Chris Donahue is an Assistant Professor in the Computer Science Department at Carnegie Mellon University . He also serves as a part-time Research Scientist at Google DeepMind on the Magenta team. His work focuses on leveraging generative AI to enhance human creativity, particularly in music. Education: PhD in Computer Science (UC San Diego), Postdoctoral Scholar (Stanford University) His research spans controllable generative modeling of music and audio , with a focus on real-time interactive systems. Projects like Piano Genie , Beat Sage , and Copilot Arena demonstrate his commitment to real-world deployment. His Generative Creativity Lab (G-CLef) explores AI applications beyond music, including programming and natural language. Recent publications highlight advancements in multimodal music evaluation , real-time adaptation , and AI-driven sound morphing . He co-developed Magenta RealTime , an open-weight real-time music generation model, and MusicFX DJ Mode . Scientific Awards: Best Paper Award (top 1) at NAACL Student Research Workshop 2025 Best Paper Award (top 1% of submissions) at CHI 2025 Best Paper Runner-up at ISMIR 2021 He co-advises PhD students like Wayne Chi (NDSEG Fellow) and mentors Irmak Bukey . His lab receives support from the AIxArts incubator fund at CMU .
Professor Annie Mahtani is a Professor of Electroacoustic Composition and Practice at the University of Birmingham's Department of Music. She holds a BMus (Hons), MA, MPhil, and PhD from the University of Birmingham and Birmingham City University. Her work focuses on electroacoustic music, acousmatic composition, multichannel audio, spatialisation, and field recordings, with significant contributions to site-specific installations and cross-disciplinary collaborations. She co-directs the SOUNDkitchen collective and serves on key boards such as the British ElectroAcoustic Network (BEAN) and the British Section of ISCM. Her research explores the sonic identity of environmental sounds, large-scale multichannel composition, and ambisonic audio techniques. As a performer with BEAST (Birmingham Electroacoustic Sound Theatre), she develops live acousmatic performances and soundwalks. Recent projects include Becoming Tree (an immersive audio retelling of a literary work) and Minimum Monument , performed at Birmingham Hippodrome. She actively collaborates with dance and theatre companies like Rosie Kay Dance Company. Professor Mahtani teaches undergraduate and postgraduate modules in electroacoustic composition and is involved in admissions and curriculum leadership. Her works have been performed globally in festivals like Klang! Électroacoustique and Sound + Environment, showcasing her innovative contributions to contemporary music and sound art.
Dr. Sam Ferguson is a Senior Lecturer at the School of Computer Science, University of Technology Sydney (UTS), with a multidisciplinary background in music performance, cognitive science, and psycho-acoustics. His research explores the intersection of sound, music, and human experience through creative coding, machine learning, and interactive systems. Key Research Areas: Sound and Music Computing, Human-Computer Interaction, Creative Coding, Cognitive Science, Installation Art, and Acoustics. Current Projects: ARC Linkage project on creative coding and multiplicitous media; industry collaborations on IoT-based audiovisual systems. Recent Publications: Focus on spatial audio complexity, gestural interaction with networked sound, music emotion recognition frameworks, and robotic performance through genre-based cultural platforms. Leadership Roles: Director of Teaching & Learning Engagement; former Deputy Head of School (Teaching and Learning); active in ACM Creativity and Cognition Steering Committee. Teaching: Courses like Digital Media Studio , Prototyping Physical Interaction , and Data Processing using R within UTS's interdisciplinary Software Development Studio.
Keith Obadike is a Professor in the Department of Art at Cornell University's College of Architecture, Art, and Planning (AAP), where he also serves as Director of Undergraduate Studies. He is an acclaimed interdisciplinary artist and composer, known for his collaborative work with Mendi Obadike, which spans sound art, digital media, public installations, performance, and internet-based projects. His artistic and academic work critically engages with technology, race, history, and identity. Obadike earned a B.A. in Visual Art from North Carolina Central University and an M.F.A. in Sound Design from Yale University. Prior to joining Cornell, he taught at William Paterson University and held visiting positions at Princeton University, Columbia University, Northwestern University, and the Art Institute of Chicago. His research and creative practice focus on sound art, digital media, public art, performance, and collaborative practice , with strong interdisciplinary connections to Afrofuturism, data sonification, and social justice. He explores how sound and technology mediate racial identity, memory, and liberation, notably through the concept of acousmatic blackness , which he and Mendi developed to describe the racial perception of sound when its source is unseen. Obadike’s selected works include large-scale public sound installations such as Blues Speaker (for James Baldwin) , Free/Phase , Compass Song (Times Square Arts), and GuideStar (Space Needle, Seattle). His projects often use data sonification, archival research, and mythic storytelling, blending historical inquiry with futuristic vision. Notable series include the Opera-Masquerades , Americana Suites , and Numbers Station works, which transform databases of violence into sonic experiences. His honors include: Rockefeller New Media Arts Fellowship (2004) Louis Comfort Tiffany Biennial Award (2015) New York Foundation for the Arts Fellowship in Fiction New Music USA Creator Development Fund (2022) Obadike has received commissions and support from institutions such as the Vera List Center, Harlem Stage, Times Square Arts, the American Composers Orchestra, and the Cornell Mui Ho Center for Cities. He has exhibited and performed at The New Museum, The Whitney Museum of American Art, MoMA, and The Studio Museum in Harlem. His writings and publications include contributions to Studies into Darkness (2022), and artist books such as Four Electric Ghosts and Big House / Disclosure (both 2014). He has also released albums like Crosstalk (2008) and created internet artworks such as Blackness for Sale (2001) and The Interaction of Coloreds (2002), which are foundational in new media and critical race art. While specific advisees are not listed, his role as Director of Undergraduate Studies and Professor indicates active mentorship. His work is deeply collaborative, often co-created with Mendi Obadike, and supported by interdisciplinary teams and institutions.
Steven Livingstone is an Associate Professor in the Department of Computer Science at Ontario Tech University, Faculty of Science. His research focuses on affective data science, applying machine learning and statistical modeling to understand emotion and its disorders. He leads the Affective Data Science Lab (ADSL), specializing in emotion recognition technologies using physiological data like EEG and motion capture. Livingstone holds a PhD from The University of Queensland (2008) and has published over 70 peer-reviewed papers, with over 2,400 citations. His RAVDESS dataset is widely used in speech emotion recognition research. His research interests span data science, affective computing, and music's role in emotion. Recent work emphasizes data provisioning for deep learning applications. Livingstone teaches courses including Scientific Data Analysis and Information Visualization. He actively mentors undergraduate and graduate students in his lab, focusing on research assistantships in emotion technology development. Key contributions include studies on musical tempo’s physiological effects, Parkinson’s disease facial mimicry deficits, and ensemble performance dynamics. His work has been featured in The Atlantic, NBC Today, and on the cover of Informatik Spektrum. The ADSL lab collaborates on projects combining data analytics with human-computer interaction to advance emotion-aware systems.
R. Luke DuBois is an Associate Professor and Co-Chair of the Technology, Culture and Society Department at the NYU Tandon School of Engineering, where he also directs the Integrated Design & Media program and the Brooklyn Experimental Media Center. He holds a DMA in music composition from Columbia University and is a renowned artist, composer, and performer whose work explores intersections between technology, sound, and visual media. His research focuses on digital media, human-computer interaction, and emerging technologies applied to artistic expression and accessibility. Key roles include directing the SONYC initiative (addressing urban noise pollution via AI) and leading the NYU Ability Project (advancing disability studies through technology). He has collaborated with institutions like the Smithsonian and artists such as Maya Lin, and his work has been exhibited globally, including at the Sundance Film Festival and the Aspen Institute. DuBois co-developed the Jitter software suite for real-time data manipulation and performs in avant-garde groups like Bioluminescence and Fair Use. His artistic practice combines time-lapse phonography, interactive installations, and interdisciplinary projects that critique cultural ephemera while advancing accessibility in STEM and the arts. Recent contributions include browser-based tools for accessible music notation (SoundCells) and sonification techniques for calculus education. He serves on the Board of the ISSUE Project Room and has been featured in major publications like the New York Times and TED Conference talks.
Rachel Devorah Wood Rome is an Assistant Professor in the Electronic Production and Design (EPD) department at Berklee College of Music, where she teaches creative coding, live coding, and music technology. Her work bridges electronic music, improvisation, and critical theory, with a focus on sonic cyberfeminism, archival practices, and the social meanings of sound and space. Ph.D. in Music Composition and Computer Technologies, University of Virginia (2018) M.L.I.S., San José State University (2017) M.A. in Music Composition, Mills College (2013) B.Mus. in Horn Performance, CUNY Queens College (2007) Her research explores superhuman prolongation, opaque complexity, and the re-signification of archaic tools in sonic media. She values machines for their patience and memory, and her creative practice emphasizes critical agency in technology design and use. She performs under the name 'mehetabel' when using archival materials in improvised electronic music. The most recent publications and performances reflect a deep engagement with AI and music, live coding, feminist media theory, and spatialized sound. Her works often involve real-time data processing, generative systems, and collaborative improvisation, situating sound within broader social, political, and technological contexts. Ruth Anderson Installation Prize (IAWM) New Music USA Grant Fellowships from MIT OpenDocLab, Adrian Piper Foundation, Ina GRM, New Museum, and Jefferson Scholars Foundation Residencies at EMS Stockholm, STEIM Amsterdam, MassMoCA, and Cove Park Rome advises emerging artists in electronic music and creative coding, many of whom have gone on to establish their own practices. She is also active in academic service, including curriculum development, faculty governance, and labor organizing as a Councilor for the Berklee Faculty Union. She leads initiatives in DEI, sound design, and coding pedagogy within the EPD department. She has been involved in interdisciplinary collaborations with artists, technologists, and institutions worldwide, presenting work in galleries, festivals, and academic conferences across North America, Europe, and Asia. Her leadership extends to nonprofit arts organizations, where she has served as Executive Director and grantwriter.
Professor Helen Mitchell is a multidisciplinary scholar in music performance and perception at the University of Sydney's Sydney Conservatorium of Music. Her research explores the intersection of music practice with scientific discovery, focusing on vocal pedagogy, listener perception, and multisensory performance analysis. She holds a BA (Hons) from Oxford and a PhD from the Sydney Conservatorium. Previously, she served as Dean of Students at the University of Sydney's Women’s College (2004–2005). Research Interests: Mitchell’s work investigates listeners’ sound quality perception, vocal identity recognition, and the cognitive effects of verbal descriptions on musical memory. Notable projects include longitudinal studies on music training outcomes and current investigations into audio-visual integration in performer identification. Her ARC-funded research emphasizes practical applications in pedagogy and performance valuation. Grants & Collaborations: Key grants include the 2022 ARC Discovery Project on bel canto sound rediscovery (with Neal Peres Da Costa) and a 2014 OLT grant for perceptually-aware music leadership training. She collaborates with institutions like Sydney Living Museums via projects such as The Dowling Songbook Project, blending historical performance practice with educational innovation. Teaching & Supervision: Mitchell convenes postgraduate research methods courses and supervises Honours, Masters, DMA, and PhD students in music performance studies. She coordinates Honours research at the Conservatorium and integrates empirical approaches into ethics and methodology training. Affiliations: Member of the Charles Perkins Centre, contributing to interdisciplinary health and performance research.
Maxwell Tfirn is a Lecturer and Director of Creative Studies at Christopher Newport University , Department of Music, Theatre and Dance, where he teaches Music Composition, Sound Synthesis, and Music Technology. His research focuses on real-time recursive compositions and data sonification for scientific analysis. PhD in Composition and Computer Technologies - University of Virginia M.A. in Music Composition - Wesleyan University His work bridges music composition with bacterial behavior studies through NSF-funded research on Data Sonification of Bacterial Chemotaxis . Notable performances include works at ICMC, SEAMUS, and Subtropics Music Festival. Collaborations with ensembles like Jack Quartet and Loadbang highlight his impact in contemporary music circles. Key Trends in Publications: Articles span real-time algorithmic compositions, sensor-based live performance tools, and interdisciplinary sonification projects merging microbiology with auditory analysis. Subfields include neural network integration, audiovisual data mapping, and glitch-based performance aesthetics. Scientific Awards: Best Use of Sound (Academic) - ICAD (2023) Research Collaborations: National Science Foundation grant exploring bacterial chemotaxis sonification. Mentorship roles include advising students at Christopher Newport University and contributing to experimental music festivals globally.
Professor Stuart Green is a full-time faculty member at the University of Leeds, serving as Professor of Spanish and Popular Culture in the School of Languages, Cultures and Societies. He has been with the university since 2005, progressing from Teaching Fellow to Professor in 2024. His academic work bridges Spanish cultural studies, race, media, and transnational identity. Education: PhD in Hispanic Studies, University of Sheffield (2006) MA in Hispanic Studies, University of Sheffield (2002) BA in Spanish and History of Art, University College London His research centers on Spanish popular culture, particularly how Afro-Spaniards use music to articulate identity, resist exclusion, and connect with the global African diaspora. He critically engages with Paul Gilroy’s concept of the 'black Atlantic' from a Hispanic perspective. His work also spans racial representation in Spanish film, television, and theatre, including blackface performance and the careers of migrant-origin artists like Minke Wang and Santiago Zannou. He has contributed to studies on theatre publicity, cinematic techniques in theatre, and right-wing political discourse in post-war Spanish theatre. Stuart Green is co-convenor of the European Popular Musics Research Group and has co-edited a book on European singer-songwriters and a special issue of the Journal of European Popular Culture. With Prof. Duncan Wheeler, he has analyzed music festivals such as Live at Leeds. His pedagogical contributions include translating José Luis Alonso’s play La estanquera de Vallecas into English as The Granny and the Heist , supplemented with extensive teaching resources for A-level, IB, and undergraduate education. Professional Memberships and Editorial Roles: Member, Association of Hispanists of Great Britain and Ireland Member, Editorial Board, Estreno: Cuadernos del Teatro Español Contemporaneo Editor, Neuróptica: Estudios sobre el Cómic Member, Editorial Board, New Cinemas: Journal of Contemporary Film He teaches across all levels of undergraduate Spanish programs, focusing on peninsular culture including theatre, film, novel, poetry, and painting, while also contributing to transnational modules. He emphasizes the use of target language in classroom instruction. He welcomes PhD research inquiries and is actively engaged in research supervision and academic leadership.
Tom Mitchell is a Professor of Audio and Music Interaction at the University of the West of England (UWE), Bristol . As leader of the Creative Technologies Laboratory , his research focuses on interactive technologies for creative expression, blending computer science, music, and artificial intelligence. He is the principal investigator for the UKRI Future Leaders Fellowship project "Sensing Music Interactions from the Outside-In" and co-investigator for the Bridge , a £3M creative technology facility. His research spans digital musical instrument design , GPU-accelerated audio processing , and sonification of scientific data . Recent work includes accessibility improvements in virtual environments, AI-driven DMI development, and interdisciplinary collaborations like the MiMU Gloves with Imogen Heap. He also contributes to robotics teleoperation through auditory feedback systems. Selected publications highlight trends in GPU acceleration for audio , generative AI in musical contexts , and human-robot collaboration via sonification. As a software developer , he specializes in C++ and the Juce library , with applications in live performance systems and scientific visualization projects like Soma and danceroom Spectroscopy . UKRI Future Leaders Fellow Active in AHRC and WECA-funded projects Best paper nominations at EvoMUSART and International Faust Conference Mitchell collaborates with institutions including the Bristol Robotics Laboratory , Computer Science Research Centre , and Pervasive Media Studio . His work bridges academic research with commercial applications through ventures like May Productions and x-io Technologies.
Alexander Refsum Jensenius is a Professor of Music Technology and Director of the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. He also leads the fourMs Lab and co-founded the MishMash Centre for AI and Creativity. His work bridges musicology, psychology, and technology, focusing on embodied music cognition, human motion analysis, and creative applications of AI. Notably, he pioneered research on air guitar motion and human micromotion through projects like the Oslo Standstill Database . Educated at the University of Oslo (BA in Music and Mathematics, MA in Musicology) and Chalmers University of Technology (MSc in Applied IT), Jensenius holds a PhD in Music Technology from UiO. He has held visiting researcher roles at UC Berkeley, McGill University, and KTH. Leadership roles include Department of Musicology Head (2013–2016) and Steering Committee Chair for the International Conference on New Interfaces for Musical Expression (NIME, 2011–2022). Research interests span music-related body motion, AI in creative contexts, and open research practices. Key contributions include the Music Moves and Motion Capture MOOCs, the Musical Gestures Toolbox software, and monographs like Sound Actions and Sonic Design . His work emphasizes interdisciplinary collaboration, with projects addressing ventilation systems' acoustic properties and cell culture vibrational effects. Awards include the European Open Data Champion recognition. He advocates for open science and maintains extensive digital archives of research materials, emphasizing institutional web pages as critical research infrastructure.
Neil Leonard is a Professor at Berklee College of Music and the founding Artistic Director of the Berklee Interdisciplinary Arts Institute. He is affiliated with the Department of Electronic Production and Design (EPD) within the College of Arts and Sciences. His artistic and academic work bridges music, technology, and interdisciplinary collaboration. Ph.D. or equivalent terminal degree in composition or sound art (inferred from academic rank and output) Extensive international residency and fellowship experience Leonard's research and artistic practice centers on sound art, electroacoustic composition, and multimedia performance . He explores immersive multichannel audio, live electronics, and collaborations with visual artists, dancers, and filmmakers. His work investigates the resonance of cultural memory, urban soundscapes, and historical acoustics. He integrates technology and philosophy, often drawing from astronomy, Plato, and intercultural exchange. His recent works, including Matanzas Sound Map (Tate Modern, 2025), Sonance for the Precession , and For Kounellis , reflect a trend toward site-specific, durational sound installations that merge scientific concepts with poetic expression. These pieces utilize field recordings, algorithmic processing, and spatial audio to create immersive environments. His scientific and artistic honors include: Fulbright Specialist Award (2016) Distinguished Faculty Award, Berklee (2011) International CubaDisco Award (2015) Rauschenberg Residency (2016) Sacatar Institute Fellow (2023) MIT Art, Culture, and Technology affiliate U.S. State Department Fulbright Specialist Roster (2013–present) Leonard is deeply committed to mentoring students, particularly in refining portfolios and developing lifelong learning strategies. He emphasizes time management as a compositional skill and encourages adaptability in the evolving music industry. He has led major collaborative projects such as The Berklee Sessions with Robin Rimbaud (Scanner) and has performed with renowned artists including Vijay Iyer, Rudresh Mahanthappa, and Los Muñequitos de Matanzas. He co-founded and leads the Berklee Interdisciplinary Arts Institute , fostering cross-departmental collaborations and innovative performance practices. His work continues to be exhibited globally, from Documenta and Venice Biennale to Mass MoCA and the Peabody Essex Museum.
Torsten Lauschmann is a Senior Lecturer in Contemporary Art Theory and Practice (Post-Media) at the University of Edinburgh's Edinburgh College of Art. He holds an ORCID iD (0000-0003-3733-6985) and has taught across Fine Art, Intermedia, and Photography programs since 2002. His academic journey includes a BA in Fine Art from Glasgow School of Art (1993-1997) and a Medienkunst degree from Karlsruhe's ZKM (1999). Biography Education: BA (Fine Art), Medienkunst Teaching: Contemporary Art Theory and Practice Lauschmann's research explores intersections of digital and analogue technologies, focusing on human-machine relationships and the nature of the moving image. His works span installation, performance, and experimental film, often combining DIY aesthetics with high-tech elements. Research themes include technological mediation, embodied experience, and the philosophical dimensions of artistic practice. Recent artistic outputs include collaborative multimedia works like Untitled (Puppy) (2024) and explorations of generative AI in contemporary art (2023). His fingerprint in Edinburgh Research Explorer shows active engagement with audio-visual arts, Glasgow-based art communities, and experimental formats. Scientific Awards Paul Hamlyn Award (2013) Samsung Art+ Prize (Shortlisted, 2012) Derek Jarman Award (Shortlisted, 2011) Scottish BAFTA Award (Best Soundtrack, 2000) As advisor and assessor, Lauschmann has guided PhD students and participated in academic activities including symposia, residency panels, and research network involvement. His professional engagements extend to board memberships at Collective Gallery and contributions to new media research collectives.
Christian Timmerer is a Professor at the Institute of Information Technology, Alpen-Adria-Universität Klagenfurt. His research focuses on adaptive video streaming , energy efficiency , MPEG standardization , and quality of experience (QoE) , with significant contributions to HTTP Adaptive Streaming (HAS), multi-codec optimization, and immersive media systems. Email: christian.timmerer@aau.at Office Hours: Monday 3:00-4:00 PM (by appointment) Projects: CD-Labor ATHENA, GAIA, SPIRIT His research integrates machine learning and generative AI to enhance video encoding, super-resolution, and voice dubbing, while prioritizing sustainability through energy-aware algorithms and open-source tools like GREEM and VEED. Current work emphasizes latency reduction and dynamic bitrate adaptation in live streaming environments. Recent publications address VVC optimization , multi-resolution encoding , and perceptual quality modeling , reflecting interdisciplinary efforts in networking , computer vision , and human-computer interaction . Awards include leading funded projects on adaptive streaming and green video systems.
