Scott Barton composes, performs, and produces (electro)(acoustic) music; conducts psychological research; and develops musical robots. His interests include rhythm, perceptual organization, instrument design, human-robot interaction, improvisation, and audio production. He directs the Music, Perception and Robotics lab at WPI and co-founded Expressive Machines Musical Instruments (EMMI). He is an Associate Professor of Music at Worcester Polytechnic Institute.
Travis Johns will perform on March 18, 2023 at 2:40PM ET. His presentation, A brief exploration on the intersections of brainwave music performance…, will occur at 3:30PM ET in Durgin room 204. Click here for the full program
Travis Johns is an artist and educator from Ithaca, NY, whose work includes performance, installation and printmaking, incorporating ecological themes, machine listening, biofeedback and original electronic instruments. As an improviser, he performs on electric bass and electronics; with studies conducted with Fred Frith, Joelle Leandre and Butch Morris, among others.
Dave Seidel is an electroacoustic musician and composer in Peterborough, NH. He was formerly a guitarist in the NYC downtown scene in the 80s, when he made the premiere recording of Lois V Vierks’s “Go Guitars” for five microtonal electric guitars. He has CDs on the Irritable Hedgehog and XI (Experimental Intermedia) labels, a number of Bandcamp releases, and many tracks on SoundCloud.
Andrew Neumann is an American artist. He works mainly with time based forms, incl. video, (single/multiple projections and installation), mixed media electronic music performance, as well as static sculptural modes, text panels, and conceptual photography. He is the recipient of a Guggenheim Fellowship in 2040, a Harvestworks New Works Grant, a LEF Foundation Grant and other awards. He has performed his music/multi media performances at Experimental Intermedia Foundation, Roulette, Issue Project Room, The Rose Art Museum, Artist Space, Microscope Gallery, as well as numerous “black box” basement venues. He has had one person shows at bitforms Gallery, The Center for Photography at Woodstock, The DeCordova Museum, and has been in numerous group shows. He has been awarded residencies at The MacDowell Colony, YADDO, Ucross Foundation, STEIM, Djerassi, and many others. He is currently preparing two CD’s of solo electronic improvised music systems.
AILEEN PING-CHEN SHEN (DJ AYLN), Multi-Disciplinary Artist, DJ, Music Producer, Studio Recording and Mixing Engineer, SoundDesigner, Percussionist, Live Electronic performer, VJ, Dancer from Taiwan. Grew up multicultural in Japan, Shanghai, Macao and the UK. Classically, trained as Percussionist has performed and commissioned installations, performances, theatres, across the world including Japan, HongKong, the UK, the US, Austria and Macao. Interested in Electronic Performance using interactive technology such MiMU Gloves, Max MSP, Sunhouse Trigger and sensory Percussion and other controllers. Working as a DJ in the underground dance music scene in the genre of techno, house, IDM and more. Currently a senior, President of Berklee DJ club and awarded scholarships, studying at Berklee College of Music duo Major in Music Production and Engineering and Electronic Production and Sound Design.
SunJessie is an artist who explores the boundaries between experimental electronic music and digital media art. With a focus on the organic connections between various forms of expression, SunJessie creates unique and captivating works that challenge the audience’s perceptions and emotions. Based on his background in experimental electronic music production, SunJessie creates music characterized by avant-garde soundscapes and cutting-edge technology. He also incorporates elements of digital media art, such as dynamic and interactive features, into his performances to create fully immersive experiences for his audience. SunJessie’s work is driven by his interest in the relationship between technology and human emotion. He seeks to create a sense of connection between the audience and the digital realm. By exploring the organic links between different forms of expression, he aims to create a deeper understanding of the human experience and technology’s role in shaping it.
Bob Familiar came to Boston in the late 70’s to attend Berklee College of Music. He soon joined the underground music scene as a member of the band The Dark. It is in in this context that he found his passion for sound design, electronic instruments, improvisational composition and the art of recording, mixing and mastering. Today, Bob composes electronic synthwave, downtempo, ambient, and contemporary orchestral music. His compositions combine a framework of generative rhythmic and melodic elements with live performance.
Olga Vechtomova will perform on March 18, 2023 at 12:20PM ET. Her presentation, AI music composition tools for inspiring the creative process will occur at 1:00PM ET in Durgin room 204. Click here for the full program
Every Constant Is Obsolete is an electronic music project of Olga Vechtomova, professor in AI at the University of Waterloo. Her debut album “When Time Is Gone” and the second album “Fading Words” were released in 2022. The musical approach towards creating these compositions was largely improvisational, with most tracks recorded in one take using analogue drone synthesizers, minimalist piano and electro-acoustic instruments.
Every Constant Is Obsolete performs live with analogue synthesizers accompanied by an AI-driven system called LyricJam Sonic, developed by Olga as part of her research into AI for music at the University of Waterloo. LyricJam Sonic uses clips of studio recordings by Every Constant Is Obsolete to create music accompaniments that augment her live performances. The system also generates an immersive real-time 3D visualization which teleports the audience on a visual journey through the AI latent space as the system locates the next musically compatible clip while it interprets the live performance.
A. Campbell Payne is a musician living in Massachusetts whose practice revolves around time, repetition, chance, and perception. Payne’s approach to composition is characterized by complex rhythmic structures, a harmonic vocabulary that explores consonant intervals in just intonation, and the use of complex generative systems. Drawing inspiration from dance, the history of computing and telecommunications, and the movement of nearby celestial bodies, Payne creates sonic environments that are at once approachable and disorienting.
I have had some horribly disturbing waking dreams of being a monstrous apparition, part-man, but mostly machine; soulless and demonic, terrorizing man and beast alike with sounds unlike any other, sounds that alternately inspire and chill, lifting spirits only to dash them again on some distant rocky shore comprised of dissonance and psychotic visions. I am haunted by sizable blackouts, what some refer to as lost time, and frequently awaken in unknown locations, smelling of Malört and regret with nothing to explain my activities save for a plectrum and a few patch chords.