"Epic" - Peter Margasak, writing for Bandcamp.com.

(*1994)

I want my work to manifest as a flow of memory and association akin to a state of semiconsciousness in which the dreams of near-actualized utopias, anxieties and acts of will in defiance of a darkening future traverse the sensorium, at the threshold of language, with euphoria, fear, eroticism, and hope. 

I work constantly to develop a space beyond all prior aesthetic divisions, forcefully defining itself on its own terms, understanding itself as the result of a singularity, in a non-AI sense: a single consciousness, or a single group of consciousnesses (as in a swarm or hive), acting at a specific moment in time, with its own desires, relationships to history, propulsions. 

I understand the year 2023 to be a time where divisions between the material and conceptual; the constructivist and the intuitive; the referential and the new have all been dissolved back into an open space of possibility.

I take honesty to be the most powerful engine of invention.

pop/soundsystem/song/club music at @coleblu .

Colombian composer, performer and researcher.

Current works available to see/hear on my website
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Reilly Spitzfaden (they/them) is a composer who likes noise, code, electronics, and nostalgia. They build handmade electronic instruments, design interactive software interfaces, and repurpose audio and telecommunications equipment as instruments.

Reilly's recordings appear on How Things Are Made, S3E02; in the Media Sandbox and Michigan State University Department of Theatre film (313) Choices; and on the recording Statements with the Michigan State University composition studio. Reilly’s compositions have been performed at the Darmstädter Ferienkurse and the TaPIR Lab, and by the Eastman BroadBand, members of ensemble mise-en, the Amaranth Quartet, OSSIA New Music, and How things are made.

Reilly is currently a lecturer in music technology at SUNY Geneseo. They hold a PhD in composition from the Eastman School of Music where they studied with Ricardo Zohn-Muldoon, David Liptak, and Oliver Schneller; an MA in composition from Eastman, where they studied with Robert Morris and Carlos Sanchez-Gutierrez; and a BM in composition from Michigan State University.

www.lydiawinsorbrindamour.com

lydiawinsorbrindamour@gmail.com

Experimental cellist, composer and improviser based in Montréal

Profile photo by © Martynas Aleksa

Each composition is based on the transformation of the various textile patterns or weaves into musical language. The methodology of mapping is concluded in PhD thesis at Durham University.  Textile patterns reflects distinct motions and atmosphere due its different structure and description. Indian ragas serves for the structure of harmony in order to construct a close relationship between sounds and textile patterns. Every Indian ragas has its own time, duration, specific mode of pitches as the textile patterns, which reflect various cultures and weaving methods.

Douglas Osmun is following