Miya Masaoka resides in New York City and is a classically trained musician, composer and sound artist. She has created works for koto, laser interfaces, laptop and video, installations and written scores for ensembles, chamber orchestra and mixed choirs, and has led her own orchestra and numerous ensembles. Since forming and directing the San Francisco Gagaku Society, Masaoka has been creating new ways of thinking about and performing on the Japanese koto. She has developed a virtuosic and innovative approach, including improvisation and expanding the instrument into a virtual space using computer, lasers, live sampling, and real time processing. Masaoka has been developing koto interfaces with midi controllers since the 1980’s originally with Tom Zimmerman, co-inventor of the Body Glove. Since then, she has she has worked at STEIM, CNMAT and with Donald Swearingen to build interfaces with the computer and koto, at times using pedals, light sensors, motion sensors and ultrasound.
In other performance pieces she has mapped the movement of insects whereby their movements trigger the sounds for the piece. These pieces investigate insect culture and behavior, extract various data as source material for sound and investigate the constructions of race, gender. In other works, she has monitored the physiological response of plants, the human brain and her own body as renderings for music and sound composition. In her plant pieces she explores the keen awareness of plants to their environment, and the plant’s ability to think and respond. Her new release, For Birds, Planes and Cello, was written for former Kronos Quartet cellist Joan Jeanrenaud, and has received international critical acclaim. She holds degrees in music and music composition from San Francisco State University and a M.A. in Music Composition, Mills College where she studied with Alvin Curran. She is currently a professor in the Music/Sound department at the Milton Avery School of the Arts MFA, Bard College, NY.
Garth Paine is internationally regarded as an innovator in the field of interactivity in experimental music and media arts. He is an active contributor to the International NIME conference and has been guest editor of Organised Sound Journal on several occasions. He has lead the Taxonomy of Interfaces/Instruments for Electronic Music performance (TIEM) projects with partners McGill University and the Electronic Music Foundation, resulting in on online database of current practice and opening up the discussion of a taxonomy for classification of new instruments to assist research in the field. His major research project at the moment is Listen(n). Garth is an Associate Professor in Interactive Sound and Digital Media in the School of Arts, Media and Engineering and a Professor of Composition in the School of Music at ASU. He is also the Associate Director of the Synthesis Centre.
Garth is particularly fascinated with sound as an experiential medium, both in musical performance and as an exhibitable object. He was selected as one of ten creative professionals internationally for exhibition in the 10th New York Digital Salon; DesignX Critical Reflections, and as a millennium leader of innovation by the German Keyboard Magazine in 2000. He was awarded the Australia Council for the Arts, New Media Arts Fellowship in 2000, and The RMIT Innovation Research Award in 2002. He is a member of the advisory panel for the Electronic Music Foundation and an advisors to the UNESCO funded Symposium on the Future, which is developing a taxonomy / design space of electronic musical instruments. Garth has been invited to perform at numerous international events. His music has been released on a number of CD’s including Bowl Chant Meditation and Parallel Lines.
Karlheinz Essl is professor of composition for electro-acoustic and experimental music at the Vienna University of Music and Performing Arts. Professor Essl has been composer-in-residence at the world renowned Darmstadt Summer School, and IRCAM in Paris. His compositions are regularly performed around the world, and have received numerous prizes including the Austrian cultural prize for music. Professor Essl’s work with computers has an emphasis on algorithmic composition and generative music. He is internationally most famous for the algorithmic composition system, Lexikon-Sonate (1998 – 2010) that generates real-time piano music assisted by live user parameter controls.
Takuro Mizuta Lippit (aka DJ Sniff)
Takuro Mizuta Lippit is a musician, curator and producer in the field of experimental electronic arts and improvised music. Born in Southern California, raised in Tokyo, he has lived in Europe and Asia. He is educated in Critical Theory, Art History, Physical Computing, Interaction Design and DeeJaying. His musical work builds upon a distinct practice that combines DJing, instrument design and free improvisation. From 2007–2012 he was Artistic Director of Studio of Electro-Instrumental Music Amsterdam (STEIM). Currently, he is Co-Director of Ensembles Asia / Asian Music Network, and a researcher at the City University of Hong Kong – a research intensive university ranked in the top 10 Asian universities, and the top 200 globally.