Find Academic Supervisors

• Multimedia
• Advertising
• Design
• +4 more

Patrick J. Aievoli is an Associate Professor of Art at Long Island University , where he has been a full-time faculty member at LIU Post since 1989. He has directed the Interactive Multimedia Arts (IMA) graduate program since 1999, which is housed under the School of Visual Arts, Communications and Digital Technologies and emphasizes interdisciplinary new media art, design, and technology. Education: B.S., Buffalo State College, SUNY M.A.L.S., Empire State College, SUNY His career spans over three decades in the multimedia , design , and advertising sectors. From 1978 to 1989, he worked as a designer for editorial, advertising, and promotional firms, including McGraw-Hill, where he contributed to the first CD-ROM Encyclopedia of Science and Technology in 1987. As an academic, he continues to consult for major new media companies in the New York City metro area. Research and Publication Trends : His publications from 2004–2008 reflect expertise in interactive media , metaphorical design , and digital art . Topics include aesthetic theory, multimedia installations, and educational technology, aligning with his role as a columnist for the EdTech series in the Long Island Press . Scientific Awards and Leadership : Recipient of the HOW Magazine Award (1996) Guided C.W. Post advertising students to six Best On Long Island awards over eight years Labs and Teams : As director of the IMA program since 1999, he collaborates with faculty recognized as leading talents in new media , digital video , audio design , and conceptual art in the New York City area.

Dana LittleView profile

Assistant Professor

• Artificial Intelligence
• Human-Computer Collaboration
• Social Media Writing Techniques
• +7 more

Dana Little is an Assistant Professor at the University of Virginia, specializing in the intersection of artificial intelligence, social media, and speculative fiction. Her work explores the evolving relationship between humans and digital systems through creative practice-based research. Degrees: Doctor of Fine Arts in Creative Writing (University of Glasgow, 2021), MA in Creative Writing (Johns Hopkins University, 2012), BA in English (University of Georgia, 2009) Her research focuses on design fiction, human-computer collaboration, and the development of 'factions'—a genre blending fact and fiction in digital communication. She created the AI mystic persona Dr. Wu to investigate AI's role in storytelling and cultural memory. Recent publications examine podcast-video essay intersections, social media communication frameworks, and speculative design methodologies. She actively contributes to HBCU community research and has presented internationally on digital twins, worldbuilding, and creative AI applications. 2023 HBCU Fellowship (AWP) University of Glasgow Research Support Award Worldcon attendance funding recipient As a member of the Academy of Television Arts & Sciences and NASA eClips Technical Advisory Board, she bridges artistic practice with technological innovation. Her teaching includes digital media writing, public speaking, and special topics in writing pedagogy.

• Sound Arts
• Communication Sciences
• Digital Technologies
• +2 more

Luis Claudio dos Santos Ribeiro is a Professor at the Lusófona University of Humanities and Technologies , affiliated with the School of Communication, Architecture, Arts and Technologies (CICANT). As a researcher, he focuses on Sound Arts , Communication Sciences , and Digital Technologies , with a special interest in Urban Studies and Cultural Analysis . His career bridges academic research with literary creation , having published 8 poetry books and 4 novels since 1983. Notable projects include the Lisbon SoundMap (2012-2014), Technique and Media as a Problem (2017-2018), and the ongoing Aural Experience, Territory and Community (2018-2022). These initiatives explore soundscapes , digital media , and community engagement . His research trends emphasize sonic culture and digital communication , appearing in journals like Avant , International Journal on Stereo & Immersive Media , and Kaleidoscope . Collaborations span institutions in Portugal , Spain , and Germany , reflecting a transnational approach to sound and media studies.

Amitabh MishraView profile

Adjunct Professor

• Computer-Communication Networks
• Wireless Networks
• Network Security
• +5 more

Amitabh Mishra is an Adjunct Professor at the University of Delaware. His research focuses on three core areas: computer-communication networks (wireless architectures, cross-layer design, mobile cloud computing), network performance analysis (stochastic models, numerical optimizations), and network security (vulnerability assessments, authentication protocols). He has contributed to interdisciplinary fields including IoT security, smart healthcare frameworks, and socio-technical systems analysis. His work spans technical domains like wireless sensor networks, tactical network management, and quantum dot material studies, alongside applied research in tourism economics, healthcare data analytics, and educational technology. Notable contributions include frameworks for energy-efficient physiological monitoring, secure IoT configurations, and machine learning-driven security protocols. Recent research highlights include: Developing secure mobile cloud computing paradigms Modeling Multipath TCP capacity bounds using stochastic theory Investigating AI applications for deepfake ethics and tourism marketing His publications span technical journals in computer networks, medical IoT systems, and interdisciplinary studies in cultural tourism and climate change resilience.

Alison CraigheadView profile

Lecturer

• Digital Art
• Net Art
• Contemporary Art Practices
• +5 more

Alison Craighead is a Lecturer in Fine Art at the Department of Art, Goldsmiths, University of London. Collaborating with Jon Thomson since 1995, she explores digital art through global communication networks, real-time data, and internet culture. Position: Lecturer in Fine Art Department: Goldsmiths Art Department Email: a.craighead@gold.ac.uk Research Interests Her practice spans digital installations using live data, browser archaeology , and environmental critiques like In words alas drown I (climate whisky archive) and A Temporary Index (nuclear waste timelines). Key themes include algorithmic surveillance , internet romanticism , and corporate data manipulation . Artistic Output Recent works like (In)Visibility of Violence (2025) examine violence representation through digital media, while Chose Your Filter! (2025) critiques early browser culture. Their practice includes public art commissions , gallery installations , and networked performances . Honors Shortlisted for Samsung Art Prize (2012) Vital Spark Award recipient (2011-2012) Professional Context Alison's collaborative works have been exhibited internationally in solo/group shows across London, Germany, Scotland, and Canada. She engages with institutions like Arts Catalyst (nuclear culture project) and Film and Video Umbrella.

Eike SchneidersView profile

Lecturer

• Human-Computer and Robot Interaction
• Human-AI Interaction focusing on generative AI and its impact on society
• Multidisciplinary research in collaboration with artists, medical professionals, and lawyers

Dr. Eike Schneiders is a Lecturer at the School of Electronics and Computer Science, University of Southampton. He holds a PhD in Computer Science from Aalborg University and is a recipient of the UKRI Trustworthy Autonomous Systems Hub Early Career Researcher Award. His research focuses on autonomous and AI-infused systems, investigating how to ensure their trustworthiness and responsible interaction with humans and other agents through interdisciplinary collaborations across art, law, and medicine. His recent work explores the societal impact of Generative AI, particularly examining its influence on legal services accessibility for non-experts through the REGALS project (Principal Investigator) and its effects on creative communities via the ART-I project (Co-Investigator). Dr. Schneiders emphasizes public engagement to enhance AI literacy and employs both qualitative and quantitative methods to study human-computer interaction and ethical implications. Dr. Schneiders teaches courses including COMP6251 (Web and Cloud Application Development), ELEC6259 (Research Methods and Project Preparation), and ELEC6200 (Group Design Project). His pedagogical approach integrates foundational technical skills with critical research methodologies. He has led several interdisciplinary projects including ARTificial Intelligence: Show Me a Story about AI (ART-I) and Responsible Employment of Generative AI for Legal Services (REGALS), and contributes to the Agents, Interaction and Complexity research group. His Cat Royale project received the 2024 Webby Award for Best Integrated Experience. Honors include the Best Paper Award at ACM CHI 2024, multiple Honourable Mentions at CHI and TAS Symposiums, and membership in the Foundation for Science and Technology's Future Leaders Programme.

Shawn GreenleeView profile

Professor

• Spatial Audio
• Sound Art
• Computer Music
• +3 more

Shawn Greenlee is a Professor and Department Head for Digital + Media at Rhode Island School of Design (RISD), where he also leads the Studio for Research in Sound & Technology (SRST). His academic and artistic career spans over two decades, with significant contributions to the fields of sound art, computer music, and spatial audio research. Greenlee's educational background includes: BFA from Rhode Island School of Design MA from Brown University PhD in Computer Music and New Media from Brown University Greenlee's research interests focus primarily on spatial audio , high density loudspeaker arrays , and erratic sound synthesis techniques . His work explores the intersection of technology and sound art, with particular attention to how sound behaves in physical space and how it can be manipulated through computational methods. He has developed custom software for rhythm composition based on geometric principles from Godfried T. Toussaint's work, demonstrating his interest in algorithmic approaches to music creation. His research also extends to soundscape ecology, as evidenced by his Polar Lab Residency project "Edges in the Alaskan Soundscape," where he conducted ambisonic field recordings in Alaska's Kenai Peninsula and Denali National Park. Analysis of Greenlee's recent artistic output reveals a consistent exploration of spatial sound phenomena and computational approaches to sound creation. His works span from live electronic improvisation to carefully composed spatial sound installations. A notable trend is his focus on environmental sound documentation and transformation, particularly evident in projects like "Sifting" which emerged from his Alaskan field recordings. His technical expertise in ambisonic recording and high-density speaker arrays enables him to create immersive sound experiences that challenge conventional listening perspectives. Greenlee's recognition includes: Polar Lab Residency supported by the Anchorage Museum (2018) for "Edges in the Alaskan Soundscape" As Department Head for Digital + Media at RISD and leader of the Studio for Research in Sound & Technology, Greenlee guides multiple research initiatives and mentors students in sound art and technology. His upcoming presentations at ICMC 2025 in Boston demonstrate ongoing research collaborations, particularly in loudspeaker array design and spatial audio techniques. His work with students is evident in projects like the "Sound Design for Mobility" group, which produced binaural field recordings during the 2020 pandemic. Greenlee directs the Studio for Research in Sound & Technology (SRST) at RISD, which serves as a hub for experimental work in spatial audio, sound installation, and computational sound design. The studio supports research in high-density loudspeaker arrays, ambisonic recording techniques, and novel approaches to sound synthesis. Recent projects from the studio include work presented at major conferences like ICMC and NIME, demonstrating its active research agenda and technical innovation in the field of computer music.

Lisa BirkeView profile

Professor

• Performance Art
• Video Art
• Augmented Reality
• +9 more

Lisa Birke is an interdisciplinary artist and faculty member at the University of Saskatchewan’s College of Arts and Science , where she founded the Digital and Integrated Practice (DIP) area in the Department of Art & Art History in 2019. Her work intersects performance, video art, augmented reality, and installation to critique cultural norms and explore subjective realities through Canadian landscape narratives. Education: BFA (1999) in Visual Art (Painting) from Emily Carr Institute of Art and Design MFA (2013) in Fine Arts (Studio Art) with distinction from the University of Waterloo Birke’s research investigates the collision of art history, pop culture, and everyday life in multi-channel digital works. She blurs the line between theatrics and documentation, focusing on themes like postfeminist critique, relational aesthetics, and technological mediation. Recent projects include TrippingTime (2024) and Natures of Reality (2021), both utilizing augmented reality for public engagement. Key scientific trends: Immerse audiences in layered realities, challenge normative representations, and employ collaborative digital tools (360 video, AR) to address themes of community, tolerance, and the deconstruction of perfection. Scientific awards: Provost’s New Teacher Award (2022) USSU Teaching Excellence Award (2022) Canada Council for the Arts Grow Grant (2023-2024) Arizona International Film Festival Jury Award (2024) Teaching & advising: Birke advocates for competence, autonomy, and relatedness in pedagogy, emphasizing foundational skills alongside experimental risk-taking. She served as graduate chair (2019-2022) and mentors students in digital media, installation, and performance art. Labs & teams: Principal Investigator for the Shared Spaces augmented reality outreach project (University of Saskatchewan), collaborating with international institutions and grade 8 students in Germany.

Paul WhittyView profile

Professor

• Composition
• Sound Arts
• Field Recording
• +4 more

Paul Whitty serves as Professor of Music and Head of the School of Arts at Oxford Brookes University, where he leads the Sonic Art Research Unit (SARU) and co-directs audiograft, Oxford's Festival of experimental music and sound art. His academic leadership spans composition pedagogy, sound arts research, and institutional strategy within the arts faculty. Whitty's research explores experimental composition through sonic ethnography and environmental sound practices. Key projects include Sound Diaries (2008-present), examining everyday soundscapes with Dr. Felicity Ford; somewhere a field (2013-2017), investigating rural Devon soundscapes; and Get Some Chalk On Your Boots! (2016-2018), documenting grassroots football's sonic cultures. His methodology integrates field recording, site-specific interventions, and collaborative practices to challenge conventional boundaries between composed and environmental sound. Recent creative output demonstrates persistent exploration of recompositional strategies and sonic archaeology, particularly in works like The Morning (2023) and Nature is a language - can't you read? (2015), which rework historical materials through contemporary sound art lenses. These projects consistently engage with themes of perception, cultural memory, and environmental interaction. Scientific recognition includes: Arts Council of England award AHRC award Britten-Pears Foundation award British Council award Whitty actively supervises PhD candidates in experimental composition and sound arts, with recent graduates including Malcolm Atkins (Anglo-American experimental tradition), Felicity Ford (domestic soundscapes), and Sam Thomas (bass guitar in contemporary composition). His research has secured substantial funding from ACE, AHRC, British Academy, Britten-Pears Foundation, Cross-River Partnerships, RVW Trust, and Tate. He directs SARU's collaborative research environment and co-founded the experimental ensemble [rout], which tours internationally and appears on BBC Radio 3. Through audiograft and SARU, Whitty cultivates Oxford's experimental music ecosystem, connecting academic research with public engagement.

• Spatial Sound
• Electroacoustic Composition
• Speaker Orchestra
• +3 more

Lawrence Harvey is an Associate Professor in RMIT University's School of Design and founding director of SIAL Sound Studios. His practice-based research explores spatial sound through electroacoustic composition, urban soundscapes, and speaker orchestra performance. He has curated and performed 34 concerts for the RMIT Speaker Orchestra, a 32-channel spatial audio system, while leading research projects funded by the Australian Research Council. Recent collaborations include 'The Planting' with Indigenous thinkers and 'Site and Sound' exhibitions at McClelland Gallery. His publications investigate sound curation methodologies, noise transformation in urban environments, and interdisciplinary approaches integrating sound with architecture and drawing. Current research develops sonic responses to ecological challenges through critical listening practices.

• Music Composition
• Electronic Music
• Laptop Orchestras
• +7 more

Bruno Tucunduva Ruviaro is an Associate Professor in the Department of Music within the College of Arts and Sciences at Santa Clara University, where he has taught since Fall 2012. Originally from Brazil, Ruviaro is a composer and performer with a specialization in electronic music. Prior to joining Santa Clara, he studied and worked at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. Ruviaro's primary research focus is Music Composition with a strong emphasis on Electronic Music. His specific interests include electronic music composition, laptop orchestras, live-electronics, acousmatic music, and sampling & musical borrowing. He also explores secondary interests spanning theater, dance, linguistics, speech, radio art, Linux, intellectual (im)property issues, and the intersection of music & politics. His work demonstrates a consistent exploration of how technology transforms musical creation and performance. Ruviaro's scholarly output reveals a strong trajectory in electronic and computer music composition, with particular attention to laptop orchestras and musical borrowing practices. His recent works like Pós-Tudos and Mozart and the Elections demonstrate his continued innovation in contemporary composition, while publications such as From Schaeffer to* lorks and Intellectual Improperty reveal his theoretical engagement with the evolving nature of musical instruments and copyright in digital contexts. His compositions frequently incorporate technology in innovative performance setups, as seen in works utilizing smartphones and unconventional sound production methods. Ruviaro is the director of SCLOrk (Santa Clara Laptop Orchestra), continuing a tradition from his time at Stanford where he was part of SLOrk (Stanford Laptop Orchestra). He teaches courses including Intro to Electronic Music (MUSC 9), SCLOrk - Santa Clara Laptop Orchestra (MUSC 157), Music Theory III (MUSC 3), Experimental Sound Design (MUSC 115), Form and Analysis (MUSC 113), and Beginning Composition (MUSC 37), along with private composition lessons. His educational contributions include A Gentle Introduction to SuperCollider , making complex music programming more accessible to students.

Andrew McPhersonView profile

Professor

• Music Computing
• New Interfaces for Musical Expression
• Digital Signal Processing
• +3 more

Andrew McPherson is a Professor of Musical Interaction at Queen Mary University of London, affiliated with the School of Electronic Engineering and Computer Science and the Centre for Multimodal AI. He leads the Augmented Instruments Laboratory, a research team focused on music technology and interdisciplinary collaboration. His work bridges electrical engineering, composition, and human-computer interaction, emphasizing the creation of new tools for musicians through hardware/software interfaces and expressive performance modeling. McPherson's research interests include augmented instruments, digital signal processing, and the design of intuitive musical interfaces. He has pioneered projects like the Bela embedded platform and the Magnetic Resonator Piano, emphasizing practical applications in traditional and experimental music venues. Collaborations with artists and industry inform his approach, ensuring research outputs are artistically relevant and accessible. Education & Expertise: Trained in electrical engineering and composition, McPherson combines technical proficiency with artistic sensibility. His lab’s projects, such as the TouchKeys and hackable instruments, highlight his focus on democratizing music technology. Grants & Awards: He holds a Royal Academy of Engineering Senior Research Fellowship (2021–2026) and an ERC Consolidator Grant (2023–2027). He co-leads the UKRI Centre for Doctoral Training in Artificial Intelligence and Music, fostering future researchers in AI-driven music innovation. Labs/Teams: The Augmented Instruments Lab collaborates across disciplines, with dual affiliation at Queen Mary and Imperial College London’s Dyson School of Design Engineering. The lab’s work spans from foundational research to industry partnerships, including spinout company Augmented Instruments Ltd, which supports maker communities and industry consultancy.

James BradburyView profile

Lecturer

• Machine Learning
• Sound Art
• Computer Music
• +3 more

James Bradbury is a Music Lecturer at the Conservatorium of Music, University of Western Australia. He holds a PhD in Music Technology (2021) from the same institution. His research focuses on integrating machine learning into music creation and performance, with expertise in sound art, experimental art, and software development for creative applications. Previously, he served as a Post-Doctoral Research Fellow in Creative Coding at the University of Huddersfield (2021–2022). Education: Doctor of Philosophy in Music Technology, University of Western Australia (2021) Research Interests : Bradbury explores machine learning's role in shaping contemporary music through real-time interactive systems, sound art installations, and experimental music performance. His work emphasizes computational tools for creative processes, including the Fluid Corpus Manipulation (FluCoMa) platform, which enables novel compositional workflows. He investigates how algorithmic approaches can expand artistic expression while maintaining human creativity at the core. Research Trends : Recent works highlight interdisciplinary collaborations between music and computer science, particularly in developing open-source tools like FluCoMa. His performances and publications demonstrate a focus on non-narrative musical forms and real-time algorithmic generation. The 2025 Audible Edge performance exemplifies this through live machine learning-driven sample selection. Awards and Grants : No specific awards or grants mentioned in the provided texts. His contributions are primarily reflected in creative outputs and academic publications. Labs and Teams : Active within the Conservatorium of Music, Bradbury collaborates with institutions like the University of Huddersfield and participates in festivals such as Audible Edge. His work is closely tied to the FluCoMa research collective, emphasizing open-source software development for artistic innovation.

Michael L. AustinView profile

Senior Lecturer

• Sound and music in interactive media
• Ludomusicology
• Sound studies
• +7 more

Dr. Michael L. Austin is a Senior Lecturer in Music and Sound at Edge Hill University, serving as Programme Leader in Music Production since January 2023. He previously held academic roles at Louisiana Tech University, Howard University, and others. His research focuses on sound and music in interactive media, including video games, social media, and smart devices. He is Executive Director of the Society for the Study of Sound and Music in Games and a Research Associate at the Library of Congress's Radio Preservation Task Force. Education: PhD in Humanities (Aesthetic Studies) from the University of Texas at Dallas (2011), MA in Music Theory from UT Austin (2007), and BA in Music Composition from UT San Antonio (2005). Research interests include ludomusicology, cultural representation in media, sound design for UX, and algorithmic bias in emerging technologies. His 2024 monograph Audiovisual Alterity explores identity representation in music videos, while earlier works like Music Video Games: Performance, Politics, and Play (2016) analyze music's role in digital games. Publications span video game music analysis, algorithmic bias, and sound art. His talks include topics like 'Sounding Drag Identities in Video Games' and 'Algorithmic Bias in Emerging Media.' As a sound artist, his work has been exhibited at the Smithsonian and Dallas Museum of Art.

• Music Technology
• Digital Signal Processing
• Feedback Systems
• +9 more

Øyvind Brandtsegg is a Professor in the Department of Music at the Norwegian University of Science and Technology (NTNU), Faculty of Humanities. His work integrates music technology, sound art, and performance through innovative digital systems and artistic research. Research Interests: His primary research areas include digital signal processing , feedback systems , granular synthesis , convolution , artificial intelligence in music , and improvisation . He explores how technology enables new forms of musical expression, especially in live performance and sound installations. His projects often simulate natural processes or use AI to generate dynamic sonic environments. Recent Publications & Artistic Output Trends: Over the past few years, his work has focused on crossadaptive audio processing, real-time interaction systems, and immersive installations. Themes include environmental sound, mechanical music, and the limits of human-machine collaboration. His output spans scientific articles, software, compositions, performances, and exhibitions, reflecting a strong integration of research and artistic practice. Scientific Awards: No specific awards listed in the provided text. Advising and Grants: Brandtsegg supervises multiple doctoral and artistic research students, often in collaborative, interdisciplinary projects. He has led research initiatives such as the Crossadaptive Processing project and organized the Live Interfaces conference. He has received project funding for artistic research and technology development, though specific grants are not detailed. Labs and Teams: He is affiliated with the Trondheim EMP (Electroacoustic Music Performance) group and contributes to the GDSP (Global Digital Sound Processing) platform. His work is often collaborative, involving researchers and artists across institutions in Norway and internationally.