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.
Lennie Moore serves as a faculty member in the Technology and Applied Composition (TAC) program at the San Francisco Conservatory of Music (SFCM), where he teaches Applied Lessons, Tools, Techniques and Analysis, and Orchestration for the Media Composer. With decades of experience as a composer, arranger, and orchestrator for video games, commercials, film, and television, Moore brings real-world industry expertise to his academic role. His teaching extends beyond SFCM, having developed and taught courses in Composing for Video Games at USC and UCLA Extension. Moore's research interests focus on the complex puzzle of video game scoring, emphasizing the deconstructionist approach required for interactive media. His work explores how to break down compositions into vertical layers and horizontal procedural components that can be implemented into music playback systems in real-time based on player choices. He specializes in open-world environments where music must smoothly transition through different game areas. His passion for building computers and video games outside of traditional music informs his innovative approach to media composition. His recent work includes the 2024 release of Outcast: A New Beginning , a sequel to his groundbreaking 1999 score for the original Outcast game, which was one of the first live orchestra and choir scores in gaming history. This new project involved approximately two hours and fifteen minutes of music with complex interactive elements, recorded during the pandemic with remote sessions. Best Soundtrack Album, G.A.N.G. Awards, 2011 Best Interactive Score, G.A.N.G. Awards, 2011 Best Audio — Other, G.A.N.G. Awards, 2008 Moore actively mentors students in the TAC program, with notable alumni including Kyle Randall (winner of the American Prize in composition), Shengyuan Li (Top 10 Finalist in the Berlin International Film Scoring Competition 2023), and Shawne Workman (now SFCM TAC faculty). His 2023 album Mentors pays tribute to his influences including Weather Report, Steps Ahead, Arif Mardin, Michael Gibbs, Don Grolnick, David Mash, Nick & Andy, Ken Kraintz, and Toshiko Akiyoshi. Moore emphasizes to students that 'Failure is an option' and encourages them to consider 'Who am I as an artist?' early in their development.
Prof. Roger Walk is a Professor at the University of Ulm affiliated with the Institute for Media Research and Development (Institut für Medienforschung und Medienentwicklung), where he teaches Interactive Systems modules for WS 2024/25 and SoSe 2025 focusing on UX, User-Centered Design, and Interaction Design Patterns through practical prototyping with web/mobile technologies. His research spans Human-Computer Interaction with emphasis on: Core methodologies including User-Centered Design, Design Thinking, and Interaction Design Patterns Specialized interfaces covering Tangible/Natural User Interfaces, Information Visualization, and Gamification/Serious Games Theoretical foundations in Media Education, Game Studies, Media Theory, and Sociology of Media His publication record centers on tangible interaction systems, exemplified by his 2007 conference paper on augmenting DJ turntables for music manipulation, reflecting his focus on physical-digital interface innovation. He has supervised five diploma theses addressing navigation system usability, collaborative information evaluation, document space organization, hyperlink video production, and image database query methods, demonstrating applied research across interaction paradigms. No scientific awards were mentioned in the source material. Based at the Institute for Media Research and Development—founded in 1994 as a non-profit GmbH—the institute operates at the HCI/Computer Science intersection, developing media applications for knowledge transfer, educational processes, and knowledge-based information systems.
Ben Houge is a Professor in the Electronic Production and Design (EPD) department at Berklee College of Music, where he has been teaching music technology since 2011. He also serves as a Senior Audio Lead at Bungie and previously held key audio roles at Sierra and Ubisoft. His work spans academia, game audio, digital art, and immersive multisensory experiences. Bachelor of Arts in Music, St. Olaf College (1996) Houge’s research and artistic practice focus on the intersection of music, technology, and sensory experience. He is best known for his food operas —multisensory dining events that use real-time, interactive soundtracks delivered via mobile devices. These projects apply video game audio techniques to everyday experiences, exploring cross-modal correspondences between taste and sound. His work often involves algorithmic composition, audience participation, and interdisciplinary collaboration with chefs, scientists, and musicians. His recent creative output includes large-scale installations and performances such as Night Rain , On the Sensations of Beer , and Mugaritz XX , which blend real-time audio, mobile technology, and cultural narratives. His publications and performances reflect a strong trend in interactive music systems , site-specific sound design , and audience-engaged art , often drawing from historical, poetic, and scientific sources. Selected awards and recognitions include: Faculty-Led Innovations in Education (FLY) Grant (2019) Berklee Newbury Comics Faculty Fellowship (2017) Knight Foundation Grant (2015) Artist Residency at MIT (2011) Shortlist, Guggenheim YouTube Play Biennial (2010) Stranger Genius Award (2004) Houge lectures widely at institutions such as MIT, Harvard, and the Shanghai Conservatory, and at major conferences including GDC, ICMC, and TEDx. He has advised and mentored students through academic and project-based learning, particularly in the areas of audio programming and interactive media. His work has been supported by grants from the Knight Foundation and Berklee, enabling large-scale public and collaborative art projects. He is actively involved in the global digital art and game audio communities, with exhibitions and performances across North America, Europe, and Asia. He has led initiatives such as the Vox Festival and the launch of Berklee’s master’s program in Valencia, Spain. His labs and creative teams often involve collaborations with ensembles like Zeitgeist, institutions like the Boston Symphony Orchestra, and research groups such as Oxford’s Crossmodal Research Laboratory.
Russ Hepworth is an Associate Professor at York St John University, teaching across the School of the Arts and York Business School. His roles include instructing modules on recording, production, mastering, music business, entrepreneurship, and innovation. Beyond academia, he operates a professional mastering service, consults in the music industry, and co-chairs the Audio Engineering Society's UK Mastering Group. He has held leadership positions such as Finance Director for the Music Producers Guild and co-founder of the Innovation in Music international conference series. He holds an LCM Diploma in Music Technology, MA in ICT in Education, and a PG Certificate in Teaching and Learning in Further and Higher Education. His research focuses on music production education, audio mastering techniques, and entrepreneurship within the music industry. He has contributed over 100 articles to outlets like Pro Sound News Europe and Sound On Sound, and authored/co-authored numerous books with Routledge, including Mastering in Music (2020) and Innovation in Music: Future Opportunities (2021). Russ has mastered over 1,000 albums since 2003, collaborating with artists such as Billy Ray Cyrus and Steve Earle. His work bridges professional practice and academic research, emphasizing knowledge transfer and industry engagement. He also serves on international conference committees, furthering innovation and educational discourse in music.
Brygg Ullmer is a Professor at Clemson University's School of Computing and Chair of the Human-Centered Computing Division. He leads the Tangible Visualization group, focusing on Tangible User Interfaces (TUIs) Computational Genomics Interactive Computational STEAM Rapid Physical/Electronic Prototyping Computationally-Mediated Art and Design His work bridges physical and digital domains, with applications in K-12 education, high-performance computing, and culturally-rooted design. Research trends from his 15 most recent articles show a focus on Generative AI for cyberphysical systems Shape-changing interfaces Token+Constraint interaction models Genomics data visualization Hybrid tangible-gestural interfaces Multi-display collaboration These span both theoretical and applied work in computer science, biology, and design. Ullmer has held significant roles including Postdoctoral work at Zuse Institute Berlin Associate Professor at Louisiana State University (CCT & Computer Science) Visiting Lecturer at Hong Kong Polytechnic University Contributions to IBM Systems Journal and special editions of Springer's Personal and Ubiquitous Computing He has also co-edited journal special issues and served on conference committees. His scientific contributions include co-invented U.S. patents (6164541, 6263507, 6259441) related to Invisible hyperlinking Audiovisual data browsing Digital video time-shifting These patents reflect early innovations in tangible interface technology that have influenced modern interactive systems.
Rob Toulson is a researcher at the University of West London specializing in Music Technology and Digital Signal Processing . His work focuses on interactive music playback systems, audio compression techniques, and enhancing listener engagement through technological innovation. Research Interests: Interactive music app development (variPlay, Red Planet EP) Digital audio processing and psychoacoustic analysis Dynamic range compression effects on sound quality Signal masking and harmonic distortion evaluation Recent publications reveal a trend toward interactive media and music software engineering , with collaborations on audio perception studies and multimedia systems. His work bridges the gap between music production and digital technology applications in audio engineering.
Kuno Kurzhals is a Research Fellow at the Institute for Visualization and Interactive Systems (VISUS) of the University of Stuttgart , affiliated with the Cluster of Excellence IntCDC . His work focuses on video visualization , eye tracking evaluation , and visual analytics for dynamic data. Research Interests : Video visualization, eye tracking, human-computer interaction, spatio-temporal analysis, and immersive environments. Recent Trends : Publications emphasize collaborative gaze analysis in AR/VR, mobile eye-tracking data processing, and gaze-adaptive interfaces. Key subfields include non-negative matrix factorization , user behavior in immersive systems , and evaluation of visualization literacy . Collaborative Work : Co-author in studies on projection displays for group gaze , collaborative molecular learning , and manufacturing process monitoring . Technical Focus : Innovations in fixation-image charts , gaze spiral visualization , and AOI transition trees for analyzing eye movement patterns. Applications : Tools developed for dance choreography planning , music practice reflection , and public transport map analysis . Labs & Teams : Affiliated with the Weiskopf Group at VISUS, contributing to the Cluster of Excellence IntCDC . Collaborates with researchers like Daniel Weiskopf , Maurice Koch , and Nelusa Pathmanathan on interdisciplinary projects.
Justin Paterson is a Professor of Music Production at the London College of Music , University of West London. He combines academic research with professional music production, focusing on interactive music playback , haptic audio , and extended reality sound design . His research explores innovative audio technologies for immersive experiences, including projects like the HAPPIE consortium (haptic authoring pipeline) and the variPlay system for interactive music. He has developed AI-driven audio tools while emphasizing responsible AI (RAI) principles. His scientific publications (2007-2024) cover topics like multimicrophone phase coherence , interactive 3D audio , and haptic feedback systems . He actively participates in audio engineering conferences and innovation in music symposiums . As a professional music producer , he has worked with international artists like Ofenbach and Ximena Sariñana . He chairs the Innovation in Music conference series and teaches postgraduate programs in Advanced Music Technology and Creative Practice .
Dr. Alexander R Jensenius is a researcher at the University of Oslo's Department of Musicology, specializing in Embodied Music Cognition and New Interfaces for Musical Expression (NIME) . With multidisciplinary training in informatics, mathematics, musicology, and music technology, his work bridges music research with motion capture systems, sensor technology, and interactive performance tools. His research intersects with multiple subfields, including: Human movement analysis for musical applications using infrared and inertial sensors Web audio pedagogy through cross-campus team-based learning frameworks Open research practices addressing data handling challenges in musicology Dr. Jensenius has pioneered comparative studies between high-end (Qualisys) and affordable (OptiTrack) motion capture systems, examining their suitability for dance music research and live performance contexts. His technical contributions include synchronization tools for multimodal music data and the Dance Jockey System for full-body interaction with Xsens MVN suits. Recent publications demonstrate his focus on: Optimizing motion data reliability for music performance analysis Developing "good enough" open research practices in empirical musicology Enhancing team-based programming education through web audio technologies He also explores philosophical dimensions of music cognition, including sound-motion similarity theories and embodied memory in telematic performances with migrant communities.
Adib Mehrabi is an Honorary Lecturer in the Department of Linguistics at Queen Mary University of London and Principal Audio Researcher at Sonos Inc. His research focuses on audio signal processing, vocal imitation systems, and acoustic environment modeling. Mehrabi holds a PhD from Queen Mary University of London and has contributed extensively to spatial audio technologies, room acoustics analysis, and binaural rendering systems. His work bridges theoretical linguistics with applied audio engineering, including projects on vocal mimicry for content retrieval, multichannel audio calibration, and real-time head-tracking systems. Mehrabi's research emphasizes practical applications in smart home audio systems and perceptual audio quality assessment. Key technical contributions include room-informed binaural rendering algorithms, self-calibrating playback device systems, and phase-based acoustic parameter estimation. His publications demonstrate interdisciplinary expertise spanning signal processing, machine learning, and sociolinguistic studies of bilingual speech patterns. Advising and grants: No specific advising roles or grant information provided in source texts. Current affiliations include dual roles at Queen Mary and Sonos Inc., indicating industry-academia collaboration in audio innovation. Labs/Teams: Affiliated with Sonos' research division and Queen Mary's Linguistics department research groups focused on experimental phonetics and computational linguistics.
David MacDonald is Associate Professor of Music Theory and Composition at Wichita State University, serving as Graduate Coordinator and Area Coordinator of Musicology and Composition. His creative and scholarly work bridges composition, music technology, and notation software development. Education includes DMA and MM from Michigan State University. Research focuses on digital notation workflows, interactive performance systems, and technology-enhanced music education. Recent compositions include works addressing contemporary issues such as Music for Social Distancing for remote ensembles. Writes extensively on music technology for Scoring Notes, reviewing notation software and digital tools. Board member of Null-state, promoting computer music research.
Nic Collins is a Professor specializing in Sound, focusing on experimental music and digital media. During his 2020 sabbatical, he created Lucky Dip , a video project involving daily trumpet solos on his custom-designed instrument. Collaborating with Nick Briz, he developed a JavaScript program to randomize video playback order, emphasizing interactivity and unpredictability. Isolated due to the pandemic, Collins explored solo performance as a response to the absence of collaborators and audiences. His work bridges acoustic experimentation with digital tools, reflecting on contemporary artistic practice amid global disruptions.
Elliot Leffler is an Associate Professor of Theatre and Performance at the University of Toronto, teaching undergraduates at the Scarborough (UTSC) campus and graduate students at the St. George (downtown) campus. He is a scholar and artist specializing in Applied Theatre as a tool for intercultural dialogue , interfaith collaboration , and political activism . His work spans performances in unconventional spaces such as prisons, rural villages, and church basements, focusing on social change through theater. PhD in Theatre from the University of Minnesota MA in Applied Theatre from the University of Cape Town BS in Theatre from Northwestern University Elliot’s research investigates how theatre can bridge divides in racially, ethnically, and socioeconomically segregated communities. He has led projects with Jews and Palestinians in Israel, Kurdish and Arab Iraqis, South Africans, and interfaith groups in the U.S., emphasizing dialogue , healing , and coalition-building . His recent work focuses on the Oberammergau Passion Play, analyzing its role in fostering progressive politics. His publications in journals like The Drama Review and Research in Drama Education reflect trends in applied performance for social justice , political engagement , and community healing . He authored the book Applied Theatre and Intercultural Dialogue: Playfully Approaching Difference (Palgrave Macmillan, 2022). Scientific Awards: 2024 Assistant Professor Teaching Award (UTSC) Rotary Ambassadorial Scholarship Dorot Fellowship Frank M. Rarig Fellowship University of Minnesota Global Spotlight Grant Elliot teaches courses in acting , directing , devising , and political theatre , with a focus on 20th-century South African theatre and Theatre of the Oppressed . As an active practitioner, he has collaborated with organizations like Living Stages (Portland), Portland Playback , and Global Youth Village , using methodologies such as Playback Theatre and Bibliodrama to promote intercultural understanding.
Philip Cashian is a Professor and Head of Composition at the Royal Academy of Music since 2007. His work, characterized by fast-paced, modernist compositions, draws inspiration from literature, visual arts, and mechanical imagery. He holds awards including the Benjamin Britten Fellowship and PRS Composition Prize. Cashian studied at the Guildhall School and Tanglewood, collaborating with orchestras worldwide. His research explores interdisciplinary themes, with commissions from ensembles like the London Sinfonietta and Plural Ensemble. Notable works include The Cumnor Affair (opera), Fanfaronades (orchestral), and Chamber Concerto No.2 . Recordings are available on NMC and IBS labels. Education: Guildhall School of Music and Drama, Tanglewood (Benjamin Britten Fellow) Awards: Britten Prize, Mendelssohn Scholarship Research interests emphasize visual art influences (e.g., Leonora Carrington, Ben Hartley) and mechanical structures in music. Recent compositions include Violin Concerto (2024) and Fiction (2024/25). Teaching focuses on composition techniques and contemporary practices.
