Dr. Ben Swift is a Senior Lecturer at the School of Cybernetics, ANU, specializing in AI, computational art, and cybernetics. He leads the Cybernetic Studio, an interdisciplinary collective exploring cybernetic systems through hardware/software/people collaborations. As a livecoding artist, he performs globally and co-founded the ANU Laptop Ensemble. His research spans generative AI, open-source tools like Extempore, and UX design. Education: PhD in Computer Science (ANU) Projects: Australia's Digital Economy (2022), The Augmented Web (2019) Research focuses on AI creativity, biofeedback interfaces, and computational music. His work bridges technical innovation with artistic expression, evident in projects like TSPNet and adversarial camera systems. Key contributions include Extempore’s development and studies in live coding disruption. Awards unspecified but recognized internationally for interdisciplinary impact.
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.
Henrik von Coler is an Assistant Professor at Georgia Institute of Technology's School of Music within the College of Design. His work bridges engineering, electronic music, and empirical research, focusing on spatial audio systems, live electronics, and human-computer interaction in musical contexts. He joined Georgia Tech in 2023 after serving as director of the TU Studio for Electronic Music at Technische Universität Berlin from 2015 to 2023, where he founded the Electronic Orchestra Charlottenburg (EOC) to explore live electronic ensembles in multichannel environments. His research emphasizes the integration of sound, space, and HCI to enhance compositional and performative expressiveness. Notable projects include immersive audio installations, virtual instrument design, and AI-assisted composition. Coler has performed globally on immersive audio systems and curated international concerts. His technical contributions span spatial sound synthesis algorithms, networked music systems, and real-time signal processing tools. Key areas of exploration include volumetric music performances in metaverse environments, hybrid spatial interaction via ARCube, and statistical models for spectral synthesis. He has developed open-source systems like Orchestra (for metaverse performances) and SPRAWL (for ensemble interaction). Coler’s work often combines empirical research with artistic practice, aiming to redefine the boundaries of live electronic music through technological innovation. His academic output spans over 30 peer-reviewed articles since 2011, with recent focus on metaverse applications, AI-human collaboration, and immersive audio design. While no formal awards are listed, his leadership roles and project outcomes highlight significant contributions to music technology and spatial audio engineering.
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.
Marcelo M. Wanderley is a Professor and Director of the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) at McGill University's Schulich School of Music. His academic roles include Area Coordinator for Music Technology and membership on the Executive Committee. He holds a PhD in acoustics, signal processing, and computer science from Université Pierre et Marie Curie (Paris VI). Wanderley's research focuses on novel interfaces for music performance, digital musical instruments (DMIs), and human-computer interaction. He has authored influential works such as New Digital Musical Instruments: Control and Interaction Beyond the Keyboard (2006) and pioneered research in gestural control of music. His work integrates engineering, computer science, and musicology to create innovative performance tools, including the T-Stick and Karlax instruments. He has held visiting professorships at Université de Bretagne Sud, Universidade Federal de Minas Gerais (Brazil), and the University of Mons (Belgium), where he was awarded prestigious chairs. Wanderley's awards include the Inria International Chair (2016–2020) and the Distinguished Visitor Award from the University of Auckland. His research has been widely cited in the International Conference on New Interfaces for Musical Expression (NIME), and he actively contributes to editorial boards (e.g., Computer Music Journal ) and academic leadership roles. Wanderley's lab, the Input Devices and Music Interaction Lab (IDMIL), develops open-source frameworks like Puara and Probatio for DMI design and mapping. Key research areas include haptic feedback systems, motion capture of musical performances, and accessibility in music technology. He emphasizes interdisciplinary collaboration, bridging engineering, art, and cognitive science to advance musical expression and performance practices.
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.
Hailiang Chen serves as Professor in Innovation and Information Management, Assistant Dean (Taught Postgraduate), and Director of the Artificial Intelligence Research Institute at HKU Business School, The University of Hong Kong. His academic journey includes a PhD and MS from Purdue University and a BM from Tsinghua University. Doctoral Degree: Management Information Systems, Purdue University Master Degree: Economics, Purdue University Bachelor Degree: Information Management and Information Systems, Tsinghua University Professor Chen's research spans artificial intelligence, FinTech, social media analytics, and platform economics, with significant contributions to understanding how digital interactions shape financial markets and consumer behavior. His work frequently examines the intersection of technology adoption and economic outcomes, particularly in cryptocurrency markets, live-stream commerce, and venture capital decision-making. His research methodology combines large-scale data analysis with experimental designs to uncover causal relationships in digital ecosystems. His publications in elite journals like Journal of Financial Economics and Management Science demonstrate consistent impact, with multiple ESI Highly Cited Papers. Current projects include Gov-RAG for e-government services and comparative studies of AI search tools. His research has received continuous funding from Hong Kong's Research Grants Council for five consecutive years (2019-2023). Faculty Outstanding Researcher Award, HKU Business School (2022-23) INFORMS ISS Sandra A. Slaughter Early Career Award (2022) Association for Information Systems Early Career Award (2019) Three ESI Highly Cited Papers (Top 1% in field) Professor Chen actively contributes to academic service as Associate Editor for Journal of Management Information Systems and MIS Quarterly , and serves as Program Chair for the International Conference on Smart Finance. His industry collaborations include Alibaba, HSBC, and China Construction Bank, bridging academic research with real-world business applications in AI implementation and digital transformation.
Liam Cross is a Lecturer in Psychology at the School of Psychology, University of Bath. His research focuses on social psychology, particularly how synchronized movement (e.g., dancing, drumming) fosters prosocial behavior, affiliation, and group cohesion. He also investigates autism, theory of mind, deception, media effects on prejudice, and the therapeutic potential of games. His research interests span Social Psychology, Prosocial Behavior, Synchronization, Theory of Mind, Autism, Nonverbal Communication, Media Effects, and Gamification . He explores how rhythmic coordination influences social bonding and identity, and how digital and tabletop games can support individuals with autism. His work integrates experimental, virtual reality, and qualitative methods to understand complex social dynamics. The recent articles highlight a strong trend in using technology—especially virtual reality and games—to study and enhance empathy, reduce prejudice, and improve social interaction. Key themes include the Proteus Effect, synchronized movement in VR, video games for refugee empathy, and board games for understanding autistic experiences . These works reflect interdisciplinary approaches bridging psychology, human-computer interaction, and social intervention. Liam Cross has no explicitly listed scientific awards in the provided text. While no direct mention of student advising or grants is made, his collaborative publications suggest active mentorship and research leadership. He is affiliated with the NeuroPlay Lab , indicating involvement in a dedicated research team focused on play, technology, and social cognition. His work contributes to UN Sustainable Development Goals related to well-being and reduced inequalities. He is actively involved in research and teaching in Social Psychology, Research Methods, and Statistics , and leads innovative projects using immersive technologies and games to address social challenges. The NeuroPlay Lab serves as a hub for experimental and applied research in prosocial technology and autism interventions.
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.
Mark Gotham is a Senior Lecturer in Cultural Computation at King’s College London’s Department of Digital Humanities. He holds a unique position bridging STEM and the humanities, with prior roles as an Assistant Professor of Computer Science at Durham University and a Professor of Music Theory at Technische Universität Dortmund. His research focuses on computational methods for music theory, corpus creation, and accessibility. Gotham completed a Ph.D. in Music Theory at the University of Cambridge, an MMus in Composition at the Royal Northern College of Music, and a First-Class Bachelor’s in Music from the University of Oxford. His work spans computational musicology, including projects like the OpenScore initiative, which digitizes and opens music scores. He is affiliated with King’s Computational Humanities Research Group and the Centre for Digital Culture. Gotham’s compositions, such as the award-winning CD *Utrumne est Ornatum*, blend theoretical rigor with creative expression. He collaborates with institutions like Deutsche Telekom on projects like *Beethoven X* and leads the Music Computing Lab at King’s. Gotham’s research emphasizes interdisciplinary approaches, using computational tools to explore musical structures and democratize access to music theory. His contributions include frameworks for aligning symbolic music, standards for harmonic analysis, and pedagogical innovations in music education.
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.
Fernando Lopez-Lezcano is a Lecturer at Stanford University's Center for Computer Research in Music and Acoustics (CCRMA) where he has been working since 1993. His work combines music composition, electronic engineering, and programming with a focus on spatial audio and sound diffusion technologies. He was the Edgar Varese Guest Professor at TU Berlin during the Summer of 2008 and is the 2014 winner of Stanford's Marsh O'Neill Award for Exceptional and Enduring Support of Stanford University's Research Enterprise. Lopez-Lezcano's research interests center on computer music, spatial audio technologies, and sound diffusion systems. He has pioneered work in High Order Ambisonics (HOA), developing novel decoders and reverberation architectures for immersive sound environments. His work on the SpHEAR Project has created innovative 3D-printed soundfield microphone arrays, while his development of the GRAIL (Giant Radial Array for Immersive Listening) has revolutionized concert speaker arrays for HDLAs (High Density Loudspeaker Arrays). He has also created numerous open-source tools and software environments for spatial sound composition and diffusion. His recent creative output demonstrates a consistent exploration of 3D sound spatialization, modular synthesis, and interdisciplinary collaborations. Across his compositions, he frequently integrates custom-built hardware like his modular synthesizers (including the famous 'El Dinosaurio' built in 1980-81) with sophisticated software environments written in SuperCollider. His work often bridges acoustic and electronic sound sources, creating rich spatial experiences that explore the relationship between technology and artistic expression. Among his notable achievements is the 2014 Marsh O'Neill Award, recognizing his exceptional support of Stanford's research enterprise. This prestigious award was inspired by Marsh O'Neill, Associate Director of the W.W. Hansen Laboratories, and honors outstanding staff members who support faculty research activities. Lopez-Lezcano has mentored numerous students in the development of musical instruments and performance systems, most notably the 'Ensemble AnaLocos' (Analógicos Locos or 'Crazy Analogs') which created the 'Noise Toaster' synthesizers. He has also developed important infrastructure for CCRMA including 'Planet CCRMA,' a collection of open-source audio software for Linux. His teaching includes the 'Sound in Space' course (Music 222), which covers historical background, techniques, and theory on the use of space in music composition and diffusion. He directs the CCRMA Stage concerts and has been instrumental in developing CCRMA's spatial audio infrastructure, including the GRAIL system used in Bing Concert Hall. His work with the SpHEAR Project has advanced 3D sound recording techniques, while his collaborations with performers like Michiko Theurer (violin) and Chris Chafe (celletto) have produced innovative interdisciplinary performances.
Miguel Chuaqui is a Chilean-American composer and Professor at the University of Utah School of Music, where he serves as Chair of the Composition Area since 2009. Born in 1964 in Berkeley, California, and raised in Santiago, Chile, he holds a PhD in Composition from the University of California at Berkeley, with academic roots in both Mathematics and Music. Education: BA in Mathematics and Music (University of California-Berkeley, 1987), MA in Music (University of California-Berkeley, 1989), PhD in Music (University of California-Berkeley, 1994) Chuaqui's creative practice spans orchestral, chamber, vocal, and electroacoustic works, with performances across the U.S. and internationally by ensembles such as Speculum Musicae, Earplay, and the Society for Electro-Acoustic Music in the United States (SEAMUS). His research emphasizes collaborations in diverse areas, including interactive dance systems with Modern Dance and therapeutic musical applications with the School of Medicine. His compositions reflect an intersection of technology and traditional instruments, often incorporating live electronics and interactive elements. Recent compositions like La Búsqueda (2024), Inseparable (2024), and Encuentro Fugaz (2024) highlight his focus on chamber works and electroacoustic innovation. He has also demonstrated a sustained commitment to solo and ensemble works, integrating Latin American cultural motifs with contemporary techniques. Scientific and Musical Awards Award in Music from the American Academy of Arts and Letters Aaron Copland Recording Grant Eisner Prize Nicola de Lorenzo Award Society for Universal Sacred Music award Induction into the National Association of Composers of Chile President’s Award from SEAMUS (2008) 2024-2025 Big 12 Faculty Fellowship As an educator, Chuaqui has taught courses including Advanced Electronic Music Composition, Senior Composition, and PhD-level Composition at the University of Utah since 2024. He hosted the 2008 SEAMUS National Conference and serves as a NASM Visiting Evaluator, maintaining leadership roles in music education and composition pedagogy.
Shunyuan Zhang is an Assistant Professor at Harvard Business School with research focusing on AI algorithms, economic inequality, and computer vision applications in business contexts. His work examines how algorithmic systems impact economic outcomes, particularly in sharing economy platforms like Airbnb. His research interests include AI algorithms, economic inequality, pricing algorithms, machine learning, computer vision, and the sharing economy. Zhang's work often combines technical computer vision approaches with economic analysis to understand platform dynamics. Zhang's recent publications demonstrate a strong focus on the intersection of AI, fairness, and economic outcomes. His work analyzes how algorithmic pricing affects racial disparities on platforms like Airbnb, and how visual content impacts demand in the sharing economy. His research employs sophisticated methodologies including deep learning, structural modeling, and causal inference. He has published in top journals and working paper series, with notable work including 'Can an AI Algorithm Mitigate Racial Economic Inequality? An Analysis in the Context of Airbnb' and 'What Makes a Good Image? Airbnb Demand Analytics Leveraging Interpretable Image Features.' Zhang collaborates extensively with leading researchers at Carnegie Mellon University and University of Toronto, particularly on topics related to algorithmic fairness and platform economics. His work has significant implications for both academic understanding and practical policy recommendations regarding algorithmic systems in marketplace contexts.
Assoc Prof Ho Chee Kong is an Associate Professor and founding Head of Composition at the Yong Siew Toh Conservatory of Music, National University of Singapore. He currently serves as Vice Dean (Academic Programmes & Quality Enhancement). A Singaporean composer renowned for fusing Western and Chinese musical traditions, his works have been performed globally at venues like the Singapore Arts Festival, International Bela Bartok Choral Competition, and Asia-Pacific Improvisers Symposium. His research explores music's role in modern society, multimedia productions, and organizational contexts. Notable compositions include There and Back (2019 Best New Classical Work), Empyrean Lights (Singapore's 50th Anniversary commission), and Passage-Fantasy . He has presented at international conferences such as the Reflective Conservatoire Conference and the Performer’s Voice Symposium. HO holds leadership roles in arts organizations including Vice-President of the International Computer Music Association, founding President of the Composers Society of Singapore, and board member of the Ding Yi Music Company. His works are celebrated for their 'exotic instrumental colors' and narrative power, bridging cultural divides through music. HO's professional engagements include advisory roles with the Singapore Chinese Orchestra, Singapore School of the Arts, and international festivals. He has organized major events like the 29th International Computer Music Conference (2003) and the Asian Composers League Festival (2013).
