GESTURES & CLUSTERS: TWO COLLABORATIVE SOUNDSCPAES

DAY OF EVENTS WITH THE ARTISTS

WEDNESDAY, FEBRUARY 19

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Join us Wednesday, February 19 for a day of programming with artists John Driscoll, Phil Edelstein, Cecilia Lopez. 

Workshop Demonstration
Time: 11am-12:15pm
Location: Zuccaire Gallery

Roundtable Discussion
with artists John Driscoll, Phil Edelstein, Cecilia Lopez and SBU faculty SBU Music Faculty Tony Doyle & Margaret Schedel. Moderated by Linda O'Keefe
Time: 5pm-6:15pm
Location: Recital Hall, 1st Floor Staller Center (next to the Zuccaire Gallery)

Closing Reception
Time: 6:30pm-7:30pm
Location: Zuccaire Gallery

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About the speakers:

John Driscoll is a composer/sound artist who is a founding member of Composers Inside Electronics (CIE) and collaborated on David Tudor’s Rainforest IV project since its inception in 1973.  He has toured extensively with: CIE, David Tudor, Phil Edelstein, Douglas Dunn & Dancers, Stephen Petronio Dance Co., and as a solo performer. His work has focused on robotic rotating loudspeaker instruments, compositions and sound installations for unique architectural spaces, and music for dance (including commissions for Merce Cunningham Dance Co., Douglas Dunn, and Maida Withers and the Dance Construction Co.).  He has collaborated with Phil Edelstein on Rainforest V (variations 1-4) acquired by MoMA (NY), Museum der Moderne (Salzburg), Arter Museum (Istanbul) and MAC (Lyon) (2015-2019). He also has collaborated with Phil Edelstein on a sound installation Cluster Fields exhibited at the Univ. of Maryland and the New Bedford Art Museum (2018-2023). His work with unique ultrasonic instruments has resulted in multiple works including a performance work Speaking in Tongues and an installation work Slight Perturbations. His most recent sound installation collaboration is Gestures/Mumurations (2024) with Cecilia Lopez.

Phil Edelstein is a composer, media and sound artist living near Boston. He is a founding member of eba (Electronic Body Arts) and Composers Inside Electronics.  CIE grew out of workshop with David Tudor and the Rainforest project since in 1973. Edelstein's work has focused on interactive gestural, tactile software-based systems and architecture, sound composed and constructed for resonant localized spaces, collaborations in dance & theatre. He has toured in the US and Europe with recent seasons with Stephen Petronio Dance Co. and a Cunningham/Tudor project with the Lyon Opera Ballet. His recent sound installation work has been exhibited through support of Harvestworks as part of the triptych LocaleS3. Performances of and installations of works at venues such as Kitchen NY, Unexpected Territories Berlin, Museum of Modern Art Warsaw, MoMA (NYC), Museum der Moderne (Salzburg), Lyon Biennale, MAC (Lyon), Arter Museum (Istanbul), New Bedford Art Museum and others often with John Driscoll. His collaboration with Driscoll on the sound installation Rainforest V – (variations 1-4) led to acquisitions for the collections of: MoMA , Museum der Moderne Arter Museum and MAC.

Cecilia Lopez is a composer, musician and multimedia artist from Buenos Aires, Argentina currently based in New York. She works across the media of performance, sound, installation and the creation of sound devices and systems. Lopez holds an MFA from the Milton Avery Graduate School of the Arts, Bard College and an MA from Wesleyan University in composition (2016). Her work has been performed and exhibited at Museo de Arte Moderno de Buenos Aires (AR), Center for Contemporary Arts (Vilnius, Lithuania), Roulette Intermedium, ISSUE Project Room, Ostrava Days Festival 2011 (Ostrava, Czech Republic), MATA Festival 2012, Experimental Intermedia, Fridman Gallery (NY), Kunstnernes Hus (Oslo, Norway) and the XIV Cuenca Biennial, among others. She was a Civitella Ranieri fellow in 2015 and has participated in various international residency programs. In 2019, Lopez curated the intermedia festival Folly Systems co-produced by Roulette Intermedium and Outpost Artists Resources that featured 11 international artists. Collaborators include Carmen Baliero, Aki Onda, Brandon Lopez, John Driscoll, Carrie Schneider and Lars Laumann among others. 

Tony Doyle, SBU Department of Music Lecturer in the area of Electronic Music, Spatial Audio Composition, and Music Technology

With a foundational background in music and visual media, he brings a diversified skill set shaped by formal training as both a classical and jazz musician. His academic credentials include a Diploma in Jazz Performance and Composition, an MPhil in Music and Media Technology, and a PhD specialising in Spatial Audio Composition. Over the years, he has collaborated with an array of bands and musicians, spanning genres from pop to classical and contemporary performances, in both live and studio capacities. 

His teaching portfolio encompasses roles as a lecturer in various domains, such as music and sound for film, audio editing, sound design, live coding for performance, and spatial audio design and interaction. Technically, he is adept in a spectrum of software and coding languages, including but not limited to: computer music platforms such as Supercollider, SonicPi and ChucK. He is also proficient with ProTools, Logic, Cubase, Final Cut Pro, Adobe Illustrator, and Photoshop. He has also undertaken an in-person full-stack web development course covering the MERN stack (React, Node, Express, MongoDB), and languages such as Java, Javascript, Python, Swift and Ruby, all to support creative artistic outputs. 

Professionally, he has delved into diverse disciplines, crafting creative sonic and audio-visual outputs. He has  served as an audio mixing engineer for various artists, composed for theatrical productions, designed sound setups for theatre, and conceptualized spatial audio installations for visual and sound artists. Among his notable works, he engineered several sound art albums and collaborated with visual, game-based artists, and researchers to architect online interactive realms. These immersive spaces have more recently probed intricate subjects, such as the ethical considerations of gene editing in the context of climate adaptation.

Margaret Schedel,  SBU Department of Music Professor; Composition and Computer Music

With an interdisciplinary career blending classical training in cello and composition, sound/audio data research, and innovative computational arts education, Margaret Anne Schedel transcends the boundaries of disparate fields to produce integrated work at the nexus of computation and the arts. She has a diverse creative output with works spanning the interactive multimedia opera The King Listens, virtual reality experiences, sound art, video game scores, and compositions for a wide variety of classical instruments or custom controllers with interactive audio and video processing. She is internationally recognized for the creation and performance of ferociously interactive media and won the 2019 Pamela Z Innovation Award. Her solo CD, Signal through the Flames, will be released by Parma Records in2020. She holds a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle and Geoffrey Wright and improvisation with George Lewis and Mark Applebaum. Schedel is a joint author of Cambridge University Press's Electronic Music and recently edited an issue of Organised Sound on using electroacoustic terminology to describe pre-electric sound. Her work has been supported by the Presser Foundation, Centro Mexicano para laMúsica y les Artes Sonoras, and Meet the Composer. She has been commissioned by the Princeton Laptop Orchestra, Ictus, reACT, Yarn|Wire and the Unheard-of//Ensemble. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of data; she co-authored a paper published in Frontiers of Neuroscience on using familiar music to sonify the gaits of people with Parkinson's Disease. She serves as a regional editor for Organised Sound and is an editor for the open access journal Cogent Arts and Humanities. From 2009-2014 she helped run Devotion, a gallery in New York City focused on the intersection of art, science, new media, and design. As an Associate Professor of Music at Stony Brook University, she taught SUNY’s first Massive Open Online Course (MOOC) for Coursera, and formerly served as the director of the Consortium for Digital Arts Culture and Technology. Schedel currently serves as the co-director of computer music and leads the Making Sense of Data Workgroup at the Institute of Advanced Computational Science. She also teaches composition for new media at the Peabody Institute of the Johns Hopkins University. In her spare time, she curates exhibitions focusing on the intersection of art, science, new media, and sound while running www.arts.codes, a platform and artist collective celebrating art with computational underpinnings.

 

Moderator: 

Linda O'Keefe, SBU Department of Art Chair, Professor

Professor Linda O'Keeffe, a prominent figure in sonic arts, leads initiatives at the crossroads of art, science, technology, and community. As the founder of Women in Sound Women on Sound (WISWOS), she champions women in sonic arts and served as Editor-in-Chief of the Interference Journal, emphasizing audio cultures, from 2012 to 2022.

In her collaborative work with the artist collective Non Random, she focuses on art-science partnerships, notably in "Evolving Ourselves with Unnatural Selection," an arts-based project addressing climate adaptation and the ethical dimensions of gene editing. Her acclaimed "Hybrid Soundscapes I-IV," created for the "Sounds Like Her" exhibition, explores the environmental impact of renewable technologies on soundscapes and communities.

Recipient of the Arts Council of England's travel award in 2018 to engage with women working in Sound across Brazil and Latin America resulted in multiple albums and co-authoring "The Body in Sound, Music, and Performance" (2022) with Professor Isabel Nogueira. Recent projects include a commissions for the Huddersfield Holocaust museum, a residency at the Ceramic House, Brighton, and a commission for Wexford Art Centre, Ireland 2024.

Her artistic contributions span sound installations, performances, soundscape studies, and collaborations with radio, dance, and public installations. Professor O'Keeffe is dedicated to supervising graduate students in interdisciplinary practice, community-engaged research, sound studies, sound art, performance art, and gender studies. Her mentorship combines academic research with practical artistic exploration, catering to the diverse interests of students in sonic arts.