Killian Kiuttu is a freshman studying linguistics and music at the University of California, Santa Cruz. They enjoy solving puzzles, discovering new sounds and structures, and hiking around the Bay Area with their family.
Ben Richter is a composer, accordionist, and director of Ghost Ensemble. Inspired by nonhuman consciousness, emergent perceptual horizons, and music’s potential to create experiences of community healing, Ben’s compositions mark humanity’s transient yet vital role within the immensity of geologic time. A student of Pauline Oliveros, Ben also explores the extended microtonal and timbral potential of the accordion in solo works such as Panthalassa: Dream Music of the Once and Future Ocean, hailed by Stephen Smoliar as “likely to offer a profound impact on the very nature of listening.”
Dr. Stacey Barelos is a performer, composer, and educator based in Omaha, Nebraska. As a performer, she specializes in the music of the 20th and 21st centuries, particularly the music of living composers.
As a composer, Stacey’s eclectic works have been performed on five continents and can be heard on the Albany and Blue Griffin labels.
Dr. Barelos teaches at the Omaha Conservatory of Music, the University of Nebraska at Omaha and directs Soundry as part of the Omaha Under the Radar Festival. For more information, see her website, www.staceybarelos.com.
Kenta Tanaka (°1993, Japan) is an urban composer, sound artist, and guitarist. His work attempts to explore the possibilities of urban-themed compositions under the word “Urban Composition” by applying urban theories or phenomena in the fields of sound arts. He has completed his postgraduate in Sound Arts with European Postgraduate in Arts in Sound in Ghent, Belgium. Recent works include Fictional Soundscapes (2021) for Encounter in Resonance at KIOSK – Belgium, and Algorithmic Urban Composition (2019) at Listening Room CCRMA Stanford – the United States.
Ina Otzko works in various media and holds masters from Goldsmith College, London and UdK, Berlin. Her work revolves around questions regarding belonging and the vulnerability of man and nature where circumstances are constantly changing. She draws inspiration from philosophy, science and poetry, spiritual practices and rituals, personal heritage and experience. Her artistic production manifests as minimal or monumental works, intimate and poetic stories.
Zach Wallace is an ecologist and musician living in Laramie, Wyoming. He has made music with SUN CIRCLE, Memorize the Sky, Tony Conrad, Anthony Braxton, Gamelan Candra Wyoga, and others. His work as a scientist focuses on field studies and analysis to support conservation of rare wildlife species in western North America.
LOW-PASS, BY AUSTIN RICHEY
Austin T. Richey is a sound artist and music educator working in Detroit, Michigan. His current practice reclaims public spaces through community oriented DIY synthesizer-making workshops and site-specific, historically and environmentally informed sound installation.
Flicker, BY Alexis LambAlexis C. Lamb is a composer, percussionist, and educator interested in fostering communities of mindful music-making. Her recent commissions and collaborations include Third Coast Percussion, the Albany (NY) Symphony, Aizuri Quartet, Opera Omaha, Contemporaneous, and Yale Philharmonia. She is currently pursuing a Doctorate of Musical Arts at the University of Michigan and has previously earned degrees from the Yale School of Music and Northern Illinois University. Her works are self-published and available at https://alexislamb.com/.
9% FOR PARKING, BY TOM BICKLEY
Tom Bickley was among the first group to receive the Certificate in Deep Listening from Pauline Oliveros, IONE, and Heloise Gold in 1998. He composes, plays and teaches recorder, performs with Gusty Winds May Exist, Dream Down Duvet, Three Trapped Tigers recorder duo, Doug Van Nort’s Electro-Acoustic Orchestra, co-founded and directs the Cornelius Cardew Choir, and co-teaches Deep Listening courses for the Center for Deep Listening @ RPI. His education includes degrees in music, theology, and library and information. He lives with his spouse Nancy Beckman and cat 虎 in Berkeley, California.
TELEPATHIC MUSIC, BY THE EVOLUTION OF THE ARM
Having muddled through the indeterminate, isolated reality of 2020, we found ourselves in 2021, longing to connect musically while preparing for the release of our first record. Tired of screens and glitchy internet connections, we decided instead to meet on the astral plane. The concept was simple: telepathy is instantaneous, it has no latency! We decided the date, start and end times, and recorded individually, unable to see or hear each other on the physical plane. Something interdimensional was created between us, but we didn’t know what until we heard our individual recordings combined.
The Evolution of the Arm materialized from Buffalo’s vibrant experimental music scene, and have been performing interdimensional chamber music for four years. With backgrounds in classical, jazz, noise, and theater music, they combine the subtle precision of notated concert music performance with the spontaneity of free improvisation. The instrumentation of oboe, piano, violin, and cello allows unique timbral combinations, while their heterodox approaches to counterpoint and form manifest as a kind of doppelgänger of classical music. They released their first album, Sounds Like, in July 2021.
Listen to an EP of Telepathic Music by The Evolution of the Arm, here: https://theevolutionofthearm.bandcamp.com/album/telepathic-music-vol-1-2