Presenter Biographies

Pascale Barret (France), hybrided artist, is geo-localized in Brussels, Europe and the Internet. After her studies in Architectural Environment Management, she pursued a series of workshops in Fine Arts, Performance and Digital Arts, and obtained a Master’s Degree in Fine Art. Pascale is currently a member of the Interactive Media Art Laboratory (iMAL), a center for digital cultures and technology, and a participant in the Body Intimacy Network, a networked project for research into digital bodies. She works with the physical sciences laboratory LIMSI-CNRS (Orsay, France). In 2010, she contributed to the VIRAGE research platform by developing new interfaces and was awarded the Interactive Screen 1.0: Beautiful Lives Scholarship Intensive at the Banff New Media Institute with curator Daniel Canty. Her work has been exhibited in several International artistic institutions and galleries.

Jon Bellona is an artist specializing in intermedia arts and digital technologies. Jon’s recent work injects data-based alternative controllers into the human performance of electronic music. His music and intermedia work have been shown across the US including Future Music Oregon concerts, Hamilton College, and the Cinema Pacific Film Festival. Jon received his M.Mus. in Intermedia Music Technology from the University of Oregon and audio engineering degree from the Conservatory for Recording Arts & Sciences. Jon currently teaches as an adjunct at the University of Oregon in the Digital Arts department. More about Jon’s music and work may be found at:

Hector Bravo Benard is a composer and digital artist based in the Netherlands. He writes sound-based music for acoustic instruments, as well as for live electronics and fixed media. Born in Mexico City, studied philosophy and composition at the University of Victoria, in Canada, and later studied computer music at the Xenakis Centre in Paris. Received a Master’s in Sonology from the Royal Conservatory of The Hague in 2006, and is currently in the final stages of his Ph.D. work at the National Autonomus University of Mexico, with Julio Estrada, Agostino Di Scipio and Joel Ryan as his advisors. His music has been performed at several international venues, such as the Gaudeamus Festival, the International Computer Music Conference, and the Manuel Enriquez New Music Forum. He also works as a visual artist with digital media, and his works are sold by Gallerie Den Haag, in Noordeinde. Currently receives support from the Mexican Arts Council (FONCA) through the Young Creators grant program.

Franz Danksagmüller was first instructed by his father and Walther R. Schuster (Passau) in organ and music theory. Afterwards he studied organ with Michael Radulescu at the University of Music and Performing Arts in Vienna, and with Daniel Roth and Bernhard Haas. He studied composition with Dietmar Schermann and Erich Urbanner at the University of Music in Vienna, as well as electronic music and music technology at the Studio for Advanced Music & Media Technology with Karlheinz Essl in Linz. He won several prizes at international competitions and in 1994 he was honoured with the “Würdigungspreis des Bundesministeriums für Wissenschaft und Forschung”-prize from the Republic of Austria. From 1995 to 2003 he taught organ and improvisation at the University of Music and Performing Arts in Vienna, and from 1999 to 2005 he was organist and composer at the cathedral of St. Pölten. Since 2005 he has been Professor for Organ and Improvisation at the Academy of Music in Lübeck. His compositions include chamber music, music for organ, choir and electronic, music for theater pieces, silent films and a passion. Among his latest projects were performances with music for silent films in Copenhagen, Gothenburg, Leipzig and Tokyo in various instrumentations.

Steve Everett teaches computer music and directs the Music-Audio Research Center at Emory University (USA) where he is Professor of Music. In addition he has been a visiting professor of composition at Princeton University and a guest composer at Eastman School of Music, Conservatoire National Supérieur de Musique de Paris, Rotterdam Conservatory of Music, and Utrecht School of the Arts. His interactive electroacoustic works often involve theater and dance and have been performed in twenty different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, and Lincoln Center and Carnegie Hall in New York. His composition teachers were Salvatore Martirano, Peter Maxwell Davies, and Witold Lutosławski. Since 1992 he has been conductor of Thamyris New Music Ensemble in Atlanta and founded and conducted the Emory Javanese Gamelan Ensemble.

Rudi Giot was born in the Ardennes in 1967.  From a young age he has been passionate about computers and computer sciences. He obtained his engineering diploma at the Polytechnic Faculty of Mons. He also studied the piano and music composition with Gilles Gobert. Afterwards he specialized in electroacoustic music with Annette Vande Gorne. Shortly afterwards he started building his own electronic music interfaces and musical instruments, thus combining his technical expertise and his love of music. In the past two years he has given concerts at the Biéreau farm in Louvain-la-Neuve, at the Senghor Space in Brussels and collaborates with different artistic projects for IMAL, the Wiels, the Brass and for the Beurs (SMATCH au KunstFestival in 2009).

Filipe Lopes Filipe Lopes was born in 1981, in Porto.
In 2003 he graduated in Music Education and in 2007 he graduated in Composition. In 2006 we was awarded best experimental audio at the Festival Black&White (pt) and in 2007 he was a resident composer at Miso Music Portugal (LEC – pt).
In 2009 he finished his Master’s Degree at the Institute of Sonology, working with Paul Berg, Joel Ryan, Kees Tazellar among others. Since 2007, he belongs to FactorE, the resident educational ensemble in the Educational Services at Casa da Música, in Porto. Since 2011 he is the curator of the project Digitópia, hosted at Casa da Música. He was the teacher of electronic music at Superior School of Music and Arts Performance and currently he his pursuing a PhD in Digital Media at the Faculty of Enginnering of Porto.

Kurt J. Hebel, vice president of Symbolic Sound, has a Ph.D. in Electrical and Computer Engineering from the University of Illinois where he taught courses in digital audio engineering, sound synthesis and processing algorithms, and DSP-programming before coming to Symbolic Sound full-time in 1995. His research has been published in the IEEE Transactions on Signal Processing, Computer Music Journal, as well as several book chapters and conference proceedings. The designer of the Pacarana, Paca, and Capybara-320 hardware (and its predecessors), Kurt has been designing, building and programming hardware and software for computer music for over 30 years, starting out with the KIM-1 based synthesizer he built in his parent’s basement while still in high school, and including the Sound Conversion and Storage System for the University of Illinois School of Music (1984), a microprocessor called the Pigtail for controlling the CERL Sound Group IMS digital synthesizer (1981), the Platypus — a discrete logic DSP that he built with Lippold Haken in 1983, along with innumerable software projects ranging from spectral analysis programs to filter optimization software, to microcode assembly languages.

Robert Jarvis‘ work lies somewhere between that of a composer and a creative researcher. As a keen collaborator he has worked with ‘experts’ from many other disciplines, including outside of the arts; however, much of his work engages with those who do not see themselves as specialists. He is involved in the creation of temporary and permanent sound pieces.  In recent years Robert has been concentrating on compositions that make use of found-sounds from specific areas or scientific data collected from natural processes. This work is concerned with encouraging people to rethink their environments and for them to question how they relate to their surroundings.

In a professional career that spans choirmaster/church organist, to London session musician/arranger, to bassist/keyboardist for Led Zeppelin, to producer for musicians ranging from rock to roots music, to bassist/keyboardist for Them Crooked Vultures, to performing in the pit-orchestra at the Royal Opera House, and includes two solo albums (Zooma and The Thunderthief), John Paul Jones has always embraced an incredibly wide range of styles.  He continues to explore new music, new technology, and new instruments, all with intelligence, enthusiasm, energy and an undisguised sense of fun.

Yannis Kyriakides is a composer and sound artist, based in Amsterdam, by way of Cyprus and England. His music explores new forms and hybrids of media. Prizes have included the Gaudeamus Composition prize in 2000 for a conSPiracy cantata, Prix Ars Electronica honorary for the CD Wordless in 2006, Buma Toonzetters prize in 2011 for Paramyth, and a French Qwartz Award for his CD Antichamber. His opera Ocean of Rain opened the Aldeburgh Festival in 2008 and he was featured composer at the Huddersfield Contemporary Music Festival in 2007, and November Music in 2011. Two sound installations were shown at the Venice Biennale in 2011 as part of the Dutch pavilion. He founded UNSOUNDS, a label for new electronic music, is artistic director of Ensemble MAE, and teaches composition at the Dutch Royal Conservatory. More information about Yannis can be viewed at

Bruno Liberda is a pupil of Roman Haubenstock-Ramati who became his most influential teacher and mentor. He received several awards and scholarships in Europe & US and his works where performed at Frankfurter Oper, Concergebouw & Opera Amsterdam, Marstalltheater München, Staatsoper Wien – his ballet Valse triste (1977) was the first composition of electronic music ever to be performed in the Staatsoper Wien –, etc… Today Liberda lectures electronic music at the Universität für Musik und Darstellende Kunst Wien. By combining traditional and electronic instruments he explores the fascination of music as so aptly described by Józef Maria Hoene-Wroński: “Music is the corporealization of the intelligence that is in sound.”

Theo Lipfert, Associate Professor in the School of Film and Photography at Montana State University, Bozeman, is a filmmaker who is exploring the intersection between visual media and sound. He earned an MFA in Painting at Hunter College in New York City and exhibited paintings and prints widely in North America and Germany before devoting his creative energies to film, video, sound, and teaching. His first film, “The Displacement Map,” was featured at the Tribeca film festival and won several awards for experimental documentary. Subsequent films, among them documentaries, narratives, and experimental shorts, have been shown in premiere festivals including Ann Arbor, SXSW, Cinequest, Mill Valley, and One Reel / Bumbershoot. In addition, some of his works have been broadcast on public television and garnered both awards and critical acclaim. At KISS 2010 Lipfert premiered his first Kyma work entitled “Beneath the Surface.” This sound piece featured video and randomly selected audio, adding the element of live performance to the process. He is currently a Fulbright Scholar in the Republic of Mauritius, an island nation in the Indian Ocean, where he is teaching digital media and producing a film on giant tortoises.

Eduardo Magalhães graduated in music technology and production from the Escola Superior de Música e Artes do Espectáculo and is currently finishing his master’s in sound design and interactive music at the Porto University Faculty of Engineering. Over the last 10 years his professional activities have included live music, work with theater companies and independent cinema projects, producing, recording and mixing music as well as sonic experimentation in the form of installations and field recordings. He is currently the coordinator of the Electronic Music Lab at the Porto University Faculty of Engineering where he assists the students with Kyma, sound design, and other audio engineering topics. He is also a teacher for the public school system where he focuses on raising children’s awareness of sound and musical space.

Scott Miller is a composer of electroacoustic, orchestral, chamber, choral and multimedia works frequently performed at venues and in exhibitions throughout North America and Europe, including the 10th International Music Festival New Music Plus in Brno,The Contemporary Music Festival at the Ostrava Creative Center and Janácek Conservatory, Mladé Pódium International Festival of Young Artists, the 12th International Festival of Electroacoustic Music in Brno, the Leipzig Neue Gewandhaus, at Dvorak Hall, Prague, and at Galerie EXPRMNTL, in Toulouse, France. Miller’s music has been described as ‘peaceful, intimate, and painstakingly crafted’ (Christy Desmith, City Pages) and ‘not for the faint-hearted listener; it is tough, unsparing, blessed free of self-indulgence and offering for our consolation only its scrupulous precision.’ (Juliet Patterson, Miller is most widely known for his interactive electroacoustic chamber music and experimental performance pieces, and has received honors and awards from the Jerome Foundation, the McKnight Fellowship for Composition, the Minnesota State Arts Board, the Central Minnesota State Arts Board, and the MUSICA NOVA 98 International Electroacoustic Music Competition. His music has been recorded by ensembles such as Zeitgeist, Trio Montecino, and Wizards! on the Innova, Eroica, CRS and SEAMUS labels. Miller is a Professor of Music at St. Cloud State University, Minnesota, where he teaches composition, electroacoustic music and theory. He has lectured on electroacoustic music and composition in universities and secondary schools across the United States, Europe and Mexico. He  holds degrees from The University of Minnesota, The University of North Carolina – Chapel Hill and the State University of New York at Oneonta, and has studied composition at the Czech-American Summer Music Institute and the Centre de Creation Musicale Iannis Xenakis. For more information:

Mark Nazemi is a sound designer and multimedia artist who is pursuing a PhD in Vibroacoustics at Simon Fraser University in Vancouver Canada under the supervision of Dr. Diane Gromala and Barry Truax. Mark has been involved in the production of electronic music for over 10 years professionally and in 2003, he established the post-secondary institute, Stylus College of Music & Sound Technology where he teaches music production and audio engineering.

André V. Perrotta was born in Rio de Janeiro 1982, graduated in Physics at University of São Paulo in 2006, and is currently a Ph.D. student in computer music and interactive arts at Portuguese Catholic University. He has been working as musical assistant and technical developer for computer music with Flo Menezes at Studio PANaroma since 2005, and with Miso Music Portugal and Miguel Azguime since 2010. In this time he has assisted with many compositions such as Crase by Flo Menezes (2006, commissioned by São Paulo Symphony Orchestra), Traces by Flo Menezes (2007, commissioned by Arditti Quartet), and Conversations by Miguel Azguime (2010, commissioned by The California E.A.R. Unit Ensenble). Since 2011 he has worked as a researcher on the Marsyas project at CITAR (Center for Investigation in Arts and Technology at Portuguese Catholic University). Parallel to the academic works in computer music, since 2003 he has been developing commercial interactive installations for multiple purposes in Brazil and has worked with clients such as Nike, Mtv, Globo, Hasbro and Bayer.

Lowell Pickett lives in Los Angeles. He received a bachelors degree in music technology from California Institute of the Arts in ’02 – since then, Lowell has worked with many well known composers, musicians, mixers, editors, producers, retailers and product designers. He is a 3D and surround audio enthusiast and is involved in technical and creative development for multi-channel audio used in themed-entertainment and music venues. Lowell also plays a 6-string electric cello and has enjoyed using Kyma for over a decade. He has a vibrant background in music and has composed and produced material for award winning animations, video games and short films. Lowell currently works as a consultant, specializing in emerging technologies and techniques in music/audio production and delivery.

Designer of the Kyma language and the president of Symbolic Sound Corporation, Carla Scaletti explores at the intersection of science and experimental music by means of software development, sound art, and data sonification in accordance with the principles outlined in the µ-psi manifesto: She holds a doctorate in music composition and a master’s of computer science from the University of Illinois and a master’s of music from Texas Tech University where in 2003 she received a Distinguished Alumnae Award for “invaluable contributions in the field of music”.

Lukas Steiner (*1977) lives in Vienna, Austria, where he studied Business Administration with a specialization on Information Management. He creates electronic music and sounds since the age of 13, never losing enthusiasm to conduct all kinds of sound experiments. 1998 he started the electronic music project Schöpfwerk. He started to use Kyma in 2010.

For the last twenty years Helge Sten has worked as a composer, musician and producer. He studied at the Academy of Fine Art in Trondheim, where he explored electronic sound manipulation and composition. Helge Sten has performed with artists like Motorpsycho, Mazzy Star, Ben Frost, Biosphere, Terje Rypdal, Sidsel Endresen, Susanna and Cikada. As a composer he has worked with television, dance, theatre and performance companies, as well as various sound installation work. His main body of work has been released under the Deathprod moniker, and he is a founding member of Supersilent.

Jeffrey Stolet is a professor of music and director of the Intermedia Music Technology at the University of Oregon. He received a Ph.D. in Music at The University of Texas at Austin. Stolet was among the very first individuals to be appointed to a Philip H. Knight professorship at the University of Oregon. Stolet’s work has been presented around the world and is available on the Newport Classic, IMG Media, Cambria, SEAMUS and ICMA labels. Presentations of Stolet’s work include major electroacoustic and new media festivals, such as the International Computer Music Conference, the Society for Electro-Acoustic Music in the United States Conference, the MusicAcoustica Festival in Beijing, the Third Practice Festival, the Workshop on Computer Music and Audio Technology in Taipei, the Annual Electroacoustic Music Festival in Santiago de Chile, the Florida Electroacoustic Music Festival, SIGGRAPH, the transmediale International Media Art Festival, Boston Cyber Arts Festival, Cycle de concerts de Musique par ordinateur, the International Conference for New Interfaces for Musical Expression, the International Workshop on Computer Music and Audio Technology in Taiwan, and the International Electroacoustic Music Festival “Primavera en La Habana,” in Cuba. In addition, his work has been presented in such diverse venues as the Museum of Modern Art in New York, the Pompidou Center in Paris, the International Academy of Media Arts and Sciences in Gifu, Japan, and the Center for Computer Research in Music and Acoustics at Stanford University. Stolet’s recent work has centered on performance environments where he uses a variety of wands, sensing devices, game controllers and other magical things to control the sonic and videographic domains.

Laura Tedeschini Lalli, professor, School of Architecture, Universita’ Roma Tre, Italy. Studies of mathematics, and of musical composition, Conservatorio Santa Cecilia Roma; Ph.D. in applied math, University of Maryland, 1986. Application area: Musical theories. Research interest: Chaotic dynamical systems, Sound as complex structure. As a musician as well as a mathematician, I am interested in the capability of the human hearing system to extract and assign patterns in real time as the sound flows in. This implies the study of the small time-scale, which, in turn, also controls and encodes the spatial information in sound.

Cristian Vogel has more than 18 years working independently and professionally at the vanguard of electronic music creation, recording, mixing, live performance and sound design. Alongside simply creating music for the love of it, his personal research streams are ongoing. These days they branch away from the conventional music industry into sound and music computing, systematic musicology, realtime sound environments, new media art, data-sonification and more. The independent artist research framework “The NeverEngine Night School”, based in and around his studio focusses on: interdisciplinary composition, sonification, recombinance synthesis, systems music and embodied/enactive music cognition. He has recently relocated from Barcelona and is now based in Geneva.

Eckard Vossas, born 1960, lives in Bonn, Germany. He studied Comparative Literature and Computer Science at the University of Bonn. Currently he earns his money unaffiliated as IT-Consultant (artistic life outside the mainstream leads to starvation). Beyond everyday life he performs improvised music, wild, rough and experimental, mostly live-electronic and using the Haken Continuum Fingerboard. Since the age of 14 he is making music, playing all sorts of keyboards, synthesizers and electronics, alone or in communication with other musicians. He roams in a broad spectrum of musical directions and styles (from contemporary music as represented by e.g. Boulez, Haubenstock-Ramati, Henze, Schönberg, Stockhausen, Webern … over Free Jazz and Jazz Rock as represented by e.g. Cecil Taylor, Joachim Kühn, Paul Bley, Miles Davis, Wheather Report … to Rock represented by e.g. Frank Zappa, Henry Cow, Soft Machine …), but with emphasis on improvised music (spontaneous communication acting and re-acting on the edge of moments; generating sound and emotional events while instantly experiencing newly invented structures). He conceives music as being a universe of all possible and imaginable sound events; a concrete song instantiates a selection from this universe either by rules (e.g. blues pattern, harmonic and rhythmic patterns) or by free findings, investigating the fate of coincidence. And it is sure, that no one will ever visit all places in this universe … which makes life exciting. He is exploring the Kyma system since 2002, which extends the boundaries every day. Furthermore his creative propulsion erupts in writing experimental avant-garde texts. At the present time the only book in print is a poetry book with the title entgegenwart (ISBN 978-3831110117), which is also available as eBook (both in the Apple iBook store and as Amazon Kindle-Edition).

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