During the week of August 3–7, ATLAS Institute’s Center for Multimedia Art and Performance will host a series of avant-garde, experimental electronic music, featuring some of the nation’s most respected pioneers of the field. For details of the scheduled events, click here.
Miller Smith Puckette is the associate director of the Center for Research in Computing and the Arts and professor of music at the University of California, San Diego, where he has been since 1994. To many, Puckette is best known as the author of Max, a visual programming language for music and multimedia, which he developed while working at IRCAM in the late 1980s. He also authored Pure Data (Pd), a graphical programming language for real-time audio and video performancing, and for the creation of interactive computer music and multimedia works. After authoring the core platform, Puckette made Pd open source, allowing a global community of developers to enrich Pd with a wealth of functionality.
Philippe Manoury was born in Tulle and studied composition at Conservatory of Music in Paris . He joined IRCAM as a composer and electronic music researcher in 1980. From 2004 until 2012, Manoury served on the composition faculty at the University of California, San Diego , where he taught composition, electronic music, and analysis. Manoury’s work was performed by orchestras as the Chicago and Cleveland Symphony Orchestras, Orchestre de Paris, and the Concertgebouw in Amsterdam and conductors like Pierre Boulez, David Robertson, Kent Nagano and Esa-Pekka Salonen. He has composed 4 operas, including “K…” which was premiered in Opera-Bastille in Paris in 2001 and 2003. He is presently working on a cycle of pieces for spatialized orchestras for the Philharmonic Hall in Köln (Germany). In the next September, Philippe Manoury will create his own Academy of composition in Strasbourg.
Juliana Snapper is an opera singer, voice researcher and artist. Snapper creates performances and installations that push the physical and expressive capacities of the singing body. She combines radical vocal techniques, composition, improvisation, and intermedia dynamics alone and in collaboration. In May 2009, she collaborated with composer Andrew Infanti and costume designer Susan Matheson on the premiere of the world’s first underwater opera, You Who Will Emerge from the Flood, at the Victoria Baths in Manchester, U.K
Eric Lindemann, longtime Boulder resident, began working with his first music synthesizer in 1970, a large analog Moog. He began designing electronic music machines in 1981. For most of this time he was frustrated by the lack of expression achievable through electronic music. In 1983 he began working with samplers, and in 1988 he experimented with physical modeling. In 1997, he returned to the problem of music synthesis, intent on creating an authentically expressive music synthesizer. The result of this work is Synful Orchestra, which launched in 2002.
Anna Lindemann‘s work integrates multi-disciplinary art and biology. My pieces Beetle Bluffs, Theory of Flight, Winged One, Bird Brain, and The Flying Curiosities of the Plant & Animal Kingdoms combine digital and stop-motion animation, live and electronic music, video, and performance to explore the emerging field of Evo Devo (Evolutionary and Developmental Biology). She calls herself an Evo Devo Artist.
Julius O. Smith is a professor of music and (by courtesy) professor of electrical engineering in the Information Systems Lab based at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. His teaching and research focus on music and audio applications of signal processing. He was formerly a software engineer at NeXT Computer, Inc., responsible for signal processing software for music and audio.