Alberto Maria Gatti is a composer, computer music designer, and sound designer. His main interest lies in electroacoustic music, ranging from acousmatic music to music theatre. Since 2018, he has been exploring the relationship between body and sound, using vibrating transducers to transform objects and bodies into sound diffusers, in addition to a focus on contemporary techniques of sound generation and manipulation. He has taken part in contemporary music festivals and events at institutions such as IRCAM (Journ´ee Portes Ouvertes 2023, Ircam Forum 2025, Improtech 2025), Berlin Biennale, Inner Spaces, SMC 2024, Forum Wallis, Tempo Reale, Pecci Museum, MA/IN Festival, Milano Books, Milano Musica, Fabbrica Europa, Teatro dell’Opera di Roma, Forum Wallis, and others. He studied electronic music at the Florence Conservatory with Marco Ligabue and Simone Conforti, and earned his AReMus master’s degree at the Rome Conservatory. He later studied composition and sound direction with Tiziano Manca, Vittorio Montalti, Girolamo Deraco, Alvise Vidolin, and Roberto Castello. Since 2021, he has collaborated as a sound designer and dataset designer with Musi-co and Mindkestra. In 2024, he participated in the IRCAM Artistic Residency Program, focusing on multimodal composition and the audio-tactile relationship in sound perception. He currently works as a freelance composer and teaches at the Scuola di Musica di Fiesole and the G. Puccini Conservatory in La Spezia.

Alessandro Casolino is a composer and performer who graduated in Electronic Music at the “G. Verdi” Conservatory in Milan, where he is currently continuing his studies in Music Applied to Multimedia and Composition with Davide Gagliardi and Paolo Rimoldi. Active artistically in Milan, he focuses his interest on the singular traits of today’s society, transforming them into pieces and performances that highlight the grotesque and the surreal. He is an active member of the computer music collective Sistema Ensemble and of the Chigiana Live Electronics Ensemble, with which he has performed as an electronic musician in some of the most musically vibrant contexts of the Milanese scene —such as MMT, Divertimento Ensemble, C3, and Agon— as well as at events connected to the Chigiana International Festival, where he has collaborated with Alvise Vidolin, Roberto Fabbriciani, Giancarlo Schiaffini, Tonino Battista, Jacopo Cenni, Alberto Cavallaro, and Manuel Teles.

Ali Balighi, a composer, sound designer, and sound engineer, was born in Tehran, Iran. He graduated from The University of Art in 2011 with a Bachelor’s degree in Music Performance. A passion for composition led him to pursue a Master’s degree in Composition at Texas Tech University, where he is currently a student for a Doctor of Musical Arts (DMA) in Composition. A number of research and teaching interests align with Balighi’s academic pursuits, which include music technology, open-source software, contemporary music analysis, and music theory. His teaching experience includes positions as a sound engineer, music recording assistant, composition and music theory teacher, and positions as a cello instructor in various Iranian music institutions.

Balighi’s compositions have been showcased internationally at festivals and conferences, including Sonic Matter, New York City Electroacoustic Music Festival, Hot Air Music Festival, Tehran Contemporary Music Festival, NoiseFloor UK Contemporary Music, Research On Contemporary Composition Conference, ClarinetFest, Cortona Sessions For New Music, Audiovisual Frontiers Festival, ICSC 2022 6th International Csound Conference, and Tehran International Electronic Music Festival.

As a composer, Balighi has released contemporary music albums, including Whispers of Papers, Noise vs. Silence vol. 1, and Intolerance. His compositions have been performed by musicians and ensembles such as Sputter Box ensemble, Front Porch ensemble, Zenith Saxophone Quartet, Twenty Fingers Duo, SynthBeats, The ____ Experiment, Michael Bridge, Parker Fritz, Anoush Moazzeni, Kathryn Vetter, Hamed Shaded, Golnaz Khalili, Puneh Zare’i Sefid Dashti, Neda Asadinejad, Shaghayegh Bagheri, Behnoush Sabetghadam, Negin Goodarzi, Zeinab Hajihasani, and Ulrike Brand.

Website: https://alibalighi.com

Anders Tveit (1977) is a composer and musician specialising in electroacoustic composition, free improvisation, and sound installations. His artistic practice often centres on the use of self-developed software for real-time processing and spatial sound.

"In my work, I am interested in exploring new approaches to the use of technology, both in the compositional process and in performance. For me, this creates a holistic relationship between method and artistic outcome. It often leads to a blurring of roles—developer, performer, composer—which I find both challenging and creatively inspiring.”

He has composed multichannel electroacoustic works and sound installations that have been presented at venues and festivals including Ultima Contemporary Music Festival (Oslo), INA- GRM (Paris), Only Connect Festival (Trondheim/Oslo), ZKM (Karlsruhe), NIME (London), CCRMA (Stanford), KlangFest (Liechtenstein), Lydgalleriet (Bergen), Sound/Image (London), Jauna Muzika (Lithuania), deciBel Festival (Riga), Oberlin Conservatory (Ohio), Henie Onstad Kunstsenter, Princeton University, NJ, Echochroma-Leeds, SoddJazz Festival, Aparte Festival for Experimental Arts, and others.

Tveit is an Associate Professor at the Norwegian Academy of Music, Department of Composition, Music Theory and Music Technology.

Andrew Lewis (1963) studied composition with Jonty Harrison at the University of Birmingham, where he was one of the original members of BEAST (Birmingham ElectroAcoustic Sound Theatre). He is currently Professor of Composition at Bangor University, where he directs the work of the Electroacoustic Music Studios. His music is concerned with the materiality of perceived sound, and often uses technology in its realisation and performance. He is best known for his acousmatic music (fixed-medium sonic art heard over multiple loudspeakers), but also composes chamber and orchestral music, with or without electronics.

Notable prizes and distinctions include ARTS XXI (Spain), Bourges ‘Euphonie d’Or’ (France), Prix CIME (International), CIMESP (Brazil), Destellos (Argentina), KLANG! (France), HEAR Hungarian Radio (Hungary), Music Nova (Czech Republic), Noroit (France), Prix Ars Electronica (Austria), PRS Prize (UK), Stockholm Electronic Arts (Sweden).

He is married with four grown-up daughters, and lives in North Wales.

http://www.andrewlewis.org.uk

https://electrocd.com/en/artiste/lewis_an/andrew-lewis

http://composersedition.com/andrewlewis

Antonino Chiaramonte is an internationally renowned composer of electroacoustic music, a live electronics performer, sound designer, and video artist. He graduated in flute from the Santa Cecilia Conservatoire in Rome. He studied composition under Mauro Cardi and obtained a First-Class Diploma in Electronic Music Composition from the Perugia Conservatoire with Luigi Ceccarelli. He holds a PhD in electroacoustic audiovisual composition (intermedial composition) from Bournemouth University (UK), with his thesis titled “Intermedial Interference in Electroacoustic Audiovisual Composition: An Investigation into Combining, Integrating, and Fusing Sound and the Moving Image – A Portfolio of Audiovisual Compositions”

He is a professor of “Performance and Interpretation of Electroacoustic Music” at the Conservatoire of Frosinone in Italy. He has also worked as a part-time lecturer for the MAs in Sound Design for Film & TV at the Faculty of Media & Communication, Bournemouth University. His research explores the intersection and interaction between electroacoustic music and moving images. He focuses on experimenting with new expressive forms that emerge from the interference of various creative idioms and technologies applied to the arts. His work is dedicated to intermedial audiovisual composition.

He is a member of the EMERGE (Experimental Media Research Centre) at Bournemouth University. Additionally, he is active as a film soundtrack composer, and his works have been performed in many countries, including Italy, Switzerland, the USA, Canada, Belgium, the Netherlands, China, France, Finland, Japan, and the UK.

Arnau Gran i Romero (born in 2001) is a Catalan composer, pianist, and researcher based in Paris. His artistic practice lies at the crossroads of instrumental writing, electroacoustic music, and technological experimentation, exploring how digital processes redefine musical form, interpretation, and perception.

He began his musical training at the Conservatory of Girona, where he studied piano, cello, and harpsichord, before specialising in composition with José Manuel López López at the Conservatoire à Rayonnement Régional de Paris, where he received his Diplôme d’Études Musicales with highest honours. He holds a bachelor’s and a master’s degree in musicology and computer-assisted composition from the University of Paris VIII, where he is currently pursuing a PhD within the Centre for Computer Research in Music and Sound (CICM). His dissertation is part of the Generative Spatial Sound Synthesis project, focusing in particular on unified operational representations of sound spatiality. At the same time, he is enrolled at the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), where he studies composition with Clara Iannotta and new technologies with Roque Rivas and Yan Maresz.

His musical language explores gestural complexity, fragile textures, and the relationship between acoustic material and its electronic transformation. His works have been performed by ensembles such as the Ensemble Intercontemporain, L’Itinéraire, Cairn, TM+, Sinkro, MG21, 2E2M, and the Feedback Trio, and presented at international festivals including Mostra Sonora Sueca, MA/IN (Rome), and Supersonique (France). In 2024, he was selected by Ensemble Divertimento for the Incontri Internazionali per Giovani Compositori “Franco Donatoni” programme, with a new work centred on ecological themes. His compositions are published by Éditions Lacroch’.

Ben Fuhrman, is a composer, musician, programmer, and coffee aficionado. As a result, he writes music with a focus on technology, including acousmatic, interactive, and improvisatory works. His degrees are from Michigan State University (D.M.A and M.M in composition), and Hope College (B.Mus in violin performance). His teachers include Ricardo Lorenz, Mark Sullivan, Steve Talaga, Rob Lunn, and Mihai Craioveanu.

He has had works commissioned from a number of performers, including Keith Kirchoff, Drake Dantzler, Violet, Jeffrey Loeffert, Nathan Boggert, the H2 Quartet, the East Lansing High School Orchestra, REACH Studio Art, and the MSU National Superconducting Cyclotron Laboratory and Facility for Rare Isotope Beams, and has been performed throughout the world. He was also the recipient of a billboard dedicated to his music from the Arts Council of Greater Lansing – possibly the first composer in the US to receive one. His solo albums “Concrete Oasis” and “Synthesizer and Computer Works” are available online, among others on the Albany Records, Argali Records, Blue Griffin, Elmstreet, and SEAMUS labels.

He maintains an active role as a performer and as assistant professor of music technology at Montana State University, and has previously taught at Oakland University and Mott Community College. For more information, check out www.benfuhrman.com

Cristiana Palandri is a composer and visual artist whose interdisciplinary practice spans music, drawing, installation, sculpture, and performance—conceived as interconnected steps in a unified narrative. Her music production explores both electronic and classical experimental music, grounded in new technologies and sonic research.

She holds degrees in Painting (Academy of Fine Arts, Bologna), Electronic Music (Giuseppe Verdi Conservatory, Milan), and Composition (Conservatory of Italian Switzerland), and is currently pursuing a PhD in Music Technology and Innovation at De Montfort University, UK.

In recent years, she has developed a personal expressive language through the interaction of sound, image, and material. Her works have been presented internationally at festivals and institutions including Sonorities Festival (Belfast) Sound Image Festival (London), NYCEMF (NY), Lydbølgefestivalen (Oslo), NoiseFloor (Lisbon), and EMS Stockholm, composing for film, installation, and performance.

Daniel Gomes is a Lisbon-based web developer, fusing his passions for programming and digital art. His current focus lies in exploring computer music, with a particular emphasis on real-time paradigms in digital media, using sound as the primary medium for music synthesis. He holds a Master’s degree in Sonic Arts from the Sonic Arts Research Centre in Belfast. While engaged in his work and creative pursuits, he also served as a peer reviewer for the ICMC panel. His musical works have been showcased in diverse locations, ranging from Portugal to Paris (INA/GRM) and from Germany (ZKM in Karlsruhe) to international events such as ICMC 2018 in Daegu, Korea, and NYCEMF. Recently, he has been delving deeper into the realms of digital arts and the aesthetics of music.

Daniel Mayer (*1967) is a composer with a focus on works including electro-acoustics. He is active in the fields of sound synthesis and generative computer algorithms, where he is developing dedicated software. His music has been performed at numerous international festivals of electronic and contemporary music and was rewarded with the Giga-Hertz production prize for electronic music 2007 at the Center for Art and Media Karlsruhe (ZKM). He studied pure mathematics and philosophy at the University of Graz (MSc, MPhil) and music composition (MA) with Gerd Kühr at the University of Music and Performing Arts Graz, Austria. 2001/02 postgraduate study at the electronic studio of the Music Academy of Basel, Switzerland, with Hanspeter Kyburz. Since 2011 working at the University of Music and Performing Arts Graz/IEM, from 2011-2014 scientific cooperation within the FWF-funded artistic research project Patterns of Intuition, since October 2016 visiting professor for electro-acoustic composition. From 2014-2017 curatorial work at Kulturzentrum bei den Minoriten, since 2016 together with Gerhard Eckel, Marko Ciciliani, and Ina Thomann for the concert series signalegraz. In the winter term 2022/23, he was Edgard-Varèse guest professor of DAAD at TU Berlin. https://daniel-mayer.at

Daria achieved an MA in piano, an MA in classical composition and an MA in electronic music. She earned her degree in Classical Literature from the University of Bologna. She's main Professor of Harmony and Music Analysis at “G.B.Pergolesi” Fermo Conservatory of Music, Sound Design Professor in Macerata Academy of Fine Arts and Sound Design Professor in Wuhan Academy of Fine Arts.

David Quang-Minh Nguyen is an educator, sound designer/re-recording mixer, and composer of concert music. His current interests lie in composing acousmatic works that explore sound spatialization, and immersive audio.

Recognized nationally and internationally, David has had his works presented at the June in Buffalo New Music Festival, where he received individual master classes with Harvey Sollberger, Martin Bresnick, Roger Reynolds, and Brian Ferneyhough. He was an active participant in the Festival DME under the direction of Åke Parmerud, Musique & Recherches Académie d'été de composition électroacoustique under the direction of Annette Vande Gorne and João Pedro Oliveira, and the Sounds Around Me Festival under Thomas Gorbach. He was also selected by Master Artist Robert Normandeau for a residency at the Atlantic Center for the Arts.

His works have been presented at numerous national and international events, and he is a laureate or finalist in several competitions. He has been published on ABLAZE Records' Electronic Masters Vol. 7 and received an honorable mention at the XII° Destellos Electroacoustic Competition 2019 for his work Misprints. He also placed 2nd in the XIII° Destellos competition for Adumbrations, was a finalist for the PRIX CIME 2019, and won 2nd place for the ASCAP/SEAMUS Award for his work Weight Stranding. In 2021, his SEAMUS-commissioned piece Whale Song Stranding was selected for presentation on the SEAMUS 31 CD and received the Ars Electronica Forum Wallis selection. David was awarded the Prix CIME 2023 Residency Award for Whale Song Stranding. His work Texture Arc the Points won 1st place in the ULJUS Međunarodno Pijanističko Takmičenje Smederevo Competition and 2nd place in the prestigious Concours Biennal de Composition Acousmatique Métamorphoses.

David Q. Nguyen holds a BM from Old Dominion University, where he studied with Andrey R. Kasparov and Mark Chambers. He has received his Master and a Doctor of Musical Arts degree at the University of Illinois Urbana-Champaign, where his primary teachers are Reynold Tharp, Erik Lund, Eli Fieldsteel, Sever Tipei, and Scott A. Wyatt.

Dr Dylan Davis is a design researcher and lecturer. He has extensive experience in design process, community engagement, digital storytelling, interaction design, and audio production and composition. Dylan is also a composer and musician whose practice covers performance, and production. His Non Traditional Research Outputs (NTROs)includes works for festivals such as Melbourne Music Week, recordings for a range of international record labels and community based music projects. This research utilises reflective practice to further understand and explore the compositional and performance methods and practices for electronic and electroacoustic music of the techno and acid house genre.

Francesco Perissi is a composer, guitarist, and sound engineer based in Florence. He teaches Electroacoustic Composition at the “L. Campiani” Conservatory in Mantua and is the creator of the “X6” project for hexaphonic spatialized guitar, as well as the founder of “match”, a meeting dedicated to electroacoustic improvisation. His artistic research focuses on exploring the expressive possibilities offered by technological development, with particular attention to the relationship between musical instruments and sound spatialization. Through the use of interactive devices, multichannel systems, and real-time manipulation techniques, he creates scores and sound environments for experimental electronic music, installations, and live performances. His work blends contemporary languages with avant-pop influences, placing at its core the relationship between body, gesture, and acoustic space.

Giovanni Magaglio is a sound and visual artist who explores the expressive possibilities of concrete sound, focusing on timbral transformation and the perception of acoustic space. His works shape layered soundscapes in which listening becomes an active and immersive experience. He teaches Multimedia at the Conservatory of Florence and works with sound and video across various contexts: installations, theater performances, and audiovisual productions, including short and feature films. His artistic practice unfolds through a continuous exploration of the relationship between image, sound, and perceptual space, creating sensory environments where the boundaries between reality and representation become blurred.

Founded in 2022 by Italian artists from Trentino-Alto Adige/S¨udtirol Matteo Marzano, Fabio Grandinetti, and Gianni Tamanini, GodModE Collective is dedicated to research and experimentation in the audiovisual field. The collective explores musical compositional techniques alongside the latest methods of image recording and manipulation. God Mode Collective fosters collaboration with artists from diverse backgrounds, seeking intersections between disciplines and innovative means of expression.

Matteo Marzano Matteo Marzano: concept, direction, video editing

Matteo Marzano (1990, Italy) is a freelance motion graphics designer and video editor who works with advertising agencies. His clients include Prodigious, Saatchi & Saatchi and Leo Burnett. He previously worked as a junior VFX producer and compositor for a post-production company. He is trained in design, screenwriting, cinematography and animation. In 2021, he directed his first animated short film, “Lino Porçel”.

Stefania Bertola: performer

Stefania Bertola, dancer, choreographer, teacher, trained as a dancer, initially in Bolzano, and then continued her studies in Milan, Berlin, New York and Israel. Her path is directed towards contemporary dance, perfecting herself as a dancer and teacher at the CIMD (International Centre for Movement and Dance, Franca Ferrari) in Milan with the ’Professional Training of the Contemporary Dancer’ and deepening her role as ’Choreographic Composer’ with the Tanztheater Wuppertal Pina Bausch. She is continuing with his research process towards new dance codes, always learning from improvisation and research into the quality of movement.

Gianni Tamanini: music composition, mixing, spatialisation

Gianni Tamanini is an electroacoustic composer, sound artist, and PhD candidate in Creative Sound Arts at the Conservatory of Bolzano-Bozen. He holds degrees with honours in Electronic Music and Sociology and works across electroacoustic composition, film scoring, and sound design. His soundtracks for experimental films by Jos Diegel and the GodModE collective have received international recognition. He collaborates with dancer Stefania Bertola and has produced audio post-production for various local audiovisual works and the Zelig School of Cinema. His compositions have been performed at venues including LUB and Museion (Bolzano), Centro Ricerche Musicali (Rome), and Silence (Bari). He was a finalist for the Premio Nazionale delle Arti, won the Mid-Side 2021 call, and has released works with Empirica Records. His research includes publications such as Making Music Together (DIMMI 2022) and forthcoming contributions.

Fabio Grandinetti: sound engineer

Fabio Grandinetti, freelance sound engineer, electronic composer and producer. He attended the Music Electronic course at the Bolzano Conservatory, and many masterclasses with famous artists (Horacio Vaggione, Mario Mary, Achim Bornh¨oft, Johann Ramstr¨om, and many others). He works regularly as sound engineer with the cooperative Teatroblu Onlus in Bolzano and as a composer of contemporary dance music within the association La Quinta Danza in Bolzano. As sound engineer he also worked for the Transart festival ed. 2021, and for the album Metanoia (2023) by Mark Nowakowski. His electro-acoustic music works were awarded and performed at the 2019 Diffrazioni Multimedia Festival Firenze, Premio Nazionale delle Arti (finalist).

Ide Maman: assistant camera operator

Ide Maman (1983, Niger) is a director, film and theatre screenwriter, actor, photographer, cultural mediator. Born in Zinder (Niger), he lives in Italy (Bolzano). Since his first documentary, Ide has always worked on projects focusing on marginalized ethnic groups, peoples and cultures, working between Africa and Europe. He studied at a school of participatory video and documentary cinema.

Gordon Delap is an audiovisual artist and electroacoustic composer from Donegal, Ireland. He has undertaken residencies at Nadine Arts Centre in Brussels, the University of Edinburgh, Technische Universit¨at Berlin, and SCRIME at the University of Bordeaux, where he has collaborated with technical teams on creative applications of physical modelling and spatial technologies.

His music and sound works have been selected for and awarded in international competitions and festivals, and have been presented in concert halls, galleries and public spaces in Europe and beyond. He is currently based in Dublin and teaches at the National University of Ireland Maynooth.

Originally from Mexico City, he studied philosophy and music at the University of Victoria (Canada), and later at the Xenakis Centre (France), the Institute of Sonology and the Royal and Rotterdam Conservatories (Netherlands), the National Autonomous University of Mexico, the University of Washington’s DXARTS Center (USA), and the University of Birmingham (UK), where he received his Ph.D. He composes sound-based music for acoustic instruments, live electronics, and fixed media, with a focus on timbral and spatial elements, and natural phenomena such as non-linear dynamical systems. Some of his main teachers over the years include Agostino Di Scipio, Julio Estrada, Scott Wilson, Clarence Barlow, Paul Berg, Gilius van Bergeijk, René Uijlenhoet, Carla Scaletti, Michael Longton, Christopher Butterfield, Andrew Schloss, and Alex Dunn. His works have been presented internationally at events such as ICMC, BEAST FEaST, MA/IN, SEAMUS, Gaudeamus, NYCEMF, Sonorities Belfast, Espacios Sonoros, ACMA, FIMNME, Sound/Image Festival, and the Kyma International Sound Symposium. He currently lives in the Netherlands and Germany, working as an independent artist, researcher, and music software developer.

Jake Mehew is an audiovisual artist, modular synthesist and PhD researcher based in Leeds, UK. He is a Richie Hawtin Scholar in Electronic Music at the University of Huddersfield, where his practice based research investigates metaphors of magic, perceptual surplus and altered states of listening within modular performance and spatial audio.

Working with Eurorack systems, feedback networks, cybernetics and live generative visuals, Jake creates performances and installations that blur the boundaries between experimental club culture, sound art and contemporary composition. Recent projects include Binaural Brainwave Simulator, a quadraphonic work exploring binaural beats, spatial entrainment and psychoacoustic illusion, Radical Rest Retreat, a spatial listening environment developed with Cultures of Creative Health at Huddersfield, and Microcosms, a MONOM Berlin developed spatial album that translates electromagnetic and environmental recordings into immersive 4DSOUND compositions.

His track R-9A Arrowhead, from Microcosms, was shortlisted in the Radiophonic Institute’s Sound of the Year Awards ‘Composed with Sound’ category and released on the associated Accidental Records compilation. Microcosms was realised with support from Arts Council England, and Jake is also a recipient of Arts Council England DYCP funding.

Jake has presented work with organisations such as Britten Pears Arts and Nottingham Contemporary, and at venues and festivals including Houghton Festival, We Out Here, Electric Spring, Wavetable (Edinburgh), Superbooth and MONOM Berlin. He has supported artists including Suzanne Ciani, Arooj Aftab, The Comet is Coming, Soccer 96, Matthew Halsall, Mdou Moctar, Roy Ayers, Mabe Fratti, Jane Weaver, Alessandro Cortini, and Sunda Arc. Jake also curates the Leeds based live hardware night Computer Club, a platform for challenging dominant hegemonies within electronic dance music culture. Alongside his artistic practice he teaches composition and electronic music, and leads workshops that introduce students and communities to modular synthesis, DIY electronics and creative coding.

Jakob Gille began his formal education at the Hochschule für Musik Carl Maria von Weber Dresden, where he studied composition and music theory. His passion for sound and experimentation led him to institutions such as the ZKM Karlsruhe and the Darmstädter Ferienkurse. There, he worked with the Akusmonium GRM Paris and the Studio für elektronische Musik HfM Dresden respectively. He is the driving force behind Into Sound, an initiative that has organised multiple concerts in Berlin for 3D loudspeaker setups since its inception in 2018.

His compositions have been played several times at the Medium Sonorum concert at the Ars Electronica Linz, in Ústí nad Labem in combination with the Ambisonics Summer School 2023, at the Festival Izis in Koper and the Apnées Festival in Grenoble. In 2023, he won an honourable mention at ISAC in Pesaro and in 2025 the silver award at the S3DAPC Competition of the IEM Graz.

In 2025, he earned a master’s degree in computer music and sound art at KUG & IEM Graz.

James Bagshaw is a composer and researcher whose work focuses on spatial music, electronic composition and immersive audio. Working predominantly in Higher- Order Ambisonics, his practice explores spatial gesture, texture and motion as central artistic materials. His music has been presented on spatial audio systems and in exhibition contexts in the United Kingdom and Internationally. James is a Senior Lecturer in Music Production, and leads the BSc Creative Technologies programme at Leeds Arts University.

Jekaterina Viltšenko is a composer, sound designer, and artist. They are currently studying Music Technology at the Sibelius Academy of the University of the Arts Helsinki, and completing their Erasmus studies in Sonology at the Royal Conservatoire in The Hague.

Jekaterina's work spans a wide range of genres and practices, including electroacoustic composition, live performance, and sound design for stage and visual media. Through sonic storytelling, they explore the boundaries of music, experimentation, and narrative, moving between the familiar and the reimagined, on the margins of explorations where raw sound is stretched, sculpted, and transformed into textured landscapes and abstractions. Themes of connectedness, belonging, periphery, sense of place, and intimacy are most explored in their electroacoustic works.

https://vilts.ch

Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition, and architecture in Lisbon. He completed a Ph.D. in Music at the University of New York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music, and experimental video. He has received over 70 international prizes and awards for his works, including the prestigious Guggenheim Fellowship in 2023, the Bourges Magisterium Prize, and the Giga-Hertz Special Award, among others. His music is played all over the world. He taught at Aveiro University (Portugal) and Federal University of Minas Gerais (Brazil). His publications include several articles in journals and a book on 20th century music theory.

Jonty Harrison (born 1952) is a UK-based composer, primarily of multi-channel acousmatic music. He studied at the University of York between 1970 and 1976, before moving to London, where he worked at the National Theatre and City University. In 1980 he joined the Music Department of the University of Birmingham, where he was Director of the Electroacoustic Music Studios and BEAST (Birmingham ElectroAcoustic Sound Theatre), which he founded in 1982. He retired as Professor of Composition and Electroacoustic Music in 2014 and is now Emeritus Professor. He was Guest Professor of Computer Music at the Technische Universität, Berlin (2010) and Leverhulme Emeritus Fellow (2014-15). He is Compositeur Associé with Maison des Arts Sonores/KLANG! Acousmonium, Montpellier, France.

He has been commissioned by leading organisations and performers (INA-GRM, Bourges, ICMA, MAFILM/Magyar Rádió, Arts Council England, Electroacoustic Wales/Bangor University, Maison des Arts Sonores/KLANG! Acousmonium, DEGEM, NOW! Festival, BBC) and won several prizes (Bourges, Ars Electronica, Musica Nova, Destellos, Thomas Selig Fixed Media Award/DEGEM, Lloyds Bank, PRS Prize). His music appears on four solo albums (empreintes DIGITALes , Montreal) and on several compilations (NMC, Mnémosyne Musique Média, CDCM/Centaur, Asphodel, Clarinet Classics, FMR, Edition RZ and EMF).

https://electrocd.com/en/artiste/harrison_jo

Originally from St. John’s, Newfoundland, Kasey Pocius is a gender-fluid intermedia artist based in Montreal who grew up experimenting with multimedia software while also pursuing classical training in both viola and piano. Outside of fixed electronic works, they have also pursued mixed-media performances with live electronics, both as a soloist and in comprovisatory collaborative environments. They are particularly interested in multichannel spatialization, and how this can be used in group improvisatory experiences. Ranging from institutions such as Harvard and CIRMMT to DIY galleries, Pocius’ live and fixed media works with electronics have been programmed at dozens of local and international festivals and conferences in Europe, the Americas, Oceania and Asia, including ICMC, BEAST, ACMA, Festival de la Imagen, Lux Magna, Sound Symposium and many others. They are a part-time faculty member at Concordia and a researcher at the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) and Input Devices and Music Interaction Laboratory (IDMIL), as well as the Technical Director for the Groupe de Recherche sur la Médiatisation du Son (GRMS).

Kim Hedås is a composer of orchestral, vocal, chamber, and electroacoustic music. Her music has been commissioned and performed by prominent orchestras, ensembles and soloists in Sweden and internationally. Her work also includes electroacoustic works and site-specific music installations. Her compositions have recently been performed internationally and at numerous festivals and venues in Sweden. Kim Hedås is Professor of Composition at the Royal College of Music in Stockholm (Kungliga Musikhögskolan) and a member of the Royal Swedish Academy of Music (Kungl. Musikaliska Akademien), and holds a PhD from the University of Gothenburg.

Leah Reid is a composer, sound artist, researcher, and educator whose works range from opera, chamber, and vocal music to acousmatic, electroacoustic, and interactive sound installations. Her research focuses on the perception, modeling, and compositional applications of timbre, which she uses to explore new dimensions of sound, time, space, and color.

Reid has received international recognition, including a 2022 Guggenheim Fellowship and the American Prize in Composition. Her works have won first prizes in major competitions such as the Galaxies International New Vision Composition Competition, Musicwor ks’ Electronic Music Competition, KLANG! International Electroacoustic Composition Competition, and the Gaetano Amadeo Prize. She has also been honored with the Marcelle Deschênes Prize in Electronic Music, Sound of the Year’s Composed with Sound Award, and the International Alliance for Women in Music’s Pauline Oliveros Prize. Additional distinctions include honors from Ars Electronica, Musicacoustica -Hangzhou, and the Luigi Nono International Prize. She has received fellowships from Guerilla Opera, Transient Canvas, Copland House, the Hambidge Center, MacDowell, the Virginia Center for the Creative Arts, the Ucross Foundation, and Yaddo.

Her collaborations and commissions include ensembles and performers such as JACK Quartet, Talea, Yarn/Wire, Accordant Commons, Blow Up Percussion, Guerilla Opera, and the Boston New Music Initiative Ensemble. She was recently awarded a Barlow Commission for a forthcoming work with the Grossman Ensemble.

Reid’s music has been presented at major international festivals and venues, including IRCAM’s ManiFeste (France), Festival Mixtur (Spain), MUSICACOUSTICA- HANGZHOU (China), the International Computer Music Conference (USA, Ireland, Chile), Espacios Sonoros (Argentina), and the Matera Intermedia Festival (Italy), among many others.

She currently serves as Vice President of the International Alliance for Women in Music and as Vice President for Programs and Projects for SEAMUS. Reid is an Assistant Professor at the University of Virginia, where she teaches composition and technology t o undergraduate and graduate students.

Marcela Pavia is an electroacoustic composer and performer; chamber, orchestral, musical theater composer; multimedia composer and educator. She received her Master Degree with distinction in Electronic Music from the Milan Conservatory, a Master Degree in Composition from the National University of Rosario (Argentina) and a Master in Sound Technologies and Music Composition from Parma Conservatory. PHD researcher at the Foggia Conservatory and Jury of S3DAPC Student 3D Ambisonic Production Competition at IEM University of Graz,Composition Contest for Choir at Festival Nuovi Orizzonti Sonori (Porretta Terme) and Composition Competition World Piano Teacher Association 2018 2020 2021 2022. Artistic Residencies at Virginia Center for the Creative Arts (USA), Gasteatelier Krone (Aarau Switzerland),Italian Composers Forum Contemporary Music Center in Milan. Her compositions have been performed in many international music festivals including 2025 ICMC Boston, 2025 Festival Aperto Reggio Emilia, 2013 and 2008 ICMC, 2011, 213, 2014 World New Music Days ISCM,2014-2015 SIME (Lille), 2016 CIM (Cagliari), 2017 and 2019 Festival EviMus Saarbr¨ucker Tage f¨ur elektroakustische und visuelle Musik (Saarbrucken, Germany), 2018 Ars Electronics Forum Wallis (Switzerland), 2016 EMUFEST (Santa Cecilia Conservatory Rome) and 2024 STEMS Festival of the Acusmonium Audior (Florence). Many of her compositions have won prizes in prestigious competitions including the 2012 European Composition Competition Musiques Eletroacoustiques Universit`e Paris 8, Festival Internacional de Arte sonoro SONOM 2012 Monterrey, 2011 Trinac Buenos Aires, and the 2010 Miriam Gideon Prize Search for New Music International Alliance for Women in Music (USA). Many of her scores and works have been published on prestigious editions or labels like Neos (Germany), Berben Editions (Italy), Curci Editions, Delatour Editions (France) and so on. She is author of extended works like Infierno Musical (https//www.youtube.com/watch?v=1awrs4bYjBs), Ira Arka (https://agon.news/ira-arka/ ), Mirapunzel (Milan Conservatory https://www.youtube.com/watch?v=AhaMTGOqSfI) and Liminal. Marcela was selected for the 2011 Ircam workshop at the Biennial of Venice and received a Composition scholarship from the Accademia Chigiana (Siena).

He is a multimedia artist based in Japan. After studying philosophy at Sophia University, he earned his master’s degree with a thesis on the philosophy of Gilles Deleuze. His works span music, media art, performance, and film, and have been presented at numerous international festivals, including the Ars Electronica Festival, World New Music Days (ISCM), and ICMC, among many others across more than 35 countries. As a composer, he has received commissions from various institutions and festivals, including the Jeju International Contemporary Music Festival. He is a member of ASCAP and the Society for Electro-Acoustic Music in the United States (SEAMUS).

Matthew Caren is a composer, performer, cognitive scientist, computer scientist, and writer. His work explores the affordances and opacities of the technologies that mediate human expression, spanning composition, scientific research, instrument design, and installation. He studied computer science, music technology, and literature at MIT, and is currently a PhD student at Stanford. He is a fellow of the Hertz Foundation and Steve Jobs Archive.

Born and raised in Hong Kong, Matthew Lam is an active composer of acoustic and electroacoustic music and an enthusiast of contemporary music style. His music explores and experiments on a wide array of sounds and timbre with contemporary instrumental techniques and electronics, and integrates electroacoustic elements into acoustic music. His recent interests include saturation in music and ambisonics.

Winning multiple awards, his works were featured in numerous festivals and events across 4 continents, including June in Buffalo (USA), American Composers Orchestra Earshot (USA), International Computer Music Conference (2025: Boston), International Rostrum of Composers (2023: Netherlands), International Review of Composers in Belgrade (Serbia), Paysages | Composés (France), Espacios Sonoros (Argentina), Midwest Graduate Music Consortium (USA), Ignite the Arts Festival (Canada), MUSLAB (Ecuador), Nanhua University International Symposium of Contemporary Music Research (Taiwan), soundSCAPE Festival (Italy), Connecticut Summerfest (USA), SCI National Conference (USA), and Hong Kong Contemporary Music Festival (HK), among others.

Groups such as the Hong Kong Philharmonic Orchestra, Toledo Symphony, Kalamazoo Symphony Orchestra, Hong Kong Chinese Orchestra, Eastman Philharmonia, Eastman Musica Nova, Mivos Quartet, Del Sol Quartet, [Switch~ Ensemble], Mise-en Ensemble, Du.0, Cong Quartet, NEXUS Ensemble, and Toolbox Percussion are among the many who have presented Lam’s music over the years.

Lam earned his Bachelor of Arts in Music with highest honours from the Chinese University of Hong Kong, and completed his master’s studies at Bowling Green State University, where he held a theory assistantship. He is currently pursuing is doctoral studies at Eastman School of Music, and serves as a teaching assistant at Electroacoustic Music Studios at Eastman (EMuSE), supported by the Composers and Authors Society of Hong Kong Music Scholarship for Overseas Studies. His formative composition mentors include Mikel Kuehn, Evis Sammoutis, Elizabeth Ogonek, Christopher Dietz, Marilyn Shrude, Wendy Lee, and Kai-Young Chan.

Mattia Benedetti creates acousmatic music, pieces for instrument and live electronics and A/V compositions. He’s interested in quietness, algorithmic and aleatoric techniques and the relationship between sound and words. His pieces have been presented in Europe, North and South America and Asia.

Nicola Giannini is a composer and researcher who creates immersive spatial sound experiences, which he conceives as ephemeral always-evolving sonic architectures. He explores the interaction between people, sound, space and context, balancing the organic with the synthetic, intensity with delicacy. He is inspired by the tension between nature unpredictability and the human quest for control. By exploring the most visceral aspects of sound, he aims to create sonic spaces where the public can almost touch the sound and feel completely immersed in it.

His pieces have been presented in North and South America, Australia, Asia and Europe at Ars Electronica, Centre PHI, Akousma, San Francisco Tape Festival and Cube Fest, among others. Recognition includes first prize at JTTP 2019 (Canadian Electroacoustic Community), the 2022 Akousma Immersive music Audience Award, and other honours.

Originally from Italy, Giannini obtained a doctorate in music composition from the Université de Montréal, where he taught electroacoustic composition, performance and installation. Now a FRQSC-funded post-doctoral fellow at UQAM and McGill University Sounds in the City Lab, he researches immersive co-creation and public space composition. A member of Groupe de recherche en immersion spatiale (GRIS) since 2018, he contributes to the open-source spatialisation suite SpatGRIS and, with Jean-Philippe Jullin, developed MapSPAT, a spatialisation tool that creates trajectories based on sound variations.

Nikos Stavropoulos studied piano, harmony and counterpoint at the National School of Music and Nakas conservatoire in Greece. In 2000 he graduated from the Music Department of the University of Wales, Bangor where he was awarded an MMus in electroacoustic composition studying with Dr Andrew Lewis. In 2005 he completed a PhD at the University of Sheffield Sound Studios with Dr Adrian Moore specializing in tape composition in stereo and multi channel formats, as well as music for video and live electronics. His work ranges from instrumental to tape and mixed media. He has composed music for video and dance and his music has been awarded mentions and prizes at international competitions. He joined the Music, Sound and Performance Group at our University in 2006 and is a founding member of the Echochroma New Music Research Group.

Otto Iivari is a Finnish electroacoustic composer and a doctoral candidate at the Estonian Academy of Music and Theatre. His artistic practice centers on acousmatic, electroacoustic music, specifically composed for multichannel configurations and ambisonic systems. Iivari's work explores the expressive potential of organic sound materials, with a particular emphasis on spatialization and the dynamic movement of sound. A central theme in his creative research is the relationship between expressive human movement and the perceived motion of sound, examining their interplay as a source of artistic expression.

Otto Iivari has been awarded in several international competitions in the field of electroacoustic music, including the Student 3D Audio Competition (Europe), the International Sonosfera Ambisonic Competition, the CIME competition organized by the International Confederation of Electroacoustic Music, and the Prix Russolo. His compositions have been presented in concerts and festivals worldwide. He is currently pursuing artistic research under the supervision of Nikos Stavropoulos and Helena Tulve.

Paul Goutmann is an artist, researcher, and lecturer in computer music at the CICM (University Paris 8). He is currently a postdoctoral researcher within the ERC Advanced Grant G3S project on spatial audio, and was previously awarded a doctoral fellowship from the ArTeC Graduate School. In 2024, he defended his PhD dissertation entitled “Operative Representation for the Spatial Audio Processing: An Approach of musical and software creation”, supervised by Alain Bonardi and Anne Sèdes. His research focuses on the spatial dimension of sound, its musical implementation, and its capture through technology. Artistically active, he develops a practice that interweaves composition, computer music production, sound recording, and theatre creation, thereby extending his reflections on the spatialization of sound.

Pete Stollery studied composition at the University of Birmingham and was one of the first members of BEAST (Birmingham Electroacoustic Sound Theatre) in the early 1980s. Following work as a school teacher in Kent, he moved to Aberdeen to work in higher education. From 2000, he was part of the team which re-introduced music programmes at the University of Aberdeen, including the introduction of doctoral programmes in Composition and the development of the electroacoustic music studios. He was Head of Music for many years and retired as Professor of Composition and Electroacoustic Music in 2022.

His main creative interest is in how humans respond to sounds in their immediate surroundings, in particular sounds that are not necessarily intended for listening purposes, and how an engagement with sound relates to the idea of place. His creative work exists as electroacoustic compositions, sound installations, web-based sound art, as well as instrumental/vocal compositions.

His music is published by the Canadian label empreintes DIGITALes.

petestollery.com

Graduated with honors in the Bachelor’s degree in Electronic Music at the Conservatorio di Musica Luigi Cherubini in Florence, currently a student in the Master’s degree in Sound Design at the Conservatorio di Musica Giovan Battista Martini in Bologna.

Involved in various musical contexts since childhood, I have accumulated experiences that have allowed me to develop a strong understanding of various musical languages. My current field of interest is Sound Design and Sound Art in their various facets, with a particular focus on: sound art projects, studies on soundscapes, sound diffusion and spatialization, acousmatic composition on media, and electroacoustic improvisation.

In addition to working in Sound Design and Sound Art, I have been a trumpeter in two musical groups from Florence for about ten years, performing numerous concerts in Italy and abroad, including a tour in Mexico in 2022, and recording three studio albums. Since October 2024, I have been part of the post-rock trio Edera from Bologna and am one of the curators and acousmatic interpreter of Suonoforma - Festival of Acousmatic Music and Sound Art at the Conservatorio di Musica Giovan Battista Martini in Bologna.

In the last year, I have collaborated with ensembles such as the Bologna Improvisation Group and the Tempo Reale Electroacoustic Ensemble, my works have been selected for festivals such as Magnetica — Incontri di Musica Elettronica (IT) and Festival Imersivo 2025 (PT), Sonic Arts Summer Academy 2025 (GR) and I have released my first solo work, a collection of soundscape compositions inspired by R. Murray Schafer’s essay The Soundscape – Our Sonic Environment and the Tuning of the World, titled PEM! - Paesaggi Elettronicamente Modificati.

Raphael Radna is a composer and computer-music researcher working in acousmatic music, mixed music, computer-assisted composition, spatial audio, and creative music software development. He presents music and research worldwide in promi- nent venues such as the ICMC, DAFx, the SEAMUS National Conference, the San Francisco Tape Music Festival, the New York City Electroacoustic Music Festival, and the Visiones Sonoras Festival of Music and New Technologies. He has collab- orated with acclaimed artists including brightwork Newmusic, the Callithumpian Consort, the Onix Ensemble, HOCKET, Antonina Styczén, and Shanna Pranaitis. His music technology work includes the Space Control spatialization application, Xenos synthesizer plugin, and various projects for prominent developers Arturia and Cycling ’74.

Radna holds degrees from Vassar College, Mills College, and the University of California, Santa Barbara, where he attained the PhD in Music Composition. He had the privilege of studying with João Pedro Oliveira, Curtis Roads, and Clarence Barlow.

Rob Parton is a London based electronic musician and sound artist working as Arconic. His work explores sound, space, and time through synthesis, field recordings, and live improvised performance. He creates ambient and electronic works that invite slow listening and close attention.

Rob’s practice draws on his Masters in Music and Sound Design at the University of Greenwich, where he focused on spatial composition, spatial workflows, and live improvisation. He works in stereo, multichannel, and Ambisonic formats, adapting each set to the room and speaker array. His recent shows include the Sound Image Festival, Bathway Theatre, and a fixed composition presentation at APNÉES Festival in France. Rob also runs Tones and Drones, an ambient event in East London that brings artists and listeners together around slow, reflective music.

Seyed Ali Hosseini Born in 1991 in Tehran, Iran. I hold a Bachelor’s degree in Composition from the Tehran Conservatory of Music, where I focused on Classic music and composition. Currently, I am pursuing a Master’s degree in Applied Music (Musica Applicata) at the Conservatorio G. Nicolini in Piacenza, Italy. My studies encompass electroacoustic, electronic, and contemprory composition, as well as sound design and the integration of video and short films. I am currently exploring new approaches to composition based on spatial audio and microtonality and integration with visual Art.

I’m a composer and PhD candidate at Leeds Beckett University, and my work ranges from film soundtracks and sound design, to performance pieces and installations; I’m currently concentrating on electro-acoustic music in a multi-channel environment, working with higher order ambisonics. Recently I have also been playing small concerts with live electronics around West Yorkshire, and incorporating improvisation into my work. I've also begun to investigate site specific sound art, most recently with an installation, Ghosts of The Mill (2023), for Sunny Bank Mills Gallery in Farsley.

I have been one of the team behind the EchoChroma new music research group performances, which have taken place at least bi-annually for the last ten years, along with Dr Nikos Stavropoulos, Dr Bob Birch and Rob Harrison, and have been proud to invite and programme a wide range of new musics here at Leeds Beckett University.

My compositional interests include memory, the tension between natural and human initiated processes, the aporia, and the materialities of sound as a force independent of reason. My sonic materials include field recordings (both as a sound material and as a process), archival sounds, multichannel diffusion especially with regard to the virtualmonium, and modular synthesis sounds, with a focus on 3D sound reproduction and manipulation and procedural generation of sequence material.

Sam Wells is a musician and artist in Philadelphia whose work often invokes a heightened sense of the entanglements of space, air, breath, and body. His work is rooted in the humanity of breath, and highlights our interrelations with the cosmic, terrestrial, social, and internal spaces that surround us.

Sam is a trumpeter and improvisor who has performed around the world and is a member of Aeroidio, the Miller/Vidiksis/Wells trio, and SPLICE Ensemble.

As a composer, Sam creates acoustic, electroacoustic, and electronic works often incorporating multimedia elements. His works have been performed throughout the United States and internationally. As an avid collaborator, Sam has written for theater and dance productions, as well as many notable performers of contemporary music.

Sam is a Cycling ’74 Max Certified Trainer and organizes the Max Meetup Philadelphia event series. He runs Scarp Records, a record label dedicated to highlighting the experimental and improvisational practices of performer/composers.

Sam holds performance and composition degrees at the University of Missouri-Kansas City, graduate degrees in Trumpet Performance and Computer Music Composition at Indiana University, and a doctoral degree at the California Institute of the Arts. Sam is an Assistant Professor of Music Technology and Composition at Temple University.

https://sllewm.as

Shane Byrne is a composer and educator working in the field of creative media. His areas of interest include audio-visual composition, spatial audio, human- computer interaction, and acoustic ecology.

His works have been performed internationally at festivals and conferences including ICMC, TIES, Sound/Image festival, SMC, iFIMPac, and Sonorities.

He is currently the program lead on the BSc (Hons) in Music and Sound Engineering at TUS Midlands where he lectures in Electroacoustic Composi- tion, Interactive Audio, Audiovisual Composition, Visual Creation, and Audio Electronics.

https://www.shanebyrne.xyz/

Shawn Pinchbeck is an award winning Edmonton, Alberta, Canada and Viljandi, Estonia based electroacoustic music composer, media artist, audio engineer, performer, curator and educator. His artworks explore all things that sound, often in conjunction with other elements such as: video, computer interaction, multi-speaker environments, sensors and electronics, interdisciplinary performance and gallery installations.

Shawn has eight albums of electroacoustic, film and ambient music. His music and sound design has been used in numerous films and contemporary dance performances. Shawn has a PhD degree in electroacoustic music composition from the University of Birmingham, UK. He is the Treasurer of the Canadian Electroacoustic Community (CEC) and President of the Boreal Electroacoustic Music Society (BEAMS).

Simone Conforti. Composer, computer music designer, wind instruments performer and software developer, born in Winterthur. Ph.D. in Media Studies and graduated in Flute and Electronic Music Composition. Computer Music Designer and Professor at IRCAM, has previously worked as professor of Electroacoustic Composition and Computer Music at the Conservatoire in Cuneo and Florence, as well as a computer music designer and tutor at the CIMM of the Venice Biennale. His research activities have led him to work as a researcher at Basel University, HEM Geneva, HEMU Lausanne and the MARTLab research centre in Florence. Specialising in interactive and multimedia arts, his work also passes through an intense activity of music oriented technology design; within this field, he has developed a range of algorithms, encompassing sound spatialisation, space virtualisation, sound masking and generative music. Co-founder of MUSICO and Soundive, formerly co-founded of MusicFit and MUSST.

Timothy “Ill Poetic” Gmeiner is a San Diego, California-based interdisciplinary artist-educator, emcee and music producer. He has worked as the Assistant Producer/Director at the Qualcomm Institute’s Audio Spatialization Lab and is currently enrolled in UC-San Diego’s Computer Music PhD program where he focuses on spatialized and interactive compositions in virtual reality, audiovisual live performance, and large-scale real-time reactive installations. His work in virtual reality has won awards at the ACM Symposium on Virtual Reality Software and Technology (VRST) and has been published in the ACM Digital Library (Gmeiner and Murakami (2023)).

He has toured internationally and garnered public acclaim for his work from Rolling Stone, Pitchfork and more. He has taught courses on hip-hop at UC-San Diego and is currently a professor of music production and entrepreneurship at San Diego City College.

Ben Guerrette

Ben Guerrette is an immersive experience designer who creates environments that transport the viewer into a state of play and wonder. Through light, visuals, and sound, he crafts environments that tell a story and bring people together. He is co-producer of ’City Lights’ a winter light event that takes place at Quartyard in the East Village of San Diego, CA.

Anita Chandavarkar

Anita Chandavarkar is a flutist, improviser, and composer living in San Diego, California. In addition to playing Western flute in a contemporary context, Anita plays bansuri bamboo flute in the Hindustani classical tradition, and was a featured performer at the University of Chicago’s Institute for the Study of Ancient Cultures. She studies with Lyon Leifer, a disciple of Pandit Devendra Murdeshwar.

totaleee is a trio of acousmatic music composers and laptop performers consisting of Giuseppe Pisano-Riise, Andrea Laudante, and Paolo Montella. In their composition work, they use immersive audio technologies to create fictional environments of both plausible and impossible nature. They achieve this through multichannel synthesis techniques, physical modeling of room acoustics, field recordings, and feedback loops.

The trio debuted with their first piece, ‘Non è un compendio di Etologia numerico-digitale,’ in 2023. Since then, their works have been performed in various contexts, including ICMC (2023 Shenzhen, 2024 Seoul), Ircam (Paris), Sonosfera (Pesaro), ACMC (Sydney), Prix CIME, WOCMAT (Taipei), and many others. They have also received awards such as the first prize at ISAC 2024 (International Sonosfera Ambisonics Competition), the Teresa Rampazzi Award at CIM XXIV, and a Distinction per Category at CIME 2023.

TREVOR WISHART: (b 1946) Composer/performer from the North of England specialising in sound metamorphosis, and constructing the software to make it possible (Sound Loom / CDP). He has lived and worked as composer-in-residence in Australia, Canada, Germany, Holland, Sweden, Mexico and the USA.

He creates music with his own voice, for professional groups, or in imaginary worlds conjured up in the studio. His recent work “The Garden of Earthly Delights” (2021) is a darkly comic take on the human situation using the voices of actors, singers and politicians.

He is also the principle developer of music processing software for the Composer’s Desktop Project. His aesthetic and technical ideas are described in the books On Sonic Art, Audible Design and Sound Composition.

In 2008 he was awarded the international Giga-Herz Grand prize for his life’s work, and in 2018 the British Association of Songwriters, Composers and Authors (BASCA) Award for Innovation.

For further information consult www.trevorwishart.co.uk.

Valerio Orlandini (1986) is a composer and sound designer from Florence, Italy. Active since 2005 in the field of ambient/industrial music, he then oriented his research towards a meeting point of electroacoustic and concrete music, field recordings and electronic sound design, also integrating his studies in biology and informatics.

During the last years he played in many live events, often collaborating with other musicians coming from different backgrounds, and released some music on CD and tape. He had some compositions played at international festivals, like MUSLAB, Sound and Music Computing, Tempo Reale, In Sonora and Futura.

He studied Music and New Technologies at the Conservatory of Florence “Luigi Cherubini” and currently is a PhD researcher in the field of music, perception and AI while also working as software developer and researcher of music and multimedia applications.

Born in 1967 in Denmark. Lived in The Netherlands for several decades but I am now based in Denmark. Studies include dance and improvisation at the SNDO Amsterdam and voice with coloratura soprano Marianne Blok. Worked with multi media and improvisational projects of all sorts and sizes the past 30 years. Projects include interpretations of a wide variety of text sources. I work with computer music for a bit more than 20 years. The development of this has been parallel with a self study of higher mathematics aimed at algorithmic composition and DSP. The work in spatial audio has developed thanks to working periods and residencies in places such as CCRMA Stanford, IEM Graz, ICST Zurich, EMS Stockholm and NOTAM Oslo.

Born in Guangdong, China, Zouning is a composer and sound designer whose music reflects her fascination with nature, malfunctioning machines, distorted noises, and the interplay between refined and raw timbres. Driven by a curiosity about the expressive potential of electronic circuits, she is passionate about DIY electronics, building her own sensor instruments to explore new sonic possibilities shaped by physical gestures.

Her compositions have been showcased across the United States, Europe, and China. In 2025 her works have been featured in festivals and conferences such as Sonic Pavilion Festival, IRCAM ManiFeste, ICMC, Digital Dialogue workshop at the IMPULS Academy, and SPLICE Festival. Now based in Chicago, Zouning is in her second year of a PhD program in Music Composition and Technology at Northwestern University. Outside of her academic work, she can often be found in the woods capturing field recordings or at the post office, collecting stamps.