Tehis aka Alo Allik (EST/NL) is a sound artist and producer who has been actively involved in a number of music scenes internationally since the early 1990s. His output as a dj, composer and performer over the years has evolved through drum and bass, ambient, deep house, and more obscure subgenres of electronic dance music to miniature forms and expressions in computerised audio and spatio-rhythmic electroacoustic music.

Gilles Aubry (CH) uses environmental recordings, computer programming, surround sound technology and improvisation to create live performances, sound installations, CD and radio pieces. His work is informed by his investigations into the formal, perceptual and anthropological aspects of sound production and reception, including auditory perception, cultural acoustics, space representation and the history of sound technologies.

Ralf Baecker (DE) lives and works in Bremen, Germany. After studies in computer science he attended the Academy of Media Arts in Cologne graduating with a diploma in media arts in 2007. Baecker builds kinetic installations and sculptures that deconstruct the fundamentals of symbolic processes. In 2007/2008 he taught at the department for Design of Medial Environments at the Bauhaus University in Weimar.

Tarik Barri (NL) is an audiovisual composer based in Utrecht, the Netherlands. Reflecting his interests in programming, drawing and composing into a coherent multimedial discipline, he developed and uses software that merges audio and visuals into a new audiovisual reality.

Yann Beauvais (FR) is a filmmaker, teacher, film critic and co-founder of the experimental film distributor Light Cone. His work is deeply influenced by Russian formalism and minimal structuralism.

Over the last two decades, Philip Beesley’s (CA) work has focused on field-oriented sculpture and landscape installations, with extensions in stage design and buildings. His projects in the past several years have increasingly incorporated immersive digitally fabricated lightweight ‘textile’ structures, and recent works feature interactive kinetic systems that use dense arrays of microprocessor, sensors and actuator systems.

Since 1996 Carlo Bernardini (IT) has been designing and making large optical fibre installations, stainless steel and optical fibre sculptures-installations, OLF (Optical Lighting film) surfaces and electro-luminescent surfaces that the viewers perceive in a different way and in a different form, depending on where they are in the space. Carlo Bernardini lives and works in Milan; he teaches Multimedia Installations at the Accademia di Belle Arti di Brera in Milan.

Most of Kjell Bjorgeengen’s (NO) works deal with a combination of representation, the artists’ subject, and relinquishing subjective control through the structuring of images from automated processes of sound and music mediated through technology that is often modified in cooperation with hardware and software designers. The installations and video works are based on non-representational references. The intention is not to accept the status quo, be it perceptual prejudices embedded in language or the dominant economic/political structure.

Game developer Cactus (Jonatan Söderström, SW) specializes in developing games of an experimental nature and has over forty games to his name. His use of bizarre plots, new game mechanics or strange graphics guarantees that players will always encounter the unusual and unpredictable in his games. He has achieved wide acclaim for his work, which often features on websites, blogs, as well as at game and art festivals all over the world.

Eric la Casa (FR) has worked as a composer since 1991. In addition to creating solo and collaborative works, he also writes for the French magazine Revue & Corrigée, which is dedicated to new music. La Casa is also a member of the musique concrete ensemble Afflux, which focuses on improvisation with environmental sounds as they occur in an open landscape.

Steven Connor (UK) is a writer, cultural critic, and the Academic Director of the London Consortium. He is the author of books on Dickens, Beckett, Joyce, ventriloquism, skin, flies, and other topics in literary and cultural history, and is currently writing a book about the historical poetics of the air.

Gill Eatherley (UK) studied at various art academies in Britain. Her Expanded Cinema performances and film installations have been widely exhibited. Since 1975 Eatherley has resided in France, where she has concentrated on drawing and painting, whilst teaching art and working as a documentary film-maker.

Raviv Ganchrow (US) studied architecture in New York from 1995–2000 and has taught at several academies and institutes in The Netherlands since completing his Master of Music in Sonology, The Hague, in 2004. His sound installations and sound works have been exhibited in the USA, France, Austria, the Netherlands and Norway. He developed and designed the spatial sound performance Wave Field Synthesis system, commissioned by the Game of Live Foundation, the Netherlands.

Dmitry Gelfand (RU) and Evelina Domnitch (BY) create sensory immersion environments that merge physics, chemistry and computer science with uncanny philosophical practices. They have collaborated with numerous scientific research facilities to create installations that exist as ever-transforming phenomena that take place directly in front of the observer without being intermediated, thereby often serving to vastly extend the observer’s sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.

HC Gilje (NO) works with real-time environments, installations, live performance, set design and single channel video. He was a member of the video-improv trio 242.pilots, and was also the visual motor of kreutzerkompani. Gilje’s work has been presented in concert-venues, theatre and cinema venues, galleries and festivals throughout the world. In October 2006 Gilje started a three-year tenure as a research fellow at Bergen National Academy of the Arts, Norway, exploring how audiovisual technology can be used to transform, create, expand, amplify and interpret physical spaces.

Yolande Harris (UK) uses her performances, installations and instruments to investigate how we use sound to relate to our surroundings, both architectural and ecological. Her current research/practice considers the musical potential of sound worlds outside the human hearing range, through underwater bioacoustics and the sonification of data.

Russell Haswell (UK) is a multidisciplinary artist who has exhibited conceptual and wall-based visual works, video art, public sculpture, as well as audio presentations in both art gallery and concert hall contexts. Extreme Computer Music is one specialized area of activity. An ongoing collaboration (2003 +) with Florian Hecker working with Iannis Xenakis’ graphic-input ‘UPIC Music Composing System’ is one project, the results of which have been presented as multi-channel electroacoustic diffusion sessions.

Architect Dirk Hebel’s (CH) research addresses the conceptual transfers between the human body and the contemporary city, and he has recently co-published a book initiating a plea for a new type of architectural practice.

Florian Hecker (DE) is an electronic music composer whose compositions tend towards noise music and are often released on the Mego label. He has collaborated with artists such as Russell Haswell, Peter Rehberg, Aphex Twin, Yasunao Tone, and others. He also creates sound installations, most notably for Angela Bulloch. Together with Russell Haswell he has been creating pieces for Iannis Xenakis’ graphic-input ‘UPIC Music Composing System’, since 2003. His recording Sun Pandämonium received the Award of Distinction at the Prix Ars Electronica in 2003.

Nan Hoover (1931–2008) started experimenting with video as an extension of her painting practice and as a documentary medium in 1973. Her videos often explore a visual ambiguity between the body and the landscape, or between abstract and natural forms.

During the 1970s Naut Humon (US) presented a series of events that transported the audience through various indoor/outdoor sites, and interrupted the process of moving with ‘destabilized’ media occurrences designed to repurpose the visitor’s frame of reference from the prevailing performance proximities of the day. Later activities emphasized a strong musical foundation with tactile instrumentation and audio/video technologies that focus the perceptions of the viewer on the physicalization of form. He also helped coordinate the Digital Music category at the ARS Electronica Festival for ten years.

Dutch outfit I-F produces thin, minimal electro and techno punctuated by somewhat obvious but inventively reconstituted influences tracing to late 1970s and early 1980s American and Italian disco. Heavily melodic and often incorporating thick, dense basslines that bounce along with a force equal to or exceeding that of the beat, I-F tracks such as Superman, Quest and Playstation No. 1  helped reinitiate the use of bizarre, synthetic-sounding lyrics, pushing beyond the odd sampled vocal of most dance music and into full-on verse-chorus-verse arrangements.

Takashi Ito (JP) is one of the leading experimental filmmakers of Japan. His intention is to draw the audience into a vortex of supernatural illusion by exercising the magic of film.

JoDI, or jodi.org, is a collective of two Internet artists: Joan Heemskerk (NL) and Dirk Paesmans (BE), who started creating original artworks for the World Wide Web in the mid-1990s, many of them in the form of conceptual jokes. They soon turned to software art and artistic computer game modification, the latter comparable in many ways to deconstructivism in architecture – they disassemble games to their basic parts, and reassemble them in ways that do not make intuitive sense (Wolfenstein 3D, Quake, Jet Set Willy and Max Payne 2). Since 2002, they have been making video works by recording the computer monitor’s output while working, playing video games, or coding (their so-called Screen Grab period).

Branden W. Joseph (US) is Frank Gallipoli. Professor of Modern and Contemporary art in the Department of Art History and Archaeology at Columbia University, and a founding editor of the journal Grey Room, a multi-disciplinary quarterly journal of architecture, art, media and politics, published by MIT Press since 2000. Joseph regularly contributes essays on music to catalogues and prestigious journals and has published three books, the latest being Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books, 2008).

Ji Youn Kang was born in Seoul, South Korea in 1977.  She studied Sonology at the Royal Conservatory in Holland, and expanded her knowledge of electro-acoustic music and music composition. Currently she is an associated research student in Sonology, working on composing music using WFS system.

Jacob Kirkegaard’s (DK) work focuses on the scientific and aesthetic aspects of resonance, time, sound and hearing. His installations, compositions and performances deal with acoustic spaces and phenomena that usually remain imperceptible. Kirkegaard uses unorthodox recording devices to capture and contextualize hitherto unheard sounds from within a variety of environments: a geyser, a sand dune, a nuclear power plant, an empty room, and even sounds from the human inner ear itself. Among his numerous collaborators are JG Thirlwell, Ann Lislegaard, CM von Hausswolff and Lydia Lunch.

Eric Kluitenberg (NL) is a media theorist, writer and organizer on culture, media and technology. Since the late 1980s, he has been involved in numerous international projects in the field of electronic art, media culture, and information politics, lecturing and publishing regularly on these topics. Kluitenberg heads the media program at De Balie, Centre for Culture and Politics in Amsterdam. He is the author of Delusive Spaces (NAi Publishers, 2008), and the editor of the Book of Imaginary Media (NAi Publishers, 2006) and the theme issue Hybrid Space of Open, journal on art and the public domain (2006).

Works by the composer, performer and sound artist Hans W. Koch (DE) examine unpredictability on all levels of a musical composition. Besides the creation of open musical forms for various ensembles, mostly including live electronics and interdisciplinary aspects, he also creates mixed media installations. When working with digital media, he explores boundaries and implicit (de)faults, in order to arrive at interactions that keep lives of their own and react to human input in unpredictable ways.

Thomas Köner (DE) studied electronic music and worked for the film industry as editor and sound engineer. He extended his concept of time and sound colour to images, resulting in video installations, photography and net art. His point of departure was composition of sound in which aspects of a performance and visual language were gradually integrated.

Brandon LaBelle (US) is an artist and writer working with sounds, places, bodies, and cultural frictions. His works explore the space between sound and sociality, using performance and on-site constructions as creative supplements to existing conditions. His work has been featured at numerous international exhibitions and festivals. His ongoing project to build a library of radio memories was presented at Casa Vecina, Mexico City in 2008.

Karen Lancel and Hermen Maat (NL) create ‘meeting places’ in public spaces. These performances and installations are designed as seductive, visual environments. The artists invite their audience to experiment and play with social technologies, and to reflect on their own perception of body, identity, community and alienation.

Takuro Mizuta Lippit (dj sniff) is a turntable musician working in the field of improvised and experimental music, a researcher of music technology, and STEIM’s Artistic Director since 2007.

Annea Lockwood’s (NZ) performance works focus on environmental sounds and life-narratives, often using low-tech devices, which manifest her lifelong fascination with timbre and new sound sources. Since the early 1990s, she has written for a number of ensembles and solo performers, often incorporating electronics and visual elements, as well as creating pieces for surround-sound installations. Much of her music has been recorded, on the Lovely, XI, Mutable, Pogus, EM Records (Japan), Rattle Records, Soundz Fine (NZ), Harmonia Mundi, CRI and Finnadar/Atlantic labels. She is a recipient of the 2007 Henry Cowell Award.

Over the past 30 years Francisco López (SP) has developed an astonishing sonic universe based on a profound listening of the world. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in sixty countries on five continents. His extensive catalogue of sound pieces – including live and studio collaborations with over 100 international artists – have been released by more than 200 record labels worldwide, and his work has received three honorary mentions at Ars Electronica.

Yutaka Makino’s (JP) works range from sculpture to sound works including computer music compositions and spatial sound installations that utilize spatial projection processes such as Wave Field Synthesis to achieve total physical immersion. His many activities include live performances as Audile with the turntablist Takuro Mizuta Lippit, alias dj sniff of STEIM. In 2009, he founded an independent computer music label, Strukto.

Roger Malina (US) is an astronomer, with a speciality in space telescopes and observational cosmology. He is a co-investigator for the Supernova Acceleration Probe Mission, which seeks to understand the nature of dark energy in the universe. He has edited the Art-Science publication Leonardo at MIT Press for 25 years and is the executive editor of the Leonardo Book Series at MIT Press. He is particularly interested in promoting the cultural appropriation on contemporary sciences and technology and new ways of creating conditions for art-science collaboration.

Anthony McCall (US) specialises in cinema/projected film. McCall developed his ‘solid light’ film series during the 1970s, comprising simple projections that emphasise the sculptural qualities of a beam of light. After a 20-year hiatus, he revived his ‘solid light’ series, this time using digital projectors rather than 16 mm film. He also makes light installations and recently received a grant from the London 2012 Cultural Olympiad to create a work consisting of a column of steam in Birkenhead, planned to be visible from 100 kilometres.

Film-projection artist Bruce McClure (US) has performed extensively in cinemas, festivals and museums in the United States and abroad. Producing a totally sensory experience, McClure’s groundbreaking multi-projector performances are informed by the way the brain reacts to light and sound. Using an array of modified 16 mm projectors, film loops, and guitar pedals, his work challenges the very substance of film and its mechanical supports. Film loops patterned with patches of emulsion on a translucent base are combined with an optical soundtrack to create a physically intense adventure.

Olivier Messiaen (1908 – 1992) was a French composer, organist and ornithologist. He entered the Paris Conservatoire at the age of 11 and numbered Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupre among his teachers.

László Moholy-Nagy (1895 – 1946) was a Jewish-Hungarian painter, sculptor, designer, photographer, filmmaker, teacher and theoretician, as well as a professor of the Bauhaus school. Influenced by constructivism, he was an advocate of the integration of technology into the arts.

Founded in 1995 by Robert Henke and Gerhard Behles, Monolake (DE) is an open project dedicated to computer-generated music. Robert Henke was born 1969 in Munich, moved to Berlin in 1990 and studied sound engineering and computer science. His works use multi-channel audio to explore how sound can redefine physical and mental spaces, and how much time is required for the structure of a musical idea to emerge.

Michael John Morgan (UK) researches the experimental psychology of vision, from neuroanatomy to perception and psychophysics. His 2001 book The Space Between Our Ears won the Wellcome Trust book prize for science writing. Currently professor of Visual Psychophysics at the City University, London.

BJ Nilsen (SE) is a sound and recording artist, has since 1990 been putting out work in various constellations. Primarily focused on the sound of nature and its effect on humans, field recordings and the perception of time and space as experienced through sound, often electronically treated. He has worked for documentary film, television and as a sound engineer.

Self-described ‘transarchitect’ Marcos Novak (US) designs spaces, and the objects that fill and create those spaces, directly in virtual reality. Instead of focusing on the economy of construction, ‘transarchitects’ explicitly use space to perform and transform, creating immersive, interactive, animated virtual constructions. Novak disregards physical laws and the constraints of Euclidean geometry in a computer-supported virtual reality to create new forms, which he calls ‘liquid architectures’, because they combine time and space with little or no rational constraints.

Optical Machines (NL) consists of Rikkert Brok (visuals) and Maarten Halmans (audio), who work with an open set-up that invites the audience to their laboratory-like playground. Their tools include modified record players, pattern models, lamps, lenses, cameras, customized projectors and self-made analogue synthesizers, which they use to create spellbinding events. Optical Machines is a true live performance with visuals and sound created on the spot!

Theo Parrish (US) was born in Washington D.C. in 1972 and raised in Chicago, IL where his passion for music developed. He began spinning and producing tracks in 1986, at the age of thirteen. In 1994, he recieved a Bachelor of Fine Arts degree from KCAI with a concentration in Sound Sculpture, a form of orchestrationusing live instruments, looped recordings, the human voice, and numerous other sound generating devices. While in Kansas CIty, Theo continued to impact and be impacted by dance music, helping to bring a dormant underground music scene to life.

After dabbling in punk rock bands and absurdist performance, Greg Pope (UK) founded the Brighton based Super 8 film collective Situation Cinema in 1986 that evolved into Loophole Cinema (London 1989–99), which used 16 mm multi-projection techniques. Working collaboratively and individually, Pope has made video installations, live art pieces and single screen film works since 1996. He currently lives in Norway and is active teaching, projecting and making film.

Gert-Jan Prins (NL) has been known for twenty years as one of the most challenging sound artists in the Netherlands. He is an autodidact who focuses on the sonic and musical qualities of electronic ‘noise’. In his work, Prins makes connections with modern electronic club culture, occupying a radical position with his investigation of electronic sound and its relationship to the visual. He also creates links with the performance art and machine art of the 1980s, which reshaped the legacy of industrial society to produce threatening, yet sometimes also sublime, encounters with technology.

Paul Prudence (UK) is a real-time visual performer working with generative/computational systems, audio responsive visual feedback and processed video. He is particularly interested in the ways in which sound, space and form can be synthaesthetically amalgamated. He is a writer, researcher and lecturer in the field of visual music, process art, and computational design.

Film alchemist Jürgen Reble (DE) started making his own work in film, performance and installation often rooted in manual processing of film footage using mechanic and chemical influences and reconstruction of the cinematographic apparatus in the 1980s.

Trace Reddell (US) is a digital media artist and theorist exploring the interactions of sound and the cosmological imagination. His live cinema performances and video works have screened at over thirty international venues over the past two years.

Lis Rhodes’ (UK) work investigates how language can produce perceptions, interactions and social relationships, and she interrogates the languages of film through slippages between textual, visual and aural language, and by exposing power imbalances. While firmly rooted in the history of experimental film, her films cross into performance, photography, writing and political analysis. Her Expanded Cinema works rely on viewer engagement, to the point that the audience members become performers themselves.

The free improvisation tabletop guitarist and painter Keith Rowe (UK) was a founding member of both the hugely influential AMM in the mid-1960s, and M.I.M.E.O. He is regarded as a godfather of EAI (electroacoustic improvisation). Rowe developed various prepared guitar techniques to produce sounds described as dark, brooding, compelling, expansive and alien.

He has worked together with numerous composers and musicians, including Cornelius Cardew, Christian Wolff, Howard Skempton, Jeffrey Morgan, Taku Sugimoto, Otomo Yoshihide, Sachiko M, Oren Ambarchi, Christian Fennesz, Burkhard Beins, Toshimaru Nakamura and Peter Rehberg.

Daïchi Saïto (JP) turned to filmmaking in Montréal after studying philosophy, Hindi and Sanskrit. He is a co-founder of the Double Negative Collective, a Montréal-based group dedicated to experimental cinema.

Christopher L. Salter’s (CA) artistic and research interests revolve around the development and production of real time, computationally-augmented responsive performance environments fusing space, sound, image, architectural material and sensor-based technologies. Such projects range from small and large scale, public driven installations where the line between spectators and performers is blurred to traditional performance environments with trained performers that are augmented with computational and media systems. In addition to his artistic production, Salter is the author of numerous publications in the areas of technology and performance, real time responsive environments and audio-visual perception/experience.

Detroit producer Anthony ‘Shake’ Shakir is one of the more underrecognized, underappreciated names in American techno. A bedroom producer since 1981, Shake had an important role in helping shape the early Motor City sound associated with artists such as Juan Atkins/Model 500 and Derrick May. He worked with May and Carl Craig as a producer, writer, or engineer on several early tracks on Metroplex, and worked in management and A&R for the label during its formative years.

Edward A. Shanken (US) writes and teaches about the entwinement of art, science, and technology with a focus on interdisciplinary practices involving new media. Recent and forthcoming publications include essays on art and technology in the 1960s, information aesthetics, interactivity and agency, and the cultural implications of cybernetics, robotics, and biotechnology. His critically appraised survey, Art and Electronic Media, was published by Phaidon Press in 2009.

Paul Sharits (1943–1993) was an avant-garde filmmaker noted for manipulating film stock itself to create a variety of fascinating, abstract interplays of light and colour when projected on the screen.

Elizabeth Sikiaridi (GR) studied architecture and urbanism at the École d’Architecture de Belleville in Paris and at the Technical University of Darmstadt.  She lectures on design in the urban landscape at University of Duisburg-Essen and together with Frans Vogelaar runs the Hybrid Space Lab, an interdisciplinary studio where architects, urbanists, landscape architects, designers and media artists collaborate with soft- and hardware engineers in the development of projects for combined analog and digital, urban, architectural, design and media spaces.

Jan-Peter E.R. Sonntag (DE) has an academic background in instrumental music, fine art, art history (new media), music theory, composition, philosophy and cognitive science. He has mostly focused on site-specific installations based on sound and biomass but also specifically on monochrome gas discharge light, which he developed in his own laboratory in cooperation with light companies. His work /sonArc::ema/ was performed at the opening ceremony of Ars Electronica 2009.

Duncan Speakman’s (UK) work examines how we use sound to locate ourselves in personal and political environments, creating socially relevant experiences that engage audiences emotionally and physically in public spaces. He is currently developing site-responsive soundwalks, street games and pervasive theatre works. His videoblog 29fragiledays has received critical acclaimed.

Jörg Stollmann (CH) teaches Urban Design and Architecture in Berlin. He works in various collaborations, for example with the artist Ines Schaber, and was principal of the INSTANT Architects project with Dirk Hebel. He co-founded www.urbaninform.net, an online network for exchanging knowledge with a view to empowering local actors negotiating formal and informal development processes.

Joint projects include United Bottle, the travelling exhibition Inventioneering_ Architecture, and the pneumatic installation On Air in Berlin.

Streifenjunko (NO) makes dynamic music with a tenor saxophone and a trumpet. Members Espen Reinertsen and Eivind Lønning use unusual instrumental techniques to project a spacious sound with nothing else around. Streifenjunko has collaborated with the musicians Keith Rowe, Tetuzi Akiyama, Toshi Nakamura, Christian Wallumrød, Sidsel Endresen, and with video artist Kjell Bjørgeengen.

Makino Takashi (JP) belongs to the new generation of Japanese experimental film makers. While studying at the Nippon University he made several Super-8 films. In 2001 he served his apprenticeship with the Quay Brothers. In Japan in 2007 he had his breakthrough with his film No is E, which received the Tereyama Shuji award at the Image Forum Festival. He is a filmmaker whose works are closely relates to art and music.

Daniel Teruggi (AR) studied physics, composition and piano before moving to France to study at the Paris Conservatory. He was appointed director of the Groupe de Recherches Musicales GRM in 1997. Teruggi composes music for fixed media (tape), small instrumental groups and tape, or real-time processing of instruments. His work focuses on the relations between creation and technology and on problems related to sound perception, and he has recently been working on the preservation of audiovisual collections, particularly electroacoustic music.

The Italian artist and producer TeZ (Maurizio Martinucci) uses technology as a means to explore synesthesia and the relationship between sound and images. Besides working on generative composition, live cinema and sound installations, he also creates immersive installations and performances. He initiated and produced Optofonica, a project for spatial sound and images, and has collaborated with Evelina Domnitch & Dmitry Gelfland, Taylor Deupree, Francisco López and others.

Barry Truax (CA) developed the first ever implementation of real-time granular synthesis, in 1986, and specializes in real-time implementations of granular synthesis, often of sampled sounds, and soundscapes. He teaches courses in acoustic communication and electroacoustic music. As a composer, Truax is best known for his work with the PODX computer music system that he has used for solo tape works and works that combine tape and live performers or computer graphics.

Steina Vasulka’s (IS/US) video works are considered landmarks in video art. The pieces often treat the video signal as a plastic medium, and rework the space of the video image in ways that alter the viewer’s optical perception of the image, confounding the ability to distinguish between two-dimensional and three-dimensional space.

Peter Westenberg (NL) is a visual artist and filmmaker producing short films and urban interventions, often made in collaboration with local groups, who engages in open source practices when working with video. He is a member of Constant – a non-profit association, based and active in Brussels since 1997 in the fields of feminism, copyright alternatives and working through networks.

Hildegard Westerkamp (DE/CA) lectures on topics of listening, environmental sound and acoustic ecology and she conducts soundscape workshops internationally. By focusing the ears’ attention to details in the acoustic environment, her compositional work draws attention to the act of listening itself and to the inner, hidden spaces of the environment we inhabit. As part of Vancouver New Music’s yearly season she has coordinated and led Soundwalks for the last seven years, which in turn has led to the creation of The Vancouver Soundwalk Collective.

Robert Whitman (US) is best known for his more than forty seminal theatre pieces of the early 1960s combining visual and sound images, actors, film, slides, and evocative props in environments of his own making. Since the late 1960s he has worked with new technologies and has collaborated with engineers, optic scientists and other artists on installations and works that incorporate new technology: laser sculptures, optical reflector systems, and more recently, cellphones.

Fred Worden has been involved in experimental cinema since the 1970s. His work develops from his interest in intermittent projection as the source of cinema’s primordial powers: how a stream of still pictures passing through a projector at a speed meant to overwhelm the eyes might be harnessed to purposes other than representation or naturalism. His work is included in the Stan Brakhage Collection, the Austrian Museum, The Centre Pompidou and others.

Yoko Seyama (JP) is a scenographer and media artist. She concentrates on scenography for time-based art and combines digital materials (video/photo) with real materials (fabrics/paper/elastics), processing these into spatial installations.