Carolyn Bailey is a student at McGill University. Her research focuses on intersecting issues of architecture, politics and media aesthetics.
Clayton Beugeling is a filmmaker residing in Montreal who is currently interested in the intersections between memory, punk, and the dismantling of the white capitalist patriarchy.
Nadine Boljkovac (PhD, Cambridge 2010) is author of Untimely Affects: Gilles Deleuze and an Ethics of Cinema (EUP 2013), co-editor with Charlie Blake of the volume Deleuze and Affect, and author of works in Deleuze Studies, Open Letter: A Canadian Journal of Writing and Theory (‘Remembering Barbara Godard’), Anamnesia: Private and Public Memory in Modern French Culture, Gilles Deleuze: Image and Text. A former University of Aberdeen Teaching Fellow and University of Edinburgh Postdoctoral Fellow, most recently Nadine was the Carol G. Lederer Postdoctoral Pembroke Fellow at Brown University. Her new book in progress is Beyond Self and Screen: Affective Encounters.
Georgina Born is Professor of Music and Anthropology at the University of Oxford. Her work combines ethnographic and theoretical writings on media and cultural production, encompassing music, television, interdisciplinary practices and art-science. Her ethnographies have often focused on major institutions – television production at the BBC, computer music at IRCAM in Paris, interdisciplinary art-science and new media art at the University of California, Irvine. Her books are Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde (1995), Western Music and its Others: Difference, Representation, and Appropriation in Music (edited with D. Hesmondhalgh, 2000), Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (2005), Music, Sound and Space: Transformations of Public and Private Experience (2013), and Interdisciplinarity: Reconfigurations of the Social and Natural Sciences (edited with A. Barry, 2013). Between 2010 and 2015 Born is directing the European Research Council funded research group ‘Music, Digitization, Mediation: Towards Interdisciplinary Music Studies’, which involves comparative ethnographies in six countries in the developing and the developed world (Argentina, Cuba, India, Kenya, Canada and the UK).
Nicolas Caloia – Since the early 1990s Nicolas Caloia has worked at creating a contemporary music generated by using accurately composed textures to channel collective improvisation. The goal is a music that erases the lines between improvised and composed, pop and avant-garde, good and bad. He hopes this music will satisfy the body, the mind and, above all, the heart.
Canadian saxophonist Yves Charuest has been active on the jazz and new music scene since the early 1980s, playing with many musicians such as Jean Beaudet, Nicolas Caloia, Jean Derome, Guillaume Dostaler, Lisle Ellis, John Heward, Peter Kowald, Louis Moholo, Michel Ratté, Sam Shalabi, Peter Valsamis. He played in Canada, USA, Germany, Austria, Netherlands, Belgium, Italy, Hungary and Finland with several groups such as I Like Jazz, Duo Charuest-Ratté, Peter Kowald Trio, Yves Charuest- Mathias Schubert, Trio Michel Ratté, Wreck’s Progress, Duo Charuest-Caloia, Murray Street Band, the Ratchet Orchestra, and Charuest/Shalabi/Caloia. Charuest also presented solo concerts in Montreal, Quebec, Germany, France and the Netherlands, and collaborated on different projects with canadian electroacoustic composers Jean-François Denis, jef chippewa, and Jean Piché, recording a work from the latter for saxophone and live signal processing for Radio-Canada in 2000. Combining his experience on saxophone and his interests for extended instrumental and sonic possibilities (he worked with synthesizers in the ensemble Wreck’s Progress), Charuest spent some time exploring the possibilities of computer-assisted signal processing on a project integrating saxophone with computer processing in a live improvisation setting.
Often described by fellow musicians as “unlike anyone I’ve ever met,” and by Innovations en Concert as “completely unique on the Montreal scene, and perhaps the world over,” Andy Costello has quickly established himself as a musician of versatility, creativity, originality and imagination. He is active as a soloist, chamber musician, collaborative pianist, and masterclass clinician in North America . Dedicated to the music of our time, Andy has collaborated personally with over 40 composers in the past two seasons, including himself. He is a graduate of Columbia College (summa cum laude) and McGill University’s Schulich School of Music.
Ulrike was born in Dresden (GDR) in 1970. She began her studies in dancetheater in Hamburg and continued in Netherlands at the Fontys Dance Academy Tilburg (Modern Theatre Dance Theatre) where she received her diploma (1998). Ulrike then worked with Pia Meuthen (Panama Pictures), Gonnie Heggen, Vloeistof, Sonja Augart (Fragmenta) Ad van Iersel, The Nursery, Jochen Stechmann (Traum-a). Around 2005 Ulrike started to make own performances, mostly solo’s and often site-specific: Auf Wiedersehen, Helga, PAD, Etüde, Kein Titel gefunden, WITOOR Triptych music, Me and my fatboy. Throughout the past ten years Ulrike was involved in several prodcutions of Vloeistof.
Staff Scientist at COM DEV Ltd. in Cambridge, Ontario. Over the past 35 years he has developed electromechanical systems for spacecraft supporting telecommunications, earth observation, and solar system exploration. His creations are represented on 800 flying spacecraft, several dozen in the Atlantic Ocean, and one inadvertently impaled into the Martian surface. More recently he has brought his craft down to earth to create or enable multimedia and kinetic art. He has collaborated on several interdisciplinary projects exhibited at Lennox Gallery in Toronto, Banff New Media Institute and the Contemporary Art Forum Kitchener and Area. Klaus Engel has been awarded a 2012 Region of Waterloo Arts Award.
Virtuoso clarinetist, composer of international renown, she a major canadian creative force. Her flexibility allows her to interpret contemporary, improvised, or electro acoustic music. More than 35 composers have written solo works for her, and she can be heard on over 25 cds.
k.g. Guttman is currently a research candidate in the PhD Arts joint program of Leiden University and the Royal Acdemy for Art in the Hague. Her research, funded through the Social Sciences and Humanities Research Council (SSHRC) considers the dérive as method for research, observation and performance. From 2008-2013, k.g. Guttman was an Assistant Professor in the Department of Contemporary Dance at Concordia Unversity, Montreal . Her art practice intersects dance, performance, and the visual arts, resulting in exhibitions, residencies and performance opportunities in diverse institutions. Recent residencies include Visualeyez Performance Art Festival 2012, the Pavillon, Palais de Tokyo and Pointe Éphémère in Paris, with Pépinières Européennes pour jeunes artistes (with Compagnie David Rolland, Nantes), and at L’Espace Blank in Paris, by invitation from Christine Macel. As a dancer k.g. performed with companies Le Groupe Dance Lab, Artistic Director Peter Boneham, Lynda Gaudreau, Compagnie de Brune, and currently with Karine Denault in Montreal. Choreographic commissions include Dancemakers, Toronto, in collaboration with Michael Trent, artistic director, co-produced by the Canada Dance Festival, 2010, Ottawa, and Enwave Theatre, Toronto. Her artist book entitled Elapse I & II, launched by Art Metropole in Toronto and La Centrale gallery in Montreal, was purchased for the permanent collection at the Bibliothèque et Archives nationales du Québec and by the Library and Archive Collections of the National Gallery of Canada, Ottawa. Her video work is distributed by Vidéographe and V-tape, and has been collected by the Université du Québec en Outaouais.
Currently a Post-doctoral Fellow at SenseLab (Concordia University), Mike has a background in interdisciplinary practice incorporating dance, performance art, video, installation, and philosophy. In his Doctoral research-by-practice at the Spatial Information Architecture Laboratory (Royal Melbourne Instiute of Technology, Australia), he explored affective relations within and across the body and the built environment. In dance, he trained with Tony Yap, Min Tanaka, Kazuo Ohno, Ko Murobushi and others; and has performed in New Zealand, Australia, Japan, Indonesia, Malaysia and Europe. Recently, Mike was Creative Director, Producer and Video Artist for an Indonesia-Australia collaboration of ‘Grobak Padi’ at Melbourne Festival 2012, and ISEA2013 in Sydney. In 2007-08 he filmed and edited a multi-channel video installation exploring Antonio Guadi’s Sagrada Familia Cathedral in Barcelona; in 2009 made a hip-hop video in a Johannesburg squatter settlement; and in 2010 directed the Aboriginal dance documentary ‘Luarn’. His ongoing performance project ‘you treat the furniture like part of me’ includes a series of works with chairs. He’ll improvise their presentation at Time Forms as a meditation on repetition and interruption, shifting between work-in-series and embodied duration.
James Harley is a Canadian composer presently based in Ontario, where he teaches at the University of Guelph. He obtained his doctorate in composition at McGill University in 1994, after spending six years composing and studying music in Europe (London, Paris, Warsaw). His music has been awarded prizes in Canada, USA, UK, France, Poland, Japan, and has been performed and broadcast around the world. Some of Harley’s compositions are available on disc (Artifact, ATMA, Centrediscs, Dame, Kappa, McGill, Musicworks, PeP, Soundprints) and his scores are primarily available through the Canadian Music Centre. He has been commissioned by, among others, Codes d’Accès, Continuum, ECM, Hammerhead Consort, Kappa, Kore, New Music Concerts, Oshawa-Durham Symphony, Open Ears Festival, Polish Society for New Music, SMCQ, Transit Festival Leuven, Transmission, Trio Phoenix, Vancouver New Music. He composes music for acoustic forces as well as electroacoustic media, with a particular interest in multi-channel audio. As a researcher, Harley has written extensively on contemporary music. His book, Xenakis: His Life in Music (Routledge) was published in 2004. As a performer, Harley has a background in jazz, and has most recently worked as an interactive computer musician, notably in the duo ~spin~ with flutist Ellen Waterman.
Annette Svaneklink Jakobsen is an architect and holds a PhD in architecture from the Aarhus School of Architecture, Denmark. Her work focuses on the creative and ontological processes of architecture; presently in herresearch project on affective and relational aspects of experience in contemporary museum architecture. Her recent writings on this subject includes: Experience in-between architecture and context. The New Acropolis Museum, Athens. In “From Sign to Signal”, Thomsen, Bodil Marie; Jørgensen, Ulla Angkær & Sundholm, John (eds). Journal of Aesthetics and Culture, Co-action Publishing, Stockholm, 2012; and ”Everything keeps moving, nothing stays the same”. On becoming with context in the work of Sanaa. In “Context 2010/2011”, Jakobsen, Annette Svaneklink (ed.), Arkitektskolens Forlag, 2012. Annette Svaneklink Jakobsen has exhibited work at the Charlottenborg Spring Exhibition, Copenhagen, the Royal Academy of Fine Arts School of Architecture Gallery, Copenhagen and at the Aarhus School of Architecture Exhibition Space. She is currently an assistant professor at the Aarhus School of Architecture, Platform Relational Architecture, where she,besides being a researcher, teaches seminars in architectural theory and written reflection.
After obtaining DEM (Diplome d’études musicales) in orchestral conducting from the Conservatoire Nationale de Dijon, Mr. Koh completed a Master’s degree in orchestral conducting in May 2013 at McGill University in the class of Maestro Alexis Hauser. While at McGill, he took on a variety of conducting and coaching responsibilities. He has served as the assistant conductor of the McGill Symphony Orchestra and McGill Wind Symphony. His vocal coaching experiences as a choir director led him to coach the McGill University Choir as well. His participation at CIRMMIT’s various sound recording experiments as a conductor enabled him to discover another music field. Mr. Koh is also interested in promoting contemporary music. He conducted “Aftermath”, a contemporary orchestral piece by a Montreal-based composer, Justin Mariner for his recital at McGill and participated various contemporary concerts by conducting new music such as “Deed” (North American premier), a chamber piece by the Swedish composer Frederik Gran’s and Catalan composer Enric Riu’s “Face 3” (world premier).
With degrees in Audio Engineering, a Master of Music in composition and a Bachelor of Music in Sonology, Jesse Koolhaas has a large array of experience within the audio domain, ranging from music composition, to sound design, recording and mixing. In 2005 Jesse Koolhaas graduated at the Sonology department of the Royal Conservatory in The Hague. Here he focused on different aspects of abstract electronic composition and acquired his Bachelor of Music by writing a thesis on relevant techniques for combining sound and image. In 2006 he won The European Film Music Award in the category ‘Special Recognition’ at The Soundtrack Festival Cologne together with sound designer Ronnie van der Veer. In 2007 Jesse graduated a Master of Music at the Music Technology department of the HKU in Hilversum, where he mainly focused on music and sound design for image. Since then he has been working as a fulltime professional focusing on a large variety of styles and genres. From music for commercial projects for clients like Nike and McDonald’s, to abstract work for audiovisual installations and modern dance. He has been composing for Vloeistof throughout many years.
Alexandre Larose is a french-canadian artist based in Montreal. While completing a bachelor in mechanical engineering in 2001, Larose became interested in « cinematography » as a tool to re-configure temporal experiences. His moving-image practice investigates phenomena of appearance and representation as translated by the media of optics and celluloid. His approach relies on a methodical stripping out of layers embedded in both the live subjects and the technique that translates them into visual artifacts. His work has screened internationally since 2006. Larose currently pursues graduate studies in visual arts at Concordia University in Montreal. His research focuses on the spatialization and exhibition of cinematic material.
I’m an undergraduate philosophy student at McGill currently interested in slowness, art and radical politics, social justice, positivity, love, sweatsuits, my gut, punk music, and making psychotropical-film-installation-art.
Dayna McLeod is a video and performance artist whose work has shown internationally. She is currently at The Centre for Interdisciplinary Studies in Society and Culture at Concordia University pursuing an interdisciplinary Ph.D. in Humanities. Dayna’s research examines how over-40 feminist performance artists use the body (their own or bodies-for-hire) within their practices and work in relationship to mass culture and the mainstream backdrop against which their work is always/already positioned. As part of this research, McLeod embarked on a one-year durational performance piece that investigated and lived the stereotypes of a ‘cougar,’ a woman over-40 who aggressively demonstrates her (hetero)sexuality, by wearing nothing but animal print clothing, 24/7.
“Boundaries between visitors and performers are crossed. What happens then: a new border blurring experiment in dance, the beginning of a quest towards public intimacy..” Theatermaker, NL.
Sarah Manya is a choreographer, director and performer. She makes location works, intimate theater and performances that blur artistic borders. Her work, including her location project “Three Solos: bruised fruit, waiting room and constr/ction,” three solos for women in the kitchen, shower and toilet has been performed all across Europe in festivals such as Springdance, Festival Something Raw, Motel Mozaique, (Rotterdamse Schouwburg), Festival Tweetakt, Noorderzon, and Body Stroke, Recyclart (BE) Festival Neuer Tanz (DE). She has been a guest artist and lecturer at New York University and Amsterdam School of the Arts Modern Theater Dance Department among others.
Her training includes DasArts (NL), Rotterdamse Dansacademie (NL) and Smith College (USA). As a performer, she has worked with Felix Ruckert, Martin Butler, Vera Mantero and Vloeistof. She can be seen in the film Reformation by Jeanette Groenendaal.
She is the recipient of a Fulbright/Netherland-America Foundation Fellowship in Choreography. Her work has been funded by The Amsterdam Fund for The Arts, The Dutch National Performing Arts Funds, Het Scholing Funds voor Kunst en Cultuur New York State Partnership on the Arts. Commissions include the Mickery Foundation, Festival Twee Turven Hoog. Residences include Theater Zeebelt and Danswerkplaats Amsterdam.
She is currently working on a research creation project entitled “Everyday Virtuosity” in Dance, Theater and Performance Studies at the Humanities Doctoral Program at Concordia University in Montreal.
Residing in the United States since 1991, Mark Menzies has established an important, world-wide reputation as a new music violist and violinist with performances in Europe, Brazil, Mexico, Australia, Japan, New Zealand and across the United States, including a series of appearances at New York’s Carnegie Hall. There has been considerable international critical applause for his leadership in ensembles formed to perform contemporary and twentieth century music; he is a member, as both violinist and violist, of the Los Angeles-based Formalist Quartet, who are to release their recording of the Christian Wolff complete string quartets shortly. With Ensemble Sospeso, he organized a joint venture with California Institute of the Arts to present the first professional concerts in the US dedicated to Brian Ferneyhough’s music in December 2002. Mark Menzies is the director of a new collective ensemble based in Los Angeles, called inauthentica, with members drawn from the Southern California area. Mark Menzies is featured on a large number of CD recordings. This includes ‘Process and Passion,’ a Pogus label release of chamber music by Roger Reynolds, as well as the world premiere recording of ‘…above earth’s shadow’ by Michael Finnissy to be released shortly on vinyl. Mark Menzies currently occupies the Hal Blain Chair in Music Performance, teaching viola and violin at the California Institute of the Arts, where he also coordinates their chamber orchestra, new music ensembles and conducting studies.
Joseph Moore is Professor of Philosophy and Environmental Studies at Amherst College. He specializes in philosophy of mind, metaphysics and, more recently, the philosophy of music. Joe will be playing the straight-man in our presentation, though he’ll be doing so from Barcelona, Spain.
Since 2009, Joe and Jason Robinson have co-chaired the Music & Philosophy Five College Faculty Seminar, a reading and research group comprised of faculty from the Five College consortium in western Massachusetts (which includes Amherst, Hampshire, Mount Holyoke, and Smith colleges and the University of Massachusetts, Amherst). Their mutual interest in improvisation has evolved into ongoing research into the relationship between the notion of the “work,” the ways in which improvisation challenges and bolsters concepts of the work, and the impact of recording technologies on our perceptions of musical expression and form. “Improvisation, Recording, and Temporal Expectations,” their collaborative presentation for Time Forms, draws from this ongoing work.
Pauline Oliveros (1932) is a composer and improviser who performs extensively locally and in many parts of the world in a variety of venues. Her music is performed widely as well by many notable musicians and ensembles. Her works are recorded and available through download sites, cassette, CD, DVD, and Vinyl releases. Recent compositions include Concerto for Bass Drum and Ensemble commissioned by International Contemporary Ensemble and performed at Lincoln Center in August 2013. Tower Ring 2011 commissioned by the Oliver Ranch Foundation for Ann Hamilton’s Tower situated at the Oliver Ranch in Geyserville California. Oliveros plays a Titano acoustic accordion and the Roland V Accordion in her solo and ensemble improvisations. In 2009 Oliveros was honored with the William Schuman lifetime achievement award presented by Columbia University along with a three-hour retrospective of her music at the Miller Theater in New York in 2010. Foundation for Contemporary Arts presented Oliveros with the 2012 John Cage Award at Merce Cunningham Dance Foundation in New York March 19. She received the GigaHertz Award from ZKM in Karlsruhe 2012. Oliveros is the founder of the Deep Listening Institute, Ltd. (DLI) based in Kingston NY. Through her Deep Listening practice she has facilitated numerous workshops and intensives throughout the world leading to collaborations across many disciplines. Deep Listening: Art/Science an international conference produced by DLI was held at EMPAC RPI July 12-14 2013 with 75 presentations and 110 registrations. http://www.deeplistening.org/conference. She has created Adaptive Use Musical Instruments (AUMI) to enable artists with disabilities to improvise music. For more information see http://paulineoliveros.us and http://www.deeplistening.org
Born in the 80s in communist Warsaw, Poland. Taken to Canada as a child to escape from threat. Grew up on rap videos, French films & Latin American literature.
Currently pursuing a Communication Studies PhD at Concordia University in Montreal. Broadly speaking, she thinks, writes and creates work on gender, emerging technologies, electronic music, expanded cinema & mobile media through a feminist vital materialist lens. Her dissertation is focused on self-imagining practices of women online in the 1990s. She also does art stuff, often with lovers.
Pause. Time, strange concept. Time itself doesn’t actually exist, yet there isn’t enough of it, but theoretically and without God’s opinion, it never ends. But I need more of it to do. But I could do it all, and be great, if I stopped using time as my excuse.
Toni Pape is a Ph.D. Candidate and lecturer at the Department of Comparative Literature at Université de Montréal. His doctoral research is dedicated to the aesthetic experience of time in recent TV series and its relation to contemporary politics. Toni investigates TV series which give away their ending at the very beginning and then slowly trace the lead-up to that foretold finale over the course of a season. Examples of such “preemptive narratives,” in which the present is always contaminated by a loop through the future, include Flashforward or Damages. Further research interests include the intersection of television, new media and installation art, philosophies of process and perception, participatory art and activism. Toni is a core member of the SenseLab, a laboratory for research-creation and activist philosophy, where he has co-organized numerous research-creation workshops and events. Recent artist collaborations include work with Erin Manning at the 2012 Sydney Biennale and a Tino Sehgal piece at the Museum of Contemporary Art in Montreal.
Ensemble Paramirabo is a group of five versatile, innovative and independent musicians who strive to bring new life to the performance of art music. The group is comprised of Jeffrey Stonehouse, flute; François Gagné, clarinet; Geneviève Liboiron, violin; Viviana Gosselin, cello and Gabrielle Gingras, piano. Ensemble Paramirabo presents creative programming that embraces collaborations with other artists and stretches the boundaries of the traditional concert experience. The ensemble’s mandate is to act as an advocate for emerging composers by reserving the lion’s share of their programming to new works. With a flexible formation allowing for the performance of works ranging from solo to quintet and beyond, the ensemble frequently invites other musicians to fill out its ranks for compositions which call for a larger instrumentation. Tracing its origins back to Paramirabo, a work by the late Montreal composer Claude Vivier, the members of Ensemble Paramirabo have been performing together since 2008.
Joël A. Prévost was born in Lac-Saint-Jean and settled in Montréal in 2006 after living in British Columbia for 30 years. His thorough knowledge of anatomy draws on his experience as a contemporary dancer and his 20 years experience as a professional sculptor primarily centering on the polymorphic representation of the body in clay. In 2009, he established the Atelier de Sculpture du Village where he teaches sculpture using live models to students at different levels, in particular professional artists and 3D designers seeking to perfect their skills in rendering the human body. At a recent exhibit, his unique approach to volume and line was described as one in which he ‘seeks to capture the ephemeral movement and fleeting emotion stemming from the balance, beauty, and energy of the body ….’ He is represented by Les Galeries d’art Beauchamp (Québec City, Toronto, Baie-Saint-Paul) and by Cocco & Salem Imagine Art Gallery (Key West). His works are found in numerous private and corporate collections in Canada, the United States, France, New Zealand, Australia and China.
Thomas Patrick Pringle is a graduate student studying media and philosophy at McGill University. Thomas works with the Moving Image Research Laboratory and researches ecology, animals, perception, cinema, ethics, and other earthly expressions. He is currently working on a sustainable and mobile film projection system powered by his bicycle.
(Curator and producer, Tino Seghal)
Dana Reason is a composer, musician, curator and scholar. As a pianist, Reason has performed and recorded extensively in the U.S., Europe and Canada. Her newest release “Angle of Vision” (482 Music) features Glen Moore on bass and Peter Valsamis, drums. This fall, Reason records a new trio album in Seattle with Mark Dresser (bass) and Peter Valsamis. She hold a B.Music from McGill University, an MA in composition from Mills College and a Ph.D in Critical Studies/Experimental Practices from the University of California, San Diego. Reason is the director of Popular Music Studies at Oregon State University. She also is the founder and artistic director of “Between the Cracks” improvised and contemporary music series.
Vloeistof came to existence in 2000 as a collaboration between Yuri Bongers and Anja Reinhardt. Vloeistof creates pure, intuitive and exciting dance pieces to contribute to reflection in society to a broad (international) audience. with a sharp view at the world around us, Vloeistof zooms in on human behavior in urban modern life, to focus on the absurd, funny or poetic. Vloeistof gives the dance a surprising actuality and is looking for new contexts for dance. Her audience is seduced to be actively involved in the process and hereby finds new access. Special locations, audience settings, and interaction with other art forms are essential tools for the active public involvement. In all her concepts public-perception plays an essential role. You – as a spectator- are not looking at a pre-constructed endproduct; your experience co-creates the content of the performance. In the recent years, Vloeistof perfrormed in a large number of festivals and venues in the Netherlands, Belgium and Switzerland. Known performances are Wildmenspark, Betonhotel, Wegwerpwereld, Jetzt, Hondengeluk and Welcome to the outside world and I love you but you hinder me.
Roger Reynolds’ musical output ranges from instrumental compositions (string quartets, orchestral music) to elaborate dramatic works for singers, actors, instruments and multichannel computer processed sound. He works at the interface between high technology and art. Real-time computer algorithms have played an increasingly strong role in recent works, all of which are intensively collaborative undertakings in which improvisation is also an integral component. He is notably renowned for tailoring spatially choreographed music to the particular character of architectural spaces. More recently, Reynolds’ real-time, interactive computer landscape, The Image Machine, epitomizes a new and painterly direction in his work. Not only an internationally recognized composer, Reynolds has been engaged since the early 60s, in conceiving and realizing programs designed to promote and increase audience awareness of contemporary music. As an educator, he has been a mainstay in the innovative Music Department at UC San Diego for four decades and is now the Director of an Arts Internship Program at the University of California’s Washington Center. This initiative aims to develop arts activists who will address, each in his/her own way, issues at the interface of American society and the Arts. As a result, in part, of the establishment of a Special Collection of his work at the Library of Congress, Reynolds has become a frequent resident of Washington, D.C.. Reynolds is University Professor in the University of California system, and was the founding Director of the Center for Music Experiment and Related Research at UCSD in the early ’70s. He was the first Composer in Residence at the California Institute for Telecommunications and Information Sciences from 2008-10. Author of several books (most recently Form and Method: Composing Music [Routledge 2002]) and numerous journal articles, Reynolds has more than 100 published compositions (C.F. Peters Corporation, New York), as well as dozens of CD recordings. He has also been honoured by the Pulitzer Prize in Music for his work Whispers Out of Time for string orchestra.
Jason Robinson is Assistant Professor of Music at Amherst College, where he is also affiliated with Black Studies and Film and Media Studies. A saxophonist and scholar, Jason specializes in improvised music, new music technologies, jazz, and popular music. His current book project, “(Re)Sounding the African Diaspora,” investigates the role of improvisation in various collaborations involving African American and continental African musicians.
Since 2009, Joseph Moore and Jason have co-chaired the Music & Philosophy Five College Faculty Seminar, a reading and research group comprised of faculty from the Five College consortium in western Massachusetts (which includes Amherst, Hampshire, Mount Holyoke, and Smith colleges and the University of Massachusetts, Amherst). Their mutual interest in improvisation has evolved into ongoing research into the relationship between the notion of the “work,” the ways in which improvisation challenges and bolsters concepts of the work, and the impact of recording technologies on our perceptions of musical expression and form. “Improvisation, Recording, and Temporal Expectations,” their collaborative presentation for Time Forms, draws from this ongoing work.
Nicholas Rombes, a professor at the University of Detroit Mercy, is author of Cinema in the Digital Age (Columbia UP) and 10/40/70: Constraint as Liberation in the Era of Digital Film Theory (forthcoming from Zero Books). He is also a contributing editor at Filmmaker Magazine (where he published The Blue Velvet Project) and can be found here.
Ed Sarath is Professor of Music in the Department in Jazz and Contemporary Improvisation, of which he was the founding faculty member and chair (1987-2007), at the University of Michigan, and is also Director of U-M’s Program in Creativity and Consciousness Studies. He founded and serves as President of the International Society for Improvised Music. A performer, composer, and recording artist, he has collaborated with many top jazz artists and presented master classes throughout the world. His most recent recording features the London Jazz Orchestra performing his large ensemble compositions. His theoretical writings are published widely and delineate a number of innovative perspectives on the inner workings of improvisation, creativity, and the creativity-consciousness relationship. His book Music Theory Through Improvisation (Routledge 2010) presents an alternative to conventional approaches to musicianship training. His most recent book, Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education, and Society (SUNY/Albany 2013), is the first to apply to music principles of an emergent worldview called Integral Theory.
Hailing from South Africa, Ami Shulman has worn many hats in the world of dance and movement: including those of a performer, artistic director, choreographer, movement advisor, teacher and Feldenkrais practitioner. Shulman has performed most notably with Jose Navas and with Compagnie Marie Chouinard and she has facilitated creations with the Goteborg Operans Danskompani; the Ballet BC; the National Ballet of Canada and the Cirque Du Soleil. Shulman is a much sought after teacher of contemporary dance and has taught at the Juilliard school; Alvin Ailey School; Rotterdam Danse Academy; Brown University; UCSD; Concordia University; Jacob’s Pillow and the National Theatre School of Canada, to name a few. Shulman is a practitioner of the Feldenkrais method. the first to apply to music principles of an emergent worldview called Integral Theory.
Sean Smith is an artist and writer living in Toronto. He holds a doctorate from the European Graduate School of Media and Communications in Switzerland and has exhibited and performed internationally with Barbara Fornssler as the Department of Biological Flow. Most recently, he was the inaugural Artist/Scholar-in-Residence at the University of Western Ontario’s Department of Visual Arts, where he hosted the solo exhibition D S NFORMAT ON: Threnody from the Vision Machine, 2001-2046. He currently teaches Wearable Art at OCAD University.
Joe Sorbara is a musician: a drummer, percussionist, improviser, composer, and listener. An MA candidate in the School of English and Theatre Studies at the University of Guelph interested in critical improvisation studies, literary theory, and pedagogy, Sorbara also teaches music at Guelph while maintaining an active schedule performing, organizing, and teaching in Toronto.
Isabella is a painter, new media artist, and activist based in Kitchener-Waterloo. Born in Romania, Stefanescu came to Canada as a teenager. She studied mathematics and fine arts at the University of Waterloo, and is an alumna of the Canadian Film Centre Media Lab. Stefanescu is one of the founding members of Globe Studios, the only artist run-centre in Waterloo Region, and one of the founders of Contemporary Art Forum Kitchener and Area – CAFKA. Her work is in the collection of the Canadian Clay and Glass Gallery and the Library of the National Galler of Canada. Currently she is Associate Artist at Inter Arts Matrix. Isabella Stefanescu is a recipient of the Ontario Arts Council K.M. Hunter Award for interdisciplinary work.
Will Straw is Director of the McGill Institute for the Study of Canada and Professor within the Department of Art History and Communications Studies at McGill University. He is the author of Cyanide and Sin: Visualizing Crime in 50s America, and the co-editor of Circulation and the City: Essays on Urban Culture (2010), Aprehendiendo al delincuente: Crimen y medios en América del norte (2011), and the Cambridge Companion to Pop and Rock (2001). Dr. Straw is the author of over 100 articles on urban culture, cinema, music and media.
A versatile conductor and an accomplished scholar, Dr. Eleanor Stubley’s career illustrates a unique ability to think outside disciplinary boundaries and bridge the gap between research and musical practice. Her many critically acclaimed works are distinguished by a deep-seated interest in embodied practice and the transformative powers of music. Her current multimedia project, Reaching Beyond the Given, takes this interest to new heights by exploring the expression of artists’ hands as they generate a symbiosis between time and space, gesture and thought, motion and emotion. Engaging a diverse array of collaborators, the project moves in the resonances and vibrations between varied forms that too often are seen as disconnected from one another to open new paths in traditional musical discourses. Her capacity to push beyond the norm has also served her well in her role as Director of Graduate Studies (2006-2009, 2010-present) at McGill University’s Schulich School of Music, both in terms of her curriculum leadership and the ways in which she engages students.
Tim Tsang is a conceptually driven composer concerned with both visual and aural aspects of musical presentation. Floating between brute force and careful contemplation, Tsang’s improvisatory work utilizes the Piano and the Moog Synthesizer, often crossing boundaries of various traditions such as Classical Music, Jazz, Electronic Music, Video, Painting, Sculpture, and Dance. He has been specifically fascinated with the intertwining connectedness between Time and Music, and is developing the John’s Cage series – an initiative using Clock Time as a primary element in the composing/performing, practicing, and listening of music.
The Topological Media Lab (TML) was established in 2001 as a trans-disciplinary atelier-laboratory for collaborative research creation. In 2005, TML moved to Concordia University and the Hexagram research network in Montréal, Canada. Its projects serve as case studies in the construction of fresh modes of cultural knowledge and the critical studies of media arts and techno-science, bringing together practices of speculative inquiry, scientific investigation and artistic research-creation practices. The TML’s technical research areas include: realtime video, sound synthesis, embedded sensors, gesture tracking, physical computing, media choreography, and active textiles. Its application areas lie in movement arts, speculative architecture, and experimental philosophy.
Marieke studied Dance and Theatre Sciences. She has done research on idendity of dance compagnies in Holland, with Vloeistof as one of them. Marieke also assisted in the creating process of Ben ik nu hier as a dramaturg. One year ago she started her own business: an office for cultural entrepreneurship.
Doug Van Nort is an experimental musician and sound artist/researcher whose work is dedicated to the creation of immersive and visceral sonic experiences, and to fostering personal and collective creative expression through composition, free improvisation and generally electro-acoustic means of production. His instruments are self-made and idiosyncratic systems that explore a sculptural approach to working with recorded sound, and improvisation in partnership with machine processes. His source materials include any and all sounds discovered through attentive listening to the world. Though he has favored live performance over studio artifacts in recent years, recordings of Van Nort’s music can be found on Deep Listening, Pogus and Zeromoon among other experimental music labels, while his writing has recently appeared in Organised Sound, the Leonardo Music Journal, Kybernetes and the Journal of the Acoustical Society of America. He regularly performs and presents his work in N. America and abroad, and collaborates with a wide array of artists across musical styles and artistic media. Ongoing projects including Triple Point with Pauline Oliveros and Jonas Braasch, a duo with If, Bwana and working as a member of the Composers Inside Electronics. Recent projects have ranged from transforming an elevator into an electroacoustic sculpture, composing interactive music for dance based on muscle sound and improvising with sonified streams from NASA’s Kepler mission.
Mark Vicente is a Montreal native who started DJing professionally in New York City. His passion for Electronic Dance Music started in the nineties rave scene in Toronto having heard DJs such as Danny Tenaglia, Tom Stephan and Honey Dijon. Because ‘House is a Feeling’, Mark continues to be inspired by different genres that span from deep house, tech, tribal, to club house. His unique blending of beats and styles continues to land him gigs in venues such as The Royal Phoenix, Peopl, Joverse and a weekly residency at Sky Club. Mark has also had the pleasure of playing parties for Les Alouettes, Cirque du Soleil, Lululemon Athletica and the Wanderlust Festival Mont Tremblant.
Leanne Zacharias is a dynamic cellist and interdisciplinary performance artist active as soloist, educator and collaborator with composers, artists, poets, architects, choreographers and musicians of all stripes. She has performed with the likes of the Houston Symphony, the Miro Quartet, Edgar Meyer, Toca Loca, G27 Orchestra, Groundswell, Nicole Lizee, Steve Bates, the Boundary Ensemble, the Weakerthans, the Mountain Goats and with longtime collaborator Christine Fellows at festivals worldwide, working with leading composers and contributing to dozens of recordings. Her site-specific performance projectMusic for Spaces has brought interventions and installations to festivals and conferences across North America and Europe. On faculty at Brandon University’s School of Music since 2008, she leads the Correction Line Ensemble, melding contemporary chamber music with narrative songwriting, co-directs the Brandon Chamber Players and is a contributing artist with New York’s Odyssey Works performance project. Recent work includes a site-specific concerto on a lake in Austin, TX presented by the Austin Museum of Art, design of the Sonus Loci sound installation on the frozen Assiniboine River as part of Winnipeg’s Warming Huts competition with Stantec Architecture, the premiere recording of Rand Steiger’s Elusive Peace for cello and drumset with percussionist Ben Reimer, the world premiere of Pat Carrabre’s cello concerto Prairie Sky, and a performance at the 2013 Venice Biennale in support of artist Shary Boyle.