Cheryl Akner Koler
haptic, aesthetic abstractions, creative collaboration, cross-disciplinary, intradisciplinary, applied aesthetics, sensitizing labs
Matthias Heyman
jazz, popular music, improvisation, jazz history, Jazz Studies, HIP, historically informed performance, artistic research, bass, double bass
Mark Tatlow
early music performance, early opera, embodied research, the musical event
William Platz
drawing, drawing research, performance, life drawing, artist's model, portraiture
Alicia Champlin
bioacoustics, biosignal driven music, sound art, cybernetics, systems aesthetics, communication theory, ontology, Semiotics, live coding, max msp, installation, interactivity, frequency, resonance, EEG, BCI, Body-centered, agency, identity, Feedback
Fulya Uçanok
Response-able sounding practices with humans and more-than-humans, practices of material agency with instruments, accessibility without popularization, spaces of heterogeneous multivalences, and mechanisms of mediation, within the medium of electroacoustic music aesthetics, composition and performance practices.
Emma Margetson
electroacoustic music, electroacoustic composition, acousmatic, acousmatic music, acousmatic listening, engagement, participation, audiences, collaboration, artistic research
Lorena Croceri
performativity, innovation, sexuality, liminality, transdisciplinary studies, Performance studies, mentoring, Entrepreneurship, eroticism, project management
Stijn Brinkman
space and body, violin, curatorship, mirror, participatory arts, performance, performance; re-enactment; landspace; site; environment;