Anders Aktor Liljedahl is in the final year of his PhD in the Department of Arts and Cultural Studies (musicology section) at the University of Copenhagen in Denmark. His research explores the discursive relationships between music videos and audiovisual studies, and U.S. Black studies.
Henry Balme is a PhD candidate in music history at Yale University specializing in audiovisual media. His dissertation gives the first comprehensive historical account of visual music, a genre of experimental film. He traces its beginnings in Weimar Germany to its eventual integration into the West Coast counterculture in the United States. Henry also outlines a theoretical framework for understanding these films in terms of intermediality. Films analyzed are by Jordan Belson, Mary Ellen Bute, Viking Eggeling, Oskar Fischinger, Harry Smith, Hans Richter, Walter Ruttmann, and the Whitney Brothers. Further research interests include music video and VJ culture. In his teaching, Henry focuses on contemporary popular music.
Sophie Benn enjoys a multifaceted career as a musicologist and cellist. A PhD Candidate in musicology at Case Western Reserve University, she studies notation and the performing body in dance and music theory in late nineteenth-century and early modernist aesthetics. She has presented at conferences for the Dance Studies Association, the American Musicological Society, the German Studies Association, the Society for American Music, the International Association of Music Librarians, and numerous graduate-level and regional conferences. She serves as the Chair of the Dance Studies Association’s Music and Dance Working Group. Sophie also maintains an active career as a cellist, specializing in modernist and contemporary repertoire. She is a founding Co-Director of Cleveland Uncommon Sound Project (CUSP), a presenting organization for experimental contemporary musicians and sound artists. Sophie also performs as a baroque cellist, and, drawing on a childhood spent in the ballet studio, has appeared as a baroque dancer in productions of Hippolyte et Aricie, Dido and Aeneas and Acis and Galatea. Sophie is the author of the forthcoming bibliography on the cello for Oxford Bibliographies Online.
Ellie Berry is a first-year Cinema and Media Studies Ph.D. student at the University of British Columbia. Her research focuses on the intersections of Sound, Technology and Deaf Studies; examining the role of sound and sound technology in representations of Sign language, deafness and tinnitus in mainstream film and television.
Budhaditya Bhattacharyya is a PhD candidate at Durham University researching musical histories between Bengal and Britain, funded by a Durham Doctoral Studentship. Through simultaneous engagement with oral histories, written records, and audiovisual sources like archival video footage and ephemera, his project documents musical lives of the British Bengali diaspora, primarily in the 20th century. Budhaditya is a Fellow of the Royal Asiatic Society of Great Britain and Ireland, with research interests ranging from music history, ethnomusicology, ecomusicology to music iconography and sound studies, broadly in the context of the Indian subcontinent and its diasporas.
As a Hindustani vocalist, composer, and teacher, Budhaditya specialises in khayāl, and has numerous performances to his credit in India and the UK, besides continental Europe, China and Thailand.
Heather Britton is a multi-instrumentalist, filmmaker and audiovisual composer, working across multiple mediums and genres. She has recently completed her MA in Creative Practice at Goldsmiths, where she produced EROS, an audiovisual album. Current projects include her band Calluna, a psychedelic shoe-gaze collaboration, and Vulgaris, her experimental audiovisual work. Her extended research interests and practice covers a broad range of topics from sound design to video editing, with a special interest in synchresis and incongruousness in audiovisual composition, as well as being a cinephile with a passion for experimental filmmaking. She is on the editorial board for the journal Sonic Scope and lives in Brighton with her pet rabbit, Zissou.
Shelley Calhoun-Scullion is a PhD student in the Music department at Goldsmiths University, and is an artist who works in visual and aural cultures, previously exhibiting work within moving image, video installations and found footage-which she presented under the artist name “Shelley Rae”. Her practice now includes assemblage of pre-existing recorded sounds, real person narratives and music. Shelley’s collaged work represents the fragmentation and invisibility of Michigan’s African-American and immigrant industrial proletariat, through oral histories and cultural sound artefacts. Shelley’s research examines the unseen acts of resistance between socialists and communist workers, labour organisers, black workers, and the resulting culture of prosperity within automotive cities of Detroit and Flint Michigan. She appropriates recorded moments of “infrapolitics” (James C. Scott’s definition of the struggled waged daily by subordinate groups who function beyond the visual spectrum) through curated sound and music samples to bring attention to the dissonant noise of the subversive space of Michigan.
Chris Cottell is an academic and musician with interests in genre, social media, and the internet. His most recent work includes presenting the paper “‘I Play The Lick for Five Hours Straight’: The Life and Un-Death of a Jazz Meme” at Documenting Jazz 2020, and curating the exhibition “Singing Books: Text, Object and Song in the English Madrigal” in 2018 at Christ Church, Oxford. He read for a BA in Music at the University of Oxford and is now completing an MA in Music at Goldsmiths, University of London. In the intervening years he worked as a librarian at Christ Church, and more recently in the Music section of the Bodleian Library. He writes academically on internet memes and internet music, composes, writes poetry, and plays drums, percussion, and piano.
Samiran Culbert is an AHRC Northern Bridge PhD Candidate in Newcastle University’s International Centre for Music Studies (ICMuS) and Media, Culture, and Heritage (MCH) departments. His thesis details the ways in which grieving practices have been changed by social media sites, via the prism of musician’s deaths, particularly through the concepts of narrative, memory, nostalgia, mythology, social media theory, technology studies, and persona. He has previously completed a BA and MA at University of Liverpool’s IPM, where he specialised in popular music history, nostalgia, and the media. He teaches seminars and workshops at Newcastle University on popular culture, new media, and popular music.
Julian Day is an Australian artist, composer and writer based in New York.
Day’s work frames sound as a social and civic practice that reveals hidden power dynamics by stealth. This plays out in individual artworks (performance, sculpture, installation, video, text) and projects such as Super Critical Mass in which temporary communities articulate public spaces with interdependent actions.
Day has presented work in the California Pacific Triennial, Asia Pacific Triennial, Adelaide Biennial of Australian Art, Museum of Contemporary Art Australia, Huddersfield Contemporary Music Festival, Bang On A Can Marathon, MATA, Spitalfields Music Festival, Jewish Museum, Whitechapel Gallery, Fridman Gallery, Institute of Modern Art, Artspace and Australian Centre for Contemporary Art.
Day has presented programs and features on ABC and BBC radio, interviewing such leading figures as Vito Acconci, Laurie Anderson, Christian Wolff and Pauline Oliveros, and has published in Tempo Journal, Leonardo Music Journal, Contemporary Music Review, Runway and Limelight.
Bryan Dunphy is an audiovisual composer, musician and researcher interested in generative approaches to creating audiovisual art. His work explores the interaction of abstract visual shapes, textures and synthesised sounds. He is interested in exploring strategies for creating, mapping and controlling audiovisual material in real time. His background in music has motivated him to gain a better compositional understanding of the combination of audio and visuals. His recent work has explored the implications of immersive experiences on the established language of screen based audiovisual work. He is currently completing his PhD in art and computational technology at Goldsmiths, University of London.
Wairehu Grant is a current PhD candidate at the University of Waikato based in Hamilton, Aotearoa/New Zealand. His research is concerned with the creative work and lived experiences of indigenous people in Aotearoa who engage with the various facets of punk culture. Being a person of both Māori and European ancestry, as well as an avid supporter of Aotearoa’s punk communities, he is invested in addressing notions of cultural hybridity and the implications of subcultural participation for members of marginalised social groups. Outside of his research Wairehu is a musician, visual artist and near insufferable horror film nerd.
Kaapo Huttunen is from Finland and graduated from the University of Helsinki, with a master's thesis on the music and sound design in contemporary Finnish mainstream cinema. Now, in the University of Turku, he is doing a PhD on the music and sound design in audiovisual Nordic Noir. He also work as a composer, writing music mainly for film and television, but also radio plays, art exhibits, theatre, etc.
Prokhor Kuznetsov is currently an MA student in the Composition of Music for Film and Television at the University of Bristol. Originally from Saint-Petersburg Russia, he received his BMus in Popular Music from Goldsmiths, University of London in 2019. In addition to his creative practice as a media composer and songwriter, Prokhor's academic research explores film music and popular song.
Dr. Léon McCarthy is an experiential designer, audio-visual performer, educator and researcher. He has held teaching and research positions at the Digital Media & Arts Research Centre (University of Limerick) and the Dept. of Design & Communications (Northumbria University). He shapes audience experience through multi-screen technology with a focus on second-screening, data-mining and responsive audio-visuals. Outputs come in the form of installations, commissions and publications. Beyond multimedia, he has developed eLearning applications and has participated in multi-partner eHealth projects. As a consultant (The Factory of Thought), he designs, develops & deploys experiences encompassing second-screening, social-networks, sentiment analysis and enriched media content.
James Denis Mc Glynn is a conductor, composer and PhD Excellence Scholar at University College Cork. His research explores pre-existing music and narration in the film score. As an undergraduate, James founded the UCC Orchestra, resulting in his receipt of a coveted Quercus Creative & Performing Arts Scholarship. In 2017, he was invited to design and deliver courses at Tianmu Arts Training Centre (Suzhou, China). Having been awarded a CACSSS PhD Excellence Scholarship at UCC, James undertook a three-month research residency at the Irish Culturel Centre in Paris, during which time he participated in Michel Chion’s 2018 ‘Audio-Vision’ workshops. As a performer, James has worked extensively with the Irish Gamelan Orchestra, performing in the International Gamelan Festival (Central Java, Indonesia) in 2018. Recently, IGO performed the score for Gare St. Lazare’s ‘How It Is (Part 2)’, starring Conor Lovett and Stephen Dillane (Game of Thrones, The Crown). The show begins a 17-show residency at the Coronet Theatre, London [rescheduled due to COVID-19].
James Millea is originally from the Republic of Ireland. He has just been awarded his PhD from the University of Liverpool, where he also spent a number of years as a part-time lecturer in the Department of Music. Funded by the National University of Ireland (NUI), where he became a Travelling Student in Music in 2016, his doctoral research explores the relationship between hip hop music and the narrative film soundscape in New Black Realism, independent Black American cinema of the 1990s. Generally, his research interests sit at the intersection of popular music and audiovisual media. As well as speaking at various conferences and invited talks across Ireland and the UK, James has published his research on both sides of the Atlantic, with his most recent work appearing in the upcoming Oxford Handbook of Hip Hop Music (2020).
Lee Scott Newcombe is a sound sculptor, sonic painter, temporal choreographer and instrument inventor. Newcombe attended Dartington College of Arts, receiving a BA(Hons) in Music Composition. During this period, he collaborated in multiple projects, performing extensively across the UK and Europe. Newcombe went on to study at the University of Sussex, completing an MA in Music Composition. He formed two performing groups to present his works: eNSembLe and XPERIMENT/PUBLIK, which went on to win the Brighton Fringe art industry showcase award.
Newcombe currently resides in London, where he is studying for a PhD at Goldsmiths, researching the temporal natures of sound and movement with his own bespoke instruments. He is investigating the concept of 'revolution' in composition and performance and how this differs from repetition through linear sequences resulting in non-linear outcomes.
Pete Jiadong Qiang is currently a PhD candidate in arts and computational technology at Goldsmiths, University of London and trained in architecture at Architectural Association School of Architecture (AA). Pete's work focuses on the specific investigation of the bridges and interstices between pictorial, architectural and game spaces. Pete's works range from architectural drawings, paintings, moving images to augmented reality (AR) drawings, virtual reality (VR) paintings and video games. It forms an idiosyncratic cosmotechnics of research methods. It intra-acts of the physical and virtual spaces with ACGN (Anime, Comic, Game and Novel), fandom and digital ethnographic contexts. Pete Jiadong Qiang is often referred as architectural Maximalism.
Sanna Qvick (M.A.) is a doctoral candidate in musicology at University of Turku (Finland). Her doctoral thesis “Captivating film sounds: Sonic narration and world-making in the soundtracks of Finnish fairy tale films” focuses on the world-making ability of the soundtrack while highlighting its immersion powers. Her research material consists of six Finnish fairy tale films released during a time period over 50 years. Her methodology rests on close reading, narratology, audio-visual and music analysis. The main part of her work has been funded by Finnish Cultural Foundation.
Qvick is part of a research project in Finnish Contemporary Music in the 21st Century: Cultural and Social Significance of Art Music in the Postmodern World (project leader Dr. S. Välimäki, funded by Kone Foundation). Also, she has been a board member of The Finnish Musicological Society (2013–2016).
Jilliene Sellner is a Canadian sound artist and PhD researcher (Goldsmiths) currently based in the UK. She has been field recording and playing with sound since she was a child and podcasting for over a decade. She has an undergraduate degree from Simon Fraser University in Canada and an MFA from UCA in the UK. She has contributed to Tse Tse Fly Middle East and regularly produces episodes for Framework Radio which explore decolonialism and gender in field recording. She has composed sound for several international artists’ video work and provides training for non-profit organisations and activists in podcasting. Her practice concentrates on collaboration, phonography, composing for installation, 'radio' and video and curating/producing live networked performances. Jilliene's research is a practice based co-creation project with female experimental music artists in the Middle East.
Jennifer Smith is a PhD candidate currently in her writing up year at the University of Huddersfield. Her PhD research is a critical analysis of the voice as a worldbuilding tool in role-playing video games, specifically identifying voices as identifiers of video game environments and character characteristics. Her MA by research contributed to the understanding of flow and immersion in indie video game soundtracks, and she has co-hosted and organised an RMA Study Day at the University of Huddersfield entitled 'Constructing the Moving Image: Identity and the Soundtrack'.
Ernest Tremper hails from an ex-industrial ex-city in northwestern Connecticut (a state sometimes regarded as the disowned offspring of New England). He completed a BA, majoring in Film Studies and Nonfiction Writing, at the University of Pittsburgh. He is now pursuing a Master of Fine Arts degree at Boston University. His primary research interests are classic Hollywood cinema as fine art, and the historical, social, and artistic foundations of the French New Wave. In addition, he is bursting with unsolicited opinions about music, literature, television, and online culture. He also enjoys studying languages, and can speak just enough French to avoid being kidnapped by, say, an unscrupulous boulanger.