented at concerts, galleries and at national and international festivals, i.e. Donaueschinger Musiktage 2006 and Festival Rümlingen 2007. She received numerous grants and residencies (i.e. Berlin Senate, Stiftung Kulturfonds, Cité des Arts Paris). As a flutist she has performed experimental music and worked with many contemporary composers and sound artists. She was co-curator of the festival Klangwerkstatt in Berlin and has written about contemporary music for journals and radio. Kirsten Reese held a research position at the Hochschule für Musik und Theater Hamburg from 2001-2007 and now teaches sound art and intermedia composition at the Universität der Künste Berlin. She also holds a shared professorship for artistic transformation at the UdK Berlin.