Vol11 No.21 INICIO
Vol11 No.21
ISSN 2317-9694

Materiales EXTRA Materials



Rob Mackay

is an award-winning composer, sound artist and performer. Recent projects have moved towards a cross-disciplinary approach, including geology, soundscape ecology, theatre, audiovisual installation work, and human- computer interaction. His work has been performed in 18 countries (including several performances on BBC Radio 3, BBC Radio 1 and Radio France), and a number of his pieces have received international awards (Bourges (1997 and 2001), EAR (1999), La Muse en Circuit (2007)). He has held composer residencies at Slovak Radio (Bratislava), La Muse en Circuit (Paris), the Tyrone Guthrie Arts Centre (Ireland), Habitación del Ruido (Mexico City), CMMAS (Morelia), and the University of Virginia. He has collaborated with a number of poets, including Martin Daws (Young People’s Poet Laureate for Wales, 2013 – 2015) and John Wedgwood Clarke (for the Arts Council funded Dictionary of Stone and Sea Swim with Lara Goodband). This was a natural progression from working on a number of projects based on the theme of geology, including a collaboration with percussionist Dame Evelyn Glennie on the Natural England funded Ruskin Rocks project, led by a team of scientists and musicians at the University of Leeds who created two stone instruments (lithophones). He has also created a Jurassic soundscape for Scarborough’s Rotunda museum. His most recent project has involved collaborating with scientists and artists exploring the migration of monarch butterflies between Canada and Mexico, including the creation of an audiovisual installation presented at the Eden Project and Shambala Festival, as well as performances in New York, Brisbane and Korea. Working with UK organization SoundCamp, Rob is installing streamboxes along the monarchs’ migratory routes in order to live-stream the sounds of their habitats for environmental monitoring and awareness-raising. He is currently wor- king on a programme for BBC Radio 3’s Between the Ears documenting the project (due for broadcast in Spring 2020). Rob has been a reviewer for numerous international conferences, including ICMC (International Computer Music Conference), NIME (New Instruments for Musical Expression), DHRN (Digital Humanities Research Network), Balance/ UnBalance, and journals (Organised Sound, Cambridge University Press). He is also on the editorial board for Interference, a Journal of Audio Cultures, and is currently guest editor for Soundscape and Ideas Sónicas/Sonic Ideas. He has played, written and produced in a number of bands including the Welsh Hip-Hop collecti- ve Tystion with whom he collaborated alongside John Cale on the film A Beautiful Mistake (Film 4), as well as recording three John Peel sessions on BBC Radio 1 and supporting PJ Harvey. The band have a chap- ter devoted to them in Sarah Hill’s book ‘Blerwytirhwng?’ The Place of Welsh Pop Music (Ashgate 2007). Rob has done session work for Super Furry Animals producer Gorwel Owen, songwriter Euros Childs, and Hip-Hop producer Kista. He is currently enjoying playing in the Welsh Afro-tropical collec- tive Drymbago, having supported Quantic and Tony Allen, and recently receiving play by Mr Scruff. Rob is currently a Reader in Music at the University of Hull where he is director of HEARO (Hull Electroacoustic Resonance Orchestra) which is a collective of artists at the University of Hull, dedicated to public pre- sentation and engagement with sonic arts and electronic music, ranging from concert and gig perfor- mances, to gallery installations, public interventions, talks, and workshops. He is also the Chair of UKISC (UK and Ireland Soundscape Community), an affiliate of the WFAE (World Forum for Acoustic Ecology). More information at:

Adam Stanovíc

started composing electronic music some twenty years ago. At that time, early experiments with tape machines and a four-track mini-disc recorder led him discover the potential of recorded sounds, and he quickly started using compu- ters as a tool for music-making. Ever since, Adam has considered the fixed medium as a canvass for his works which, although mostly acousmatic, are sometimes accompanied by instruments, electronics, film, and animation. In all cases, his music explores ways in which both pitch and noise coexist within recorded sound, with musical form often delivering one from the other.

Adam’s music has been heard in over 400 festivals and concerts around the world. His works are available on 12 different CDs, with his first solo empreintes DIGITALes CD released in late 2018, and most have featured in composition competitions around the globe, including: IMEB (France); Metamophoses (Belgium); Destellos (Argentina); Contemporanea (Italy); SYNC (Russia); Musica Viva (Portugal); Musica Nova (Czech Republic); KEAR (USA); Musicacoustica (China). Further to this, Adam has worked in studios at the IMEB (France); Musiques et Recherches (Belgium); VICC (Sweden); EMS (Sweden); LCM (UK); CMMAS (Mexico); Holst House (UK), Mise En Place (USA), Bowling Green (USA); Sydney Conservatorium (Australia).

Adam is regularly invited to talk about electronic music; in the past year, he has given talks at insti- tutions around the globe, including Harvard University, New England Conservatory, Swedish Royal College of Music, Conservatorium van Amsterdam, The Sydney Conservatorium, Bowling Green Ohio. In 2016, Adam co-founded the British ElectroAcoustic Network (BEAN), alongside James Andean, with the intention of representing British electroacoustic music overseas. Adam is currently directing a number of MA programmes, and supervising a group of PhD students, at The University of Sheffield, UK.

Jez Riley French

focusing extensively with sound as both material and subject JrF’s work over the past four decades has involved installation, intuitive composition (a form of improvisation), scores, film and photography. Alongside performances and exhibitions Jez lectures and run workshops in various countries on field recording / located sound as an art form and has also developed a range of specialist microphones regarded as having had a significant in- fluence on the expansion of extended methods of sound recording in the arts and widely used by recordists, sound artists, musicians, sound designers and cultural organisations. He also works as a curator of live events, of a record label, of sound

installations and an arts zine ‘verdure engraved’.
Working extensively on long form recordings of surfaces, spaces and situations his work seeks to connect research with aspects of materiality, immersion and durational focus. Jez has also been prominent in the development of photographic scores and established the series ‘scores for listening’.
Aspects of his work have been exhibited or performed in events and installations alongside that of Yoko Ono, David Bowie, Pauline Oliveros, Chris Watson, Jana Winderen, Alvin Lucier, Annea Lockwood, Ryuichi Sakamoto, Stars of the Lid, Jeremy Deller, Sarah Lucas, Brian Eno, Signe Liden, Sally Ann McIntyre, David Toop etc, at galleries including The Whitworth Gallery (Manchester), Tate Modern and Tate Britain, MOT - Museum of Contemporary Art, Tokyo (Japan), Artisphere (USA). During 2017 he was commission by the UK’s City of Culture, Hull 2017, to deliver or be involved in several key projects inc. Height of the Reeds & North Atlantic Flux.
For 2019 Jez is working on several major projects inc. one focused on the design & detail of spaces between buildings in Japan, further work with infrasound, and new works exploring structures resonated by compositions and their locales . He is also working with his daughter, the artist Pheobe riley Law, on a series of performative collaborations.
Key works are pieces capturing the sound of the dolomites dissolving, ants consuming fallen fruit, buildings vibrating, teleferica’s interacting with locales, the infrasound of domestic and open spaces around the world, glaciers melting in Iceland and the tonal resonances of natural and human objects in the landscape.

Sabine Feisst

is Evelyn Smith Professor of Musicology (School of Music) and Senior Sustainability Scholar (Global Institute of Sustainability) at Arizona State University (ASU). Her Ph.D. dissertation in musicology completed at the Free University of Berlin centers on improvisation in post-WWII experimental music. Her research interests focus on the music of the twentieth and twenty-first centuries, improvisation, ecocriticism, acoustic ecology, and migration studies. Feisst’s monographs include Der Begriff ‘Improvisation’ in der neuen Musik (Studio Verlag 1997) and Schoenberg’s New World: The American Years (Oxford University Press 2011) which won the Society for American Music’s prestigious Lowens Award for the most outstanding book on American music in 2011. She also published Schoenberg’s Correspondence with American Composers (2018) and, with Ethan Haimo, Schoenberg’s Early Correspondence (2016) for the nine-volume set Schoenberg in Words (Oxford University Press) of which she is one of the gene- ral editors. Author of over 80 articles in anthologies, journals and reference works and US editor of Contemporary Music Review, she is currently writing a monograph on music inspired by the American Southwest deserts and editing the Oxford Handbook of Ecomusicology. Her research has been supported by German (Deutsche Forschungsgemeinschaft) and American government grants (National Endowment for the Humanities). She has served on the Ecolmusicology Review’s editorial board and the National Endowment for the Humanities Fellowship board. With Garth Paine, she co-directs ASU’s Acoustic Ecology Lab ( ) which inclu- des such research streams as EcoRift (VR), EcoSonics (environmental psychoacoustics), Sound Walking and the large-scale Listen(n) Project combining artistic and scientific research with citizen stewardship, exploring innovative technology, and carrying out community workshops, and socially embedded art activities.

Evaristo Aguilar

a desarrollado música para percusiones desde una perspectiva contemporánea, a partir de diversos ambientes sonoros del área rural y urbana de la región mexicana de la Huasteca, colaborando con artistas e investigadores alrededor del mundo. Doctor en Artes Musicales por la University of Salford (Inglaterra), ac- tualmente es profesor en la Facultad de Música y Artes de la Universidad Autónoma de Tamaulipas. Es integran- te del Programa de Creadores Escénicos con Trayectoria del Fondo Nacional para la Cultura y las Artes de México.

Vanessa Tomlinson.

Vanessa is a percussive artist dedicated to exploring how sound shapes our lives through composition, performance, writing and teaching, based at the Queensland Conservatorium, Griffith University. With a long history in experimental music, Vanessa uses this body of knowledge to consider how we listen through site-specific explorations of space and place, and our potential to explore new ideas through sound. Trained as a percussionist in Australia, Germany and the USA, Vanessa relies on this sonic investigation of objects to build compositions, create contexts for improvisation, and collaborate across art-forms and disciplines. She has toured the world for 25 years, premiering over 100 works by significant national and international composers, presenting work at major international festivals, and collaborating with improvisers, dancers, artists and more.

Key projects include Sounding the Condamine (examining the history of the Condamine Bell in outback Queensland), The Piano Mill (a purpose built structure/instrument in the Australian bush), Water Pushes Sand (examining intersections between Sichuan Opera and improvisational practices with Australian Art Orchestra), Sonic Dreams (a series of compositions about extinct and imaginary sounds) and Here and Now (her first book, examining approaches to music making in an Australian context).

Vanessa works extensively as a Music Curator and Artistic Director including leading the Australian Percussion Gathering (2010/2016), Transplanted Roots International Percussion Symposium (2017), 100 Ways to Listen at World Science Festival (2017), Co-Festival Director of Tyalgum Festival (2018 onwards) and Co-Director of Clocked Out (2000 onwards). She has received recognition through APRA/AMC Awards in Experimental Music, Excellence as an Individual, and Excellence by an Organisation (Clocked Out), Green Room Awards (Dada Cabaret), Aria nomination (Water Pushes Sand), and prestigious opportunities including Civatelli Ranieri Residency in Italy, Banff Residency in Canada, Australia Council Project Fellowship, and Asialink Residency in China.

She studied at the University of Adelaide, Hochschule fur Musik in Freiburg and received her Masters and Doctorate from the University of California, San Diego where she worked closely with Steven Schick and George Lewis. In addition Vanessa has studied Sichuan Opera with Master Zhong Kaichi in Chengdu, China and orchestral percussion with Bernhard Wolfe, Hochschule fur Musik, Freiburg. She has been on the faculty of the Queensland Conservatorium of Music for 15 years, transforming the field of percussion in Australia, helping to define the field of Artistic Practice in music internationally, and pioneering the performer/composer, interpreter/improviser pathway for students. As Deputy Director of the Queensland Conservatorium Research Centre, chair of Artistic Research, she drives research projects and helps define the agenda for performing artists within the framework of Australian Government University funding agreements.

Vanessa can be heard on Innova, Etcetera, Jazzhead, Mode, Tzadik, Hathut and Clocked Out labels, and her articles appear in Leonardo, Contemporary Music Review, Intelligent Arts and World Forum for Acoustic Ecology. She has performed widely across four continents including Wein Modern Festival, London Jazz Festival, Beijing Festival of Modern Music, Green Umbrella Series, Bang-on-a-Can Marathon, Sydney Festival, Melbourne International Festival, Vancouver Jazz Festival and many more.