Jean-Philippe Antoine teaches Aesthetics and Contemporary Art Theory at Paris 8 University. His research bears on images and the social construction of memory, as well as modern definitions of art. His books include La traversée du XXe siècle. Joseph Beuys, l'image et le souvenir (2011) and Marcel Broodthaers : Moule, muse, méduse (2006). He works with painting, installations, soundworks and lectures-performances. Sound publications include The Worried Ones, Live at 64 (2013), Nouvelles musiques anciennes (2011), @Firework Edition Records.
Oana Avasilichioaei’s interests include polylingualisms and porous, intermediary spaces between words, sound and image. She explores the transgressions of these terrains through poetry, translation, performance, and sound work. Her most recent poetry collection is Limbinal (2015), a hybrid, multi-genre work on notions of borders, and recent sound performances include THRESHOLDS (2015) and MOUTHNOTES (2016). She lives in Montreal (www.oanalab.com).
Gary Barwin is a writer, composer, and multidisciplinary artist and the author of twenty books of poetry and fiction. His recent books include the Giller Prize short-listed national bestseller Yiddish for Pirates, the short fiction collection, I, Dr. Greenblatt, Orthodontist, 251-1457. A Ph.D. in music composition, Barwin has published, performed and exhibited his work internationally. Subject. Object. Verb. an interactive sound and text installation will be exhibited at the Art Gallery of Hamilton in 2016-2017. He lives in Hamilton, Ontario and at garybarwin.com
Charles Bernstein’s Pitch of Poetry, new essays, was published this Spring by the University of Chicago Press. His most recent book of poems is Recalculating (Chicago, 2013). In 2010, Farrar, Straus & Giroux published All the Whiskey in Heaven: Selected Poems. Bernstein is Donald T. Regan Professor of English and Comparative Literature at the University of Pennsylvania, where he is co-director of PennSound. More info at epc.buffalo.edu.
Amaranth Borsuk's most recent book of poems is Pomegranate Eater (Kore, 2016). Her intermedia project Abra (1913 Press, 2016), created with Kate Durbin and Ian Hatcher, received an NEA-funded Expanded Artists’ Books grant and was recently issued as a limited-edition hand-made book and free iPhone and iPad app. She teaches in the School of Interdisciplinary Arts and Sciences and the MFA in Creative Writing and Poetics at the University of Washington, Bothell.
Laureen Burlat is a French artist, working mostly on sound experiments with poetry, performance, and installations. She is currently completing her Master’s degree at École supérieure d'art et designe de Valance.
Elizabeth Cherniak is a visual artist, who works in mixed media and collage and experiments in sound and video art. She began to lose her hearing as a young adult, after graduating from film school, and has been wearing analog and digital hearing aids ever since. She holds a BFA in Cinema and an MA in Comparative Literature. After a career as a film technician, she now teaches Communications in the State of Kuwait.
Stefan Christoff is a Montreal-based community activist, musician and media maker.
Klara du Plessis is a poet and critic residing alternately in Montreal and Cape Town. Her chapbook, Wax Lyrical, was released from Anstruther Press, 2015, and a full-length collection of multilingual poems is forthcoming from Palimpsest Press. She curates the monthly, Montreal-based Resonance Reading Series, and writes reviews and essays for The Montreal Review of Books, The Rusty Toque and other journals. She has collaborated with composer Clio Montrey on a song cycle Mannequins and a chamber opera Photo Socrates.
Other work by Patrick Durgin accessible online includes: a series of Jacket2 commentaries on visual prosody, a contribution to the exhibition Institutional Garbage, a "Prelude to PQRS," an essay on Hannah Weiner's Clairvoyant Journal, and a piece of music inspired by Jesse Seldess' long poem "In Contact." He teaches at the School of the Art Institute of Chicago.
Steve Evans was educated at UC San Diego (BA) and Brown (PhD). Since 1999, he has served on the Poetry and Poetics faculty at the University of Maine, where he co-directs the National Poetry Foundation and coordinates the New Writing Series. His poetry criticism has appeared in The Nation, The Baffler, The Poker, Aerial, Jacket, Qui Parle, and his own "Notes to Poetry" project. He is presently at work on a book-length project titled The Poetics of Phonotextuality: Timbre, Text, and Technology in Recorded Poetry.
Andy Fitch’s most recent books are Sixty Morning Talks, Sixty Morning Walks, Sixty Morning Wlaks and (with Amaranth Borsuk) As We Know. With Cristiana Baik, he recently assembled the Letter Machine Book of Interviews. He has dialogic books forthcoming from 1913 Press and Nightboat Books. He edits Essay Press, teaches in the University of Wyoming’s MFA program, and directs the MA program in literature.
As an artist and lecturer Sebastiane Hegarty works across disciplines and media. Drawing on sound, sculpture, language and performance, his practice explores the relationship between time, place and remembering. Published through Impulsive Habitat, Gruenrekorder and Very Quiet Records, his recent work has been broadcast, exhibited and performed in London, Venice and New York. Sebastiane is a lecturer at Southampton Solent University and received his PhD from the Sculpture Department of WSA at the University of Southampton in 2003.
Michael Hennessey was born in a town called Media and has been obsessed with it ever since. He serves as the editor of PennSound and (with Julia Bloch) Jacket2, and teaches at the University of Cincinnati. You can find his poetry in EOAGH, Jacket Magazine, Elective Affinities, Zen Monster, Moss Trill, Cross Cultural Poetics, Horse Less Review, Jupiter 88, Noon, Compost, and Brighton Approach: Gold Edition.
Julian Hou is an artist who lives in Vancouver, B.C. He works in audio, textile prints, and installation. His most recent exhibitions include Help me Remember, L'escalier, Montreal (2015) and Window Bended Harmony, CSA Space, Vancouver (2014). He is involved in the ongoing musical collaboration The Stick with Michael Loncaric.
Kaie Kellough is a word-sound systemizer. He is the author of two collections of poetry and the voice of two sound recordings. His novel Accordéon will appear in November 2016 with Arbeiter Ring Publishing. Kaie publishes and performs internationally. He can be visited at www.kaie.ca.
Tanya Lukin Linklater's performance collaborations, videos, photographs and installations have been exhibited nationally and internationally. She is compelled by relationships between bodies, histories, poetry, pedagogy, Indigenous conceptual spaces, languages, and institutions. Her work has been exhibited and performed at EFA Project Space + Performa, Museum of Contemporary Art Santiago, SBC Gallery, Western Front, Remai Modern, Art Gallery of Alberta, and elsewhere. She originates from the Native Villages of Afognak and Port Lions in Alaska and is based in northern Ontario, Canada.
Mayakov+sky Platform is an anarchist/autonomist collaborative framework on poetics, architecture and direct action, that Greek poet/composer Nicholas Komodore founded in 2011. Collaborations include dancer/choreographer Anna Halprin, dance artist Margit Galanter, poets Brian Ang, Lara Durback, Roberto Tinoco Duran and Heidi Tomoe, composers Bill Noertker and Dusan Chae and experimental projects Inverz, B.R.A.C. and Raspberry Fields. Essays, poetries and designs from the Platform have been published/showcased in Tripwire, Armed Cell, Lana Turner, The Windor and the Venice Biennale of Architecture.
Holly Melgard is the author of the Poems for Baby trilogy (2011), The Making of The Americans (2012), Black Friday (2012), and Reimbursement (2013). Along with Joey Yearous-Algozin, she has also co-authored White Trash (2014) and Holly Melgard’s Friends and Family (Bon Aire Projects, 2014). She currently designs and co-edits Troll Thread Press, dissertates in the Buffalo Poetics Program, teaches writing at CUNY, and lives in Brooklyn, NY.
Christof Migone is an artist, curator, teacher, and writer. He co-edited the books Writing Aloud: The Sonics of Language (Errant Bodies Press, 2001) and Volumes (Blackwood Gallery, 2015). His writings have been published in Aural Cultures, S:ON, Experimental Sound & Radio, Musicworks, Radio Rethink, Semiotext(e), Esse, Inter, Performance Research, More Caught in the Act, Journal of Curatorial Studies, etc. His writings on sound art are compiled in Sonic Somatic: Performances of the Unsound Body (Errant Bodies Press, 2012). He runs squint_ _ _ _ _ _press. He lives in Toronto and is an Assistant Professor in the Department of Visual Arts at the University of Western Ontario.
Clio Montrey is a musician and writer. An alumna of McGill, the Vienna Conservatory, and the University of Music and Performing Arts Vienna, Clio has received numerous awards for her creative work. Her concert series Fleurs rejetées (fleursrejetees.com) is a contemporary take on the Salon des refusés. As Clio Em, she writes and performs genre-defying narrative compositions that blur the borders between folk, classical, electronica, and science fiction. She extends her artistic practice through improvisatory photography.
Fred Moten is author of In the Break: The Aesthetics of the Black Radical Tradition, Hughson’s Tavern, B. Jenkins, The Feel Trio, The Little Edges, The Service Porch and co-author, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study. He lives in Los Angeles and teaches at the University of California, Riverside.
Erín Moure has published 16 books of poetry, one of essays, a memoir, and has translated 15 books of poetry from French, Spanish, Galician and Portuguese. Recent works: Insecession (BookThug), a biopoetics published with Chus Pato’s Secession, and Kapusta (Anansi). In 2016: translations of François Turcot’s My Dinosaur (BookThug), Chus Pato’s Flesh of Leviathan (Omnidawn) and Rosalía de Castro’s New Leaves (Small Stations). Planetary Noise: The Poetry of Erín Moure (edited by Shannon Maguire) is forthcoming from Wesleyan in 2017.
Michael Nardone is the author of The Ritualites (BookThug, forthcoming), Airport Novel (Gauss PDF, 2015), and Transaction Record (Gauss PDF, 2014). Recent writings appear in Amodern, Jacket2, Leonardo Music Journal, Future Concrete, Public Poetics, Camera Austria, The Conversant, Event, and The Dark Would language art anthology. In 2015, he was a PennSound visiting fellow at the University of Pennsylvania. He lives in Montréal.
Laura Ortman (White Mountain Apache) is a Brooklyn composer, musician, and visual artist. She continually collaborates with artists, filmmakers, dancers and musicians from New York, New Mexico, Italy, and Canada. In 2008, she founded The Coast Orchestra, an all-Native American orchestral ensemble. Ortman was a member of the acclaimed, genre-bending New York band STARS LIKE FLEAS, and has recorded three solo albums playing violin, Apache violin, piano, electric guitar, samples, megaphone, and organ.
Felipe Otondo studied acoustics in Chile and composition at the University of York in England with Ambrose Field and Roger Marsh focusing in electroacoustic composition and music theatre. His music has been widely played in festivals across Europe, North and South America, as well as in Australia. Felipe is currently a lecturer at the Institute of Acoustics at Universidad Austral in Chile and his music is released by the British label Sargasso. More information at: http://www.otondo.net
M. NourbeSe Philip is an unembedded poet, essayist, novelist, playwright, and former lawyer who lives in the space-time of the City of Toronto. She is a Guggenheim Fellow (USA) and the recipient of many awards including the Casa de las Americas prize (Cuba). Among her best known published works are She Tries Her Tongue; Her Silence Softly Breaks, Looking for Livingstone: An Odyssey of Silence, and Harriet’s Daughter, a young adult novel. Philip’s most recent work, Zong!, is a genre-breaking poem which engages with the law, history, and memory as they relate to the transatlantic slave trade. Her play, Coups and Calypsos, was produced in London and Toronto. Recordings of her work can be found at the online companion to Zong!, PennSound, and elsewhere.
José Rivera (Proxemia) creates electroacoustic music and experimental sound works that explore the intersections of aural and spatial experience. His practice is primarily expressed through multichannel installation and performance, sound design, phonography, cartography, and architectural design. Recent projects have been exhibited at the ICA Boston (Leap Before You Look: Black Mountain College 1933–1957) and MIT’s MediaLab & List Visual Arts Center. His fluid body of work also includes an open-air performance space for a youth dance and drumming group in rural Ghana.
Canadian poet, essayist and translator Lisa Robertson began publishing in the early 90s in Vancouver. Her books include Debbie: An Epic, The Weather, The Men, R’s Boat, Lisa Robertson's Magenta Soul Whip, and the long poem Cinema of the Present, and two collections of essays, Nilling, and Occasional Works and Seven Walks from the Office for Soft Architecture. Her 9th book of poetry, 3 Summers, is just out from Coach House Books. She lives in France.
Eric Schmaltz is a language artist, writer, researcher, and curator. His work has been featured online and in print across Canada and internationally including Lemon Hound, The Capilano Review, Rampike, CTRL+ALT+DEL, Open Letter, and Poetry is Dead among other places. His visual work has been featured across Canada including Havana Gallery (Vancouver), Rodman Hall (St. Catharines), and Niagara Artist Centre (St. Catharines). Eric lives and works in Toronto, Ontario.
Jordan Scott was the the 2015/2016 SFU Writer in Residence. His books include Silt (New Star 2005), blert (Coach House 2008), DECOMP (Coach House 2013) and Clearance Process (SMALL CAPS 2016). His forthcoming long poem, Night & Ox is to be published by Coach House Books in the fall of 2016. He lives in Port Coquitlam, BC.
Syd Staiti lives in Oakland and is author of The Undying Present (Krupskaya, 2015).
Since 2000, Geert-Jan Hobijn and Staalplaat Soundsystem have been making sound artworks and performances, which are usually installed or performed in locations outside the museum – industrial settings, urban public spaces, even nature. Over fifteen years, Hobijn has amassed a multidisciplinary oeuvre that is ephemeral and immaterial at the same time as it is physical and present. It bespeaks a poetic and experimental but also down-to-earth view of culture. Hobijn and Staalplaat Soundsystem’s earliest works consist of “mechanical orchestras”, including Earitainment in Stereo (2001), an installation for dozens of old radios, TVs and dot matrix printers; Sweet Sissy and the Ballroom Hiss (2002), an installation consisting of 12 floor polishers; and Avantilator (2003), a composition for electric office fans.
Jason Starnes is a composer and critic living in East Vancouver. He makes electro-acoustic music under the moniker Bells Clanging.
UNFO (Unauthorized Narrative Freedom Organization) is an unofficial and temporary coalition of coders and writers that, this time, includes Dan Richert and Harold Abramowitz.